The diploma thesis deals with the interpretation of Deml's prose anthology Moji přátelé/My Friends from an intertextual viewpoint. The work is focused mainly on the reconstruction of My Friends' genesis and intertextual structures and on the interpretation of identified references, i.e. allusions and quotations. The thesis also explores Deml's vocabulary of flowers by reference to Biedermeier's work, it surveys repertoire of the main motifs and offers analysis of author's poetics. The work is also focused on Deml's specific dialogue.

Contemporary constantly expanding content of social media like Instagram brings the medium of photography to new contexts. Photography becomes an instrument of immediate communication and its historically defined functions are an object of change. The continuity of Instagram content creating, the personal perspective of its users, the constant presence of camera accompanying them are aspects analogous to the artwork of Nan Goldin. Goldin's photo essay ​The Ballad of Sexual Dependency (1986)​has a character of visual diary that captures the life of her community with almost obsessive continuity. It's also captured from deeply personal perspective depicting intimate moments and describing Goldin's personal relationships. Publishing of ​The Ballad​and formation of Instagram is divided by more than twenty-five years and both events and its meanings are profoundly different. This thesis nevertheless presumes that comparison of these, in many aspects alike phenomenons can help describe the change of the function of the media of photography, explore contemporary tendencies in photography aesthetics, the meaning of instagram's content to its users and provide general understanding of the role of shared photography in social and historical context. The methods of comparison are semiotic visual analysis,...

No description available.

No description available.

