In the Deutsche Poemata the word Tod and its variant forms appear in over 130 different poems. The word may appear more than once in the same poem. Despite the frequency of this word, its use has not previously been researched in depth. Secondary sources fall into five basic catagories: l. the use of the word Tod is ignored completely; 2. its use may be isolated to borrowings from Roman Literature; 3. its use is Petrarchan; 4. if comprehensible at all, it is an expression of Fleming's Christian philosophy of nature; 5. Fleming's use of the word is typical for the entire Baroque era. This thesis attempts to show that Fleming's use of the word is predictable according to certain patterns. With only a few exceptions, Fleming retains the concrete meaning of the word. The word, however, becomes a series of motifs. The series of motifs builds a weltanschauung. This philosophy is expressed in Fleming's conception of God, Christ, nature, the cosmos and the loved-one. God is immanent, but He also intervenes directly in human affairs. In recognition of divine intervention, Fleming believes in an animi tranquillitas. Fleming also believes in a unification of the microcosm and macrocosm. There are strong Stoic elements in this Christian philosophy of nature. Although it cannot definitely be proven that Fleming was a believer in Stoicism, certain concepts of death are similar to those of the Stoic philosophers. The philosophy of nature, the cosmos and ever-changing human destiny is expressed throughout the Deutsche Poemata. Fleming's use of Petrarchan elements is isolated, however, to his love poetry. By limiting the use of Petrarchism to the love poetry, Fleming rejects the religious Petrarchism of Sarvievsky and Spee. Some themes are borrowed from the rhetorical structure of the memento mori. But, in contrast to the memento mori, Fleming does not show any strong influence from the Erbauungsliterature. The Roman influence usually does not extend beyond a borrowing of naked motifs. The Latin expression is used to elicit a certain effect but the original context, although understood, is not retained in Fleming’s poem. The original form is given free expression. The thesis also investigates Fleming’s views on the Thirty Years war and its destruction of Germany. The war hero has a significant place in Fleming's concept of Heaven; however, Fleming always expresses a disdain for the tragedy of war, and he seeks peace. Death motifs are integrally connected to Fleming's view of the poet and his creation. The thesis also shows how Fleming's conception of his own death relates to his philosophy of the tranquil acceptance of divine intervention. Several different themes, systems and philosophies are joined together by Fleming into a clearly conceived, if somewhat eclectic weltanschauung. In general, Fleming's use of death motifs is subjective, even though material may be borrowed from traditional sources.

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by Mak Mei Kwan Alisa. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 108-115). / Abstracts in English and Chinese. / Abstract --- p.i / 摘要 --- p.iii / Acknowledgements --- p.v / Chapter Chapter One: --- The Displaced Man --- p.1 / Chapter Chapter Two: --- The Fragmented Self in Xiguan siwang [Getting Used to Dying] --- p.19 / Chapter Chapter Three: --- Death of the Author: An Abandoned Beingin Malone Dies --- p.46 / Chapter Chapter Four: --- Death of Sharing: A Man of Authenticityin The Outsider --- p.67 / Chapter Chapter Five: --- Conclusion: The Helplessness of Life --- p.94 / Works Cited --- p.108 / Works Consulted --- p.115

Orientador: João Luís Cardoso Tápias Ceccantini / Banca: Lia Cupertino Duarte Albino / Banca: Alba Krishna Topan Feldman / Banca: Cleide Antonia Rapucci / Banca: Luciana Brito / Resumo: Este trabalho é resultado de uma pesquisa realizada sobre a obra infantojuvenil de Nilma Gonçalves Lacerda (1948), tendo por objetivos centrais apresentar um panorama geral de sua produção para crianças e jovens e discutir a representação da morte em algumas de suas narrativas. Propõe-se uma reflexão sobre como a perspectiva da morte está associada à ideia de transformação na vida das personagens, investigando as singularidades do projeto estético da escritora, que iniciou sua produção em 1985 e permanece em atividade até hoje. Na tese, procura-se ainda atentar para a questão da abordagem do tema da morte em obras voltadas a um público leitor específico, ainda jovem e em plena formação. As análises concentraram-se sobretudo no seguinte conjunto de narrativas: Manual de Tapeçaria (1985); Dois passos pássaros. E o voo arcanjo (1987); Viver é feito à mão. Viver é risco em vermelho (1989); Um dente de leite, um saco de ossinhos (2004); Bárbara Debaixo da Chuva (2010) e Sortes de Villamor (2010). O primeiro capítulo apresenta uma breve biografia da escritora e sua fortuna crítica, levando-se em conta também dados obtidos em uma entrevista realizada com Nilma Gonçalves Lacerda especialmente para a presente pesquisa. O segundo capítulo realiza uma abordagem panorâmica da literatura infantojuvenil brasileira contemporânea buscando situar a autora histórica e esteticamente nesse subsistema literário, com fundamentação teórica em textos de Antonio Candido, Regina Zilberman, Marisa Lajolo ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The aim of this work is to present the results of a research conducted within the juvenile literature work of Nilma Gonçalves Lacerda (1948). The main objectives are: showing a general view of her production for children and young adults in order to discuss the role of death in her narratives. A reflection upon the perspective of death associated with the idea of transformation in the lives of the characteres is proposed, connected with the investigation of the singularities of the aesthetic project of Lacerda, who has started her production in 1985. This thesis is focused on the approach given to death in the work whose audience is too young and is still growing. The analysis concentrates mainly in this set of narratives: Manual de Tapeçaria (1985); Dois passos pássaros. E o voo arcanjo (1987); Viver é feito à mão. Viver é risco em vermelho (1989); Um dente de leite, um saco de ossinhos (2004); Bárbara Debaixo da Chuva (2010) e Sortes de Villamor (2010). The first chapter presents a brief biografh of Lacerda and her critical fortune; it also takes into acccount pieces of an interview made with Nilma Gonçalves Lacerda for this research. The second chapter has a panoramic view of the Brazilian Contenporary Young Children Literature which focus on the history and aesthetics of this literary segment based on the works of Antonio Candido, Regina Zilberman, Marisa Lajolo, Vera Teixeira de Aguiar, Edmir Perrotti, João Luís Ceccantini and Larissa W..F..Cruvinel. Futhermore, it presents a perspective of the history of the Western Young Children Literature regarding death and the approach given to it. It also takes into consideration the work of Lia ... (Complete abstract click electronic access below) / Doutor

O trabalho ambiciona expor como se efetua a representação da morte na obra de Lev Tolstói. Não há, entretanto, uma análise da totalidade de sua obra, o que seria impossível em face do espaço reservado, mas o exame de uma amostra de três de suas narrativas-cânone a respeito da morte: A Morte de Iván Ilitch, Senhor e Servo e Três Mortes; textos que dialogam entre si. Nesse sentido, a pesquisa também disserta sobre as inter-relações existentes entre a morte e a criação literária, pautando-se em textos de Mikhail Bakhtin e Maurice Blanchot; e aponta os principais acontecimentos de morte na vida de Lev Tolstói, responsáveis por definir sua personalidade dualista e, em um segundo momento, conduzi-lo à conversão, processo narrado no fragmento Uma confissão. / The paper aims to show how the representation of death is done in the work of Lev Tolstoy. There isnt, however, an analysis of all of his work, which would be impossible face to the place settled, but the examination of a sample of three of its canon-narratives related to death: The Death of Ivan Ilyich, Master and Man and Three Deaths; texts that talk to one another. In this sense, the research also talks about the interrelations between literary creation and death, basing on texts by Mikhail Bakhtin and Maurice Blanchot, and highlights the main events of death in the life of Lev Tolstoy, responsible for defining his dualistic personality, and latter on, lead him to conversion, a process exposed in the fragment Confession.