<p> In our search for an understanding of Old English cosmological conceptions we discover that the creation myth is central to the mysteries of the Christian faith, and that the Greek and Latin authors' interpretations of creation, known as "Hexaemera", provide much that is vital and influential to Old English poetic cosmology. My purpose in this dissertation is two-fold. The first is to provide for the Old English biblically-based poems an informing context of Greek and Latin hexaemeral writings drawn mainly from the Fathers of the Church. The second is to examine three Old English texts on creation and paradise as set against the background of the Mediterranean hexaemeral tradition. That a definite and complex accumulation of hexaemeral writings existed from the early patristic era through the Old English period (ca. A.D. 100-750) is confirmed by the wide variety of treatises, tractates, sermons, poems and hymns, assertive and didactic literary genres all revealing one major purpose -- the demonstration of intelligible order in the universe which is to be perceived through a vision of God's wisdom in creation.</p> <p> From this immense body of traditions about creation and paradise emerges a pattern which suggests to us the hypothesis that the Old English Christian poets, whose access to a broad range of such writings has been established, pondered and incorporated the hexaemeral features and conventions while adding their own variations to the creation theme. An important corollary to this hypothesis is that the Old English accounts of creation and paradise were influenced by an elaborate, lettered, and learned tradition which deserves special critical emphasis. Recent scholars have stressed the need for a comprehensive study of the potentialities of allusion in Old English poems to traditional Christian allegorical and tropological interpretations, as well as a study of the scholarly habits of perception which distinguished the monastic and ecclesiastical writings of the Middle Ages. This thesis is intended to fill a small aspect of this need in its exploration of the lettered traditions of creation which preceded and existed alongside Anglo-Saxon civilization.</p> <p> In order to develop this thesis I have categorized its two parts, respectively, as the patristic and poetic traditions. Part One offers an inquiry into the exegetical treatment of creation and paradise revealed in the Fathers, the Christian Latin poets, and related sources. The exploration is not intended to be comprehensive but representative in a critical mode directed towards illuminating our understanding of certain seminal concepts from which radiated further interpretations of creation in the Old English poetic canon. The figural levels of meaning perceived by patristic authors in such archetypal symbols as the primordial ocean, the green plain and golden groves of Eden, the luminaries of day and night, the fire and hail, snow and vapour of creation, contribute to our understanding of the Old English moulding of creation myths.</p> <p> In Part Two, the critical scope of the study focusses in three separate chapters on the creation :features of the Junius Genesis A and Christ and Satan, and the paradisal elements in the Exeter Phoenix. Equipped with a knowledge of the main features of the Mediterranean hexaemeral tradition, we are enabled to perceive the divergent treatment of creation themes in the relevant Old English texts. The intricacies of Christian exegesis can amplify our appreciation of the more concise Old English poetic hexaemeral in which the major emphasis is on tradition drawn from late classical antiquity, pagan Germanic concepts, and· biblical and patristic imagery. This assertion is not to imply that the Old English poetic texts merely present successive interpretations of creation and paradise without adding any new dimension. The hexaemeral tradition in the imaginations of the Old English poets loses the rigid character of dogma and develops into a vision of the world as cosmopoesy.</p> <p> The boundaries of investigation in this thesis are necessarily limited. I have selected a scope of study within the main documentable collection of traditions which aided in shaping Old English cosmogonic mythology. Throughout the study I argue for the significance of, and the indispensable need for, knowledge of Christian traditions in the area of Old English hexaemeral writings which constitute mythopoeic or imaginative literature in contrast to the homiletic character of influential patristic doctrine.</p> / Thesis / Doctor of Philosophy (PhD)

During the 1920s, the Midwestern American architect Bruce Goff advanced a unique design approach that would govern his career: "Good architecture for everyone." Following the First World War, this period is considered the end of the Victorian and Edwardian era and "American innocence," and the beginning of the modern era—the 20th century. Goff challenged the predominant views of progressive modernism, the belief that science and technology were to be the "grand solution" to society's weaknesses. In contrast to his contemporaries who employed design methods of standardized building forms, mass production, and technology, which would later lead to societal alienation, Goff viewed his clients as individuals possessing a mind, a body, and a spirit living in a world together with other human beings. He believed that each person is endowed with five or more senses that "always" respond to Nature and its beauty. This dissertation will show that such an experiential and existential attitude is found in Goff's drawings, writings, lectures, and interviews and expressed in a clear commitment to the Bavingers (as clients), to their chosen site, and the architectural experiences designed for the Bavinger House. Informed by Gaston Bachelard's, poetic imagination, three journeys to and through the Bavinger House, reconstructed by generating drawings and bringing together a manifold of experiential methodologies to argue the claim that the Bavinger House is the preeminent paradigmatic example of Goff's work. The goal is to establish that Goff was indeed, a poetic architect who employed an imaginative organicism in his work. / Doctor of Philosophy / During the 1920s, the Midwestern American architect Bruce Goff advanced a unique design approach that would govern his career: "Good architecture for everyone." Following the First World War, this period is considered the end of the Victorian and Edwardian era and "American innocence," and the beginning of the modern era—the 20th century. Goff challenged the predominant views of progressive modernism, the belief that science and technology were to be the "grand solution" to society's weaknesses. In contrast to his contemporaries who employed design methods of standardized building forms, mass production, and technology, which would later lead to societal alienation, Goff viewed his clients as individuals possessing a mind, a body, and a spirit living in a world together with other human beings. He believed that each person is endowed with five or more senses that "always" respond to Nature and its beauty. This dissertation will show that such an experiential and existential attitude is found in Goff's drawings, writings, lectures, and interviews and expressed in a clear commitment to the Bavingers (as clients), to their chosen site, and the architectural experiences designed for the Bavinger House. Informed by Gaston Bachelard's, poetic imagination, three journeys to and through the Bavinger House, reconstructed by generating drawings and bringing together a manifold of experiential methodologies to argue the claim that the Bavinger House is the preeminent paradigmatic example of Goff's work. The goal is to establish that Goff was indeed, a poetic architect who employed an imaginative organicism in his work.

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By drawing upon the essential characteristics of a locality, an architect may, through reinterpretation, reconstitute a place. This occurs when mundane characteristics of a locality are reformulated in such a manner that their presence becomes significant. / Master of Architecture

Cette recherche porte sur la poésie portugaise de la deuxième moitié du XXe siècle, plus précisément sur l’œuvre poétique et métapoétique de Sophia de Mello Breyner Andresen, Eugénio de Andrade et António Ramos Rosa. Ces auteurs révèlent une positivité marquée par une grande confiance dans le dire poétique. Celui-ci est perçu comme potentialité conciliatrice entre le sujet, le monde et la parole. C’est ainsi que la Poésie constitue chez eux une gnose ou une connaissance. Quoique néoromantique, c’est dans une mythification modérée de la parole poétique toujours entre la crainte et le désir que chaque poème invente sa possibilité. Après la crise du langage qui a mené à une poésie fataliste, leur originalité réside dans la capacité de réinventer ou reconstruire un sens pour le dire poétique et d’y puiser une énergie réparatrice. Dans cette construction de sens, l’image poétique assure un rôle essentiel et le thème de la nudité apparaît comme un paradigme de la vérité. Ainsi, le rapport complémentaire entre imagination productive et expérience vécue trouve une place importante dans cette réflexion au le sens où c’est ce rapport qui permet que la fable et le réel cohabitent dans le poème. / This research concerns Portuguese poetry of the second half of the 20th century and, more specifically, the poetic and metapoetic works by Sophia de Mello Breyner Andresen, Eugénio de Andrade and António Ramos Rosa. These authors denote a positive attitude marked by a strong confidence in the poetic writing. They conceive poetry as a reconciling power that reinforces the ties between self, world and meaning. Thus, poetry becomes a mode of knowledge or a kind of gnosis. Despite their neoromantic sensitivity, their writing embodies a moderate mythification of the poetic powers, being aware of the oscillation between fear and desire in which every poem emerges as the invention of a new possibility. After the crisis of language and the fatalistic poetry that followed, their originality resides in the capacity of re-inventing or reconstructing a new significance for the poetic word and finding in it a source of reparatory energy. In such endeavour of meaning-construction, the poetic image assumes an essential role and nudity appears as a paradigm of truth. Therefore, the relationship between productive imagination and lived experience is located at the heart of this poetic world, for that relationship alone allows one to understand how fabulation and reality coexist in poetry.

La littérature en langue vernaculaire du XIIe siècle cristallise une évolution lente dans les styles d'écriture : une simple lecture permet de constater l'absence ou presque de métaphores dans les chansons de geste, alors que des expressions métaphoriques, originales et diversifiées, ornent en nombre non négligeable les romans et les lais. Les arts poétiques médiolatins des XIIe et XIIIe siècles proposent leur définition de la métaphore, se situant dans la lignée des textes théoriques de l'Antiquité ou au contraire privilégiant la rupture. Ce bouillonnement réflexif caractérise l'engouement de l'époque pour le tour métaphorique. L'apparition et le développement de la littérature romanesque entraînent, dans son sillage, des modifications dans les manières de concevoir l'écriture : le traitement de certains motifs littéraires, au premier rang desquels la passion, ainsi que des contraintes nouvelles liées à la versification favorisent le recours aux métaphores. Des influences extérieures jouent également un rôle dominant : la littérature médiévale s'inspire de la poésie élégiaque latine, qui se complaît dans l'utilisation d'images amoureuses, mais également de la lyrique d'oc, qui offre une vision différente de la passion, fondée sur la réciprocité. / A slow evolution concerning the writing styles has taken shape in vernacular literature of the 12th century. A simple reading reveals that whilst hardly any metaphors are used in epic poems, original and varied figures of speech abound in novels and lays. The medieval Latin poetic arts of the 12th and 13th centuries have their own definition of metaphor. They either follow the line of ancient theoretical texts or choose to recreate it. This ferment of ideas illustrates the infatuation with metaphors which prevailed at that time. The appearance and the subsequent development of novelistic literature have caused writing modifications : the way some literary motifs –first and foremost passion- and new restraints due to versification encourage the use of metaphors. External influences also play a major part : medieval literature is inspired by Latin elegiac poetry -which indulges in love images- and by troubadour poetry, the latter offers another point of view about passion, based on reciprocity.

Following a close reading strategy, the research seeks to discover what the intratextual relations of each selected poem, three by Ingrid Jonker and three by Sylvia Plath, reveal. Flowing from the thematic overlaps that exist between the selected Jonker poems and Plath poems, it explores what similarities or differences in poetic form, the use of poetic devices and content, in other words intratextual relations, can be discovered via a comparison. Given that Jonker and Plath were contemporaries and shared biographical events, and after having considered and compared the intratextual relations of the selected poems, the research seeks to show what similarities or differences can be discovered in the exploration and comparison of the intertextual and extratextual relations of the selected poems. Thus, the thesis’ critical approach includes the close investigation of the structure of each of the selected poems, in order to discover its communication first, before delving into biographical, historical, social, political, and thematic approaches and interpretations. The research reveals that exercises of close reading, with a few exceptions, have not been the main focus in the discussion of either poet’s poetry. In other words, context has, for the most part, been favoured over text and over form. What the research reveals is that there are overlaps in the intratextual, intertextual, and extratextual relations of the selection of poems, but also differences. A comparison of intratextual relations reveals Plath’s formal training in comparison to Jonker’s largely informal training, for example, and that generally Plath was the more disciplined author of the two. The intertextual and extratextual relations of each poem (and how these relations compare) reveal and highlight that the selection of poems is a reflection or sampling of the poets’ ‘own’ voices. It also reveals the development of their maturity as writers and the development of themes across their poetry and collections of poems. / Dissertation (MA)--University of Pretoria, 2014. / gm2014 / Afrikaans / unrestricted

O objetivo deste trabalho é comprovar a criação de um gênero híbrido e inovador - a prosa poética - , ligada ao jornalismo e à literatura do final do século XIX. Esta pesquisa analisa a prosa poética de Raul Pompéia, a partir de textos selecionados como corpus, publicados no periódico, A Gazeta da Tarde, de 21 a 29 jan. 1986. Paralelamente comparamos os textos equivalentes em sua versão de livro, publicados pela primeira vez em 1900, comentando também o conjunto das Canções sem metro. / The main objective of this work is to compare the creation of a hybrid and new genre - the poetic prose -, by Raul Pompéia, related to journalism and literature at the end of the XIX century. This research analyses the poetic prose written by Raul Pompéia, by selecting texts as its corpus, published in the periodic \"A Gazeta da Tarde\", from January 21st to January 29th, 1986. At the same time we have compared the equivalent texts published on book for the first time in 1900, also discussing the other texts which form the whole group.

As operações da memória, a introspecção e a auto-representação são alguns tópicos da chamada escrita intimista, que vem desempenhando papel importante na poesia portuguesa, desde meados do século XIX. A partir de um grupo de poetas precursores, entre os quais se incluem Cesário Verde (1855/1886) e António Nobre (1867/1900), o estilo da poesia intimista continuou nos novecentos através de nomes como os de Camilo Pessanha (1867/1926), Fernando Pessoa (1888/1935), Mário de Sá Carneiro (1890/1926). Sophia de Mello Breyner Andresen (Porto, 1919/ Lisboa, 2004), foi uma das três mais importantes vozes poéticas portuguesas da segunda metade do século XX, ao lado de Jorge de Sena (1919/1978) e de Eugénio de Andrade (1923/2005). Ela sempre apresentou recorrentes, em seus 14 livros de poesia, (o primeiro, Poesia I, de 1944), muitos dos temas caros ao intimismo: o choque entre o mundo exterior e o eu poético, a rememoração como mergulho interior, a solidão, o sofrimento provocado quando o sujeito recolhe-se dentro de si mesmo. Além disso, ela privilegia, num estilo muito particular, determinados espaços ligados à intimidade, como a casa e, em especial, o quarto. Nossa dissertação divide-se em três capítulos - O Quarto e o Silêncio, O Quarto, a Noite e o Vazio, O Quarto Como Prisão - que enfocam o aspecto intimista da obra poética de Sophia. A discussão é centrada no sujeito poético, analisando sua posição frente ao mundo e à vida, no contexto fragmentado do pós II Guerra. Sempre na perspectiva humana de nossa finitude, frente ao horizonte da eternidade. / The so-called Intimate Poetry School flourished in Portugal by the middle of the 19th Century, throught a group of very particular poets, like Cesário Verde (1855/1886) or António Nobre (1867/1900). Due to other outstanding poets, Camilo Pessanha (1867/1926), Fernando Pessoa (1888/1935) and Mário de Sá Carneiro (1890/1926), among others, intimate style continued on its way through the 20th century. Sophia de Mello Breyner Andresen (1919-2004) is recognized as one of the three most important Portuguese poets of 20th Century\'s last half, the other two being Jorge de Sena (1919/1978) and Eugénio de Andrade (1923/2005). She wrote 14 poetry books since her first one, Poesia I, published in 1944. In most of her poems, Sophia de Mello Breyner Andresen dealed with some of the innermost aspects of the poetic self, such as solitude, the remembrance of past experiences, or the aggressiveness from the outside world. She described, in several poems, the sleepingroom, this space that is a typical intimate retreat for the self. Her poetry is always related to the human condition, in the sense that her poems encompass the joys, the sufferings and all the emotions related to our state of being human, that is, being finite and mortal, when compared to a horizon of eternity. Also, she achieved a very intimate way of describing the self\'s fortunate past experiences, as related to his deceptive present life. Our Master\'s research, The room used as a symbol of intimate questions, in Sophia de Mello Breyner Andresen\'s poetry, deals mainly with three Intimate Poetry aspects that the room may present in her poems: The Room and the Silence; The Room, the Night and the Void; The Room as a Prison.