<p>Монографски приказ песничких облика у одређеном периоду српске књижевности, настао на корпусу дела српских неосимболистичких песника, корак је ка валоризовању форме и незанемаривању проблема формализације путем утврђених правила. Проучавање репертоара песничких облика ових песника модернизоване традиције, препознавање употребе облика, извођење типолошке поделе као и маркирање начина на који се односе према облику (у којој мери и на који начин се крше строга и утврђена правила; ради ли се о деструкцији или стилизацији облика), представљаће допринос управо континуираном актуализовању питања сталних облика. Премда је о неосимболистичким песницима доста писано, има значајних текстова у којима се тумачи њихова поетика, није истражено, међутим, који су се све песнички облици и на који начин употребљавали, нити је компаративно сагледана специфичност поступака свих песника ове оријентације. Само се у својству примера могу уочити понеке песме ових песника у радовима који систематски представљају све сталне облике<br />песме, строфе и стиха. Циљ нашег истраживања је да сагледа поетичке претпоставке неосимболистичког песништва из аспекта опредељења за утврђене песничке облике; да издвоји промишљања о облицима појединих песника ове групе исказана у есејима, са освртом на начелне разлике у схватању; да уочи доследност између поетичких исказа и конкретних песничких остварења, и коначно, да укаже на врсте и одлике облика којима су се служили, као и на поступке којима су их модернизовали. Све до данашњег дана остало је занемарено студиозно проматрање и интерпретирање принципа грађења песме, па чак и нека компаративна анализа примене песничких облика неосимболиста и песника на које су се угледали.<br />У првом поглављу докторске дисертације Песнички облици српског неосимболизма осврнућемо се на појам песнички облици, дати преглед постојеће литературе о сталним облицима, указати на претходна сазнања и методолошки оквир истраживања. Потом ћемо сагледати основне поетичке постулате неосимболистичког песништва и издвојити склоност према сталним облицима као вид односа према традицији и представити грађу (библиографија облика у песничким књигама).<br />Друго поглавље, поред књижевно-историјског контекста српског неосимболистичког песништва, којим се указује на утицај модерне поезије како европске тако и наше, те активирање и модернизовање песничке традиције, представиће и свесност значаја форме опипљиву у експлицитној поетици ових песника.<br />Главно поглавље монографије пружиће преглед сталних облика песме и строфе којима су се песници изражавали. Биће издвојени облици по пореклу: романски (који су и најзаступљенији), грчко-<br />византијски и класични. Прегледно ће све песме истог облика наведених песника бити груписане, свака интерпретирана понаособ и у односу на песме других аутора. Издвојиће се и одређени типови строфа преузети из традиције; интерпретативно ће се указати на однос слободног и везаног стиха, указати на обнову стихова из класичне, европске и домаће традиције.<br />Закључак ће генерално одговорити које су особености избора песничких облика и поступања с традицијом песника друге послератне песничке генерације, затим извести проблематику принципа грађења песама усклађену са поетичким моментима и иновације у поступцима структурирања чиме су начинили помаке на развојној линији српске поезије.</p> / <p>Monografski prikaz pesničkih oblika u određenom periodu srpske književnosti, nastao na korpusu dela srpskih neosimbolističkih pesnika, korak je ka valorizovanju forme i nezanemarivanju problema formalizacije putem utvrđenih pravila. Proučavanje repertoara pesničkih oblika ovih pesnika modernizovane tradicije, prepoznavanje upotrebe oblika, izvođenje tipološke podele kao i markiranje načina na koji se odnose prema obliku (u kojoj meri i na koji način se krše stroga i utvrđena pravila; radi li se o destrukciji ili stilizaciji oblika), predstavljaće doprinos upravo kontinuiranom aktualizovanju pitanja stalnih oblika. Premda je o neosimbolističkim pesnicima dosta pisano, ima značajnih tekstova u kojima se tumači njihova poetika, nije istraženo, međutim, koji su se sve pesnički oblici i na koji način upotrebljavali, niti je komparativno sagledana specifičnost postupaka svih pesnika ove orijentacije. Samo se u svojstvu primera mogu uočiti poneke pesme ovih pesnika u radovima koji sistematski predstavljaju sve stalne oblike<br />pesme, strofe i stiha. Cilj našeg istraživanja je da sagleda poetičke pretpostavke neosimbolističkog pesništva iz aspekta opredeljenja za utvrđene pesničke oblike; da izdvoji promišljanja o oblicima pojedinih pesnika ove grupe iskazana u esejima, sa osvrtom na načelne razlike u shvatanju; da uoči doslednost između poetičkih iskaza i konkretnih pesničkih ostvarenja, i konačno, da ukaže na vrste i odlike oblika kojima su se služili, kao i na postupke kojima su ih modernizovali. Sve do današnjeg dana ostalo je zanemareno studiozno promatranje i interpretiranje principa građenja pesme, pa čak i neka komparativna analiza primene pesničkih oblika neosimbolista i pesnika na koje su se ugledali.<br />U prvom poglavlju doktorske disertacije Pesnički oblici srpskog neosimbolizma osvrnućemo se na pojam pesnički oblici, dati pregled postojeće literature o stalnim oblicima, ukazati na prethodna saznanja i metodološki okvir istraživanja. Potom ćemo sagledati osnovne poetičke postulate neosimbolističkog pesništva i izdvojiti sklonost prema stalnim oblicima kao vid odnosa prema tradiciji i predstaviti građu (bibliografija oblika u pesničkim knjigama).<br />Drugo poglavlje, pored književno-istorijskog konteksta srpskog neosimbolističkog pesništva, kojim se ukazuje na uticaj moderne poezije kako evropske tako i naše, te aktiviranje i modernizovanje pesničke tradicije, predstaviće i svesnost značaja forme opipljivu u eksplicitnoj poetici ovih pesnika.<br />Glavno poglavlje monografije pružiće pregled stalnih oblika pesme i strofe kojima su se pesnici izražavali. Biće izdvojeni oblici po poreklu: romanski (koji su i najzastupljeniji), grčko-<br />vizantijski i klasični. Pregledno će sve pesme istog oblika navedenih pesnika biti grupisane, svaka interpretirana ponaosob i u odnosu na pesme drugih autora. Izdvojiće se i određeni tipovi strofa preuzeti iz tradicije; interpretativno će se ukazati na odnos slobodnog i vezanog stiha, ukazati na obnovu stihova iz klasične, evropske i domaće tradicije.<br />Zaključak će generalno odgovoriti koje su osobenosti izbora pesničkih oblika i postupanja s tradicijom pesnika druge posleratne pesničke generacije, zatim izvesti problematiku principa građenja pesama usklađenu sa poetičkim momentima i inovacije u postupcima strukturiranja čime su načinili pomake na razvojnoj liniji srpske poezije.</p> / <p>Founded on the body of works by Serbian<br />neosymbolist poets, this monographic<br />presentation of poetic forms in a particular<br />period of Serbian literature is a step toward the<br />evaluation of the form and represents due<br />acknowledgement of the formalization problem<br />by means of established rules. Studying the<br />repertoire of poetic forms of these poets<br />belonging to a modernized tradition,<br />recognizing their form usage, proposing<br />typological classifications and marking the<br />manners in which they are related to the form<br />(how and to which extent are strict and<br />predefined rules broken; is there any destruction<br />or stylization of forms) will contribute to the<br />continued actualization of the issue of fixed<br />forms. Much has been written on neosymbolist<br />poets and there are significant texts in which<br />their poetics is interpreted. Nevertheless, it has<br />never been researched which poetic forms are<br />used and how, nor has there ever been any<br />comparative analysis of specific techniques of<br />all the poets within this orientation. Some<br />poems of these poets can only be recognized as<br />examples in the papers systematically<br />presenting all fixed forms of poems, stanzas,<br />and verses. The goal of this research is to<br />analyze poetic preconceptions of neosymbolist<br />poetry in terms of commitment to established<br />poetic forms. In addition, the research aims to<br />pinpoint the thoughts on the forms of the<br />respective poets within this group expressed in<br />essays, paying attention to fundamental<br />differences in their understanding, and to notice<br />consistency in poetic statements and particular<br />poetic achievements. Finally, it highlights the<br />types and characteristics of the forms used by<br />Serbian neosymbolist poets, as well as the<br />techniques applied in their modernization.<br />Studious consideration and interpretation of<br />principles involved in writing poems have been<br />neglected to this very day, just like any<br />comparative analysis of the use of poetic forms<br />by neosymbolists and the poets they revered.<br />The first chapter of the doctoral thesis<br />Poetic Forms of Serbian Neosymbolism takes a<br />look at the notion of poetic forms, offers an<br />overview of the existing literature dealing with<br />fixed forms, and indicates previous findings and<br />the methodological framework of this research.<br />Then the basic poetic postulates of neosymbolist<br />poetry are considered and the tendency toward<br />fixed forms as a kind of relation to tradition is<br />highlighted. Finally, the first chapter brings the<br />overview of the corpus &ndash; bibliography of forms<br />in poetic books.<br />The second chapter presents the awareness<br />of the significance of the form tangible in the<br />explicit poetics of these poets. It also underlines<br />the literary and historical context of Serbian<br />neosymbolist poetry, which indicates the<br />influence of both European and Serbian modern<br />poetry, as well as the activation and<br />modernization of poetic tradition.<br />The central chapter of this monograph<br />presents an overview of fixed forms of poems<br />and stanzas used by Serbian neosymbolist poets.<br />Based on their origin, forms are classified as:<br />Roman (the most common), Greek-Byzantine<br />and classical. All the poems by the listed poets<br />using the same forms are clearly grouped, and<br />each of them interpreted, on its own and in<br />relation to the poems by the other authors.<br />Certain types of stanzas taken from the tradition<br />are listed as well. The relation between free and<br />rhymed verse is highlighted interpretively and<br />the revival of verses stemming from classical,<br />European and Serbian tradition is underscored<br />too.<br />In general, the conclusion proposes the<br />characteristics of chosen poetic forms and the<br />usage of the tradition of the second postwar<br />generation of poets. Furthermore, it draws<br />attention to the issue of poem creating<br />principles harmonized with poetic eras, and to<br />innovation in structuring techniques which<br />brought improvements in the development of<br />Serbian poetry.</p>

The origin of fantasy motives dates back to the prescriptive era. Although literature itself is constantly developing, it's basic motives such as heroes or the text composition holds on to the classical archetypes, which helps the reader to stay oriented. Fantasy elements are a good representation of these archetypes. It is no secret that the authors of the modern and post-modern fantasy literature are often inspired by ancient mythical literature. On the contrary, these myths and archetypes research these texts and are, consequently, used in new variations. In this thesis, I try to analyze some of these motives such as the hero's journey, or the representation of the mythical characters and demonstrate their transformation from the simple folk archetypes to the complex elements used in modern literature. Apart from modern and postmodern literature, I also focus on the literature of the 19th century, due to the fact that it is the romanticism and the Young Poland era, where I found the first signs of the fantasy works in polish literature.

Indiana University-Purdue University Indianapolis (IUPUI) / Although many of Lola Ridge's poems champion the causes of minorities and the disenfranchised, it is too easy to state that politics were the sole reason for her neglect. A simple look at well-known female poets who often wrote about social or political issues during Ridge's lifetime, such as Edna St. Vincent Millay and Muriel Rukeyser, weakens such a claim. Furthermore, Ridge's five books of poetry illustrate that many of her poems focused on themes beyond the political or social. The decisions by critics to focus on selections of Ridge's poems that do not display her ability to employ multiple aesthetics in her poetry have caused them to present her work one-dimensionally. Likewise, politically motivated critics often overlook aesthetic experiments that poets like Ridge employ in their poetry. Few poets during Ridge's time made use of such drastically varied styles, and because her work resists easy categorization (as either traditional or avant-garde), her poetry has largely gone unnoticed by modern scholars. Chapter two of my thesis focuses on a selection Ridge's social and political poems and highlights how Ridge's social poetry coupled with the multiple aesthetics she employed has played a part in her critical neglect. My findings will open up the discussion of Ridge's poetry and situate her work both politically and aesthetically, something no critic has yet attempted. Chapter three examines Ridge’s role as editor of Modern School, Others and Broom. Ridge's work for these magazines, particularly Others and Broom, places her at the center of American modernism. My examination of Ridge's social poetry and her role as editor for two leading literary magazines, in conjunction with her use of multiple aesthetics, will build a strong case for why her work deserves to be recovered.

This thesis explores solo performance in New Zealand. That solo performance has been widely used in New Zealand's relatively brief theatre history is usually ascribed to the economy, manoeuvrability and adaptability of the form - common reasons for the popularity of solo performance elsewhere as well. But this thesis considers solo performance as a kind of theatre that has been suited to New Zealand in a distinctive way. In particular, I argue that solo performance has emerged on the margins of mainstream theatre in New Zealand as a means of actively engaging with a sense of isolation that typifies the post-colonial New Zealand experience. The ability of the solo performance to move between remote rural settlements and urban centres has connected these New Zealand communities in a way that is unusual for theatre in New Zealand. Furthermore, a solo performer speaking directly to an audience about the experience of living in New Zealand allows for an intimate interaction with a traditionally stoic and laconic masculine society. In this thesis, I make a case for three solo performances where it is possible to see, in the representation of a search for what it means to be a New Zealander, a theatrical contribution to nation-building: The End of the Golden Weather (1959), Coaltown Blues (1984) and Michael James Manaia (1991). However, in a subsequent chapter, I look at solo performances in New Zealand that might better be understood within global movements such as feminism and multiculturalism. I argue that this shift has depleted the power that the form once held to comment upon New Zealand identity and to assist in the search for national identity. I conclude the thesis by considering how ongoing theatre practice may be informed by the experience of solo performance in New Zealand.