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Englische religiöse Lyrik des 17. Jahrhunderts Studien zu Donne, Herbert, Crashaw, Vaughan.Esch, Arno, January 1955 (has links)
Habilitationsschrift-Bonn. / Includes bibliographical references.
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"This subtle knot" : the metaphysical conceit in John Donne's prose and poetryGuy, Isabelle 27 April 2018 (has links)
Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2007-2008. / The present thesis seeks to define the role played by the Metaphysical conceit in the formulation of John Donne's vision of a unified cosmos. The conceit is here regarded as an element of style that probes into the nature of relationships, as well as a unifying element in Donne's works that enables him to translate into verse the intangible ties that bind a man to other human beings and to the Divine so as to render an abstract reality more apprehensible to the mind. To him, the individual self is indeed defined almost exclusively in terms of the manner in which it relates to other human beings, to the divine, or to the political and religious institutions that regulate his society. In most of the works scrutinized in the present thesis, Donne is in fact concerned with the representation of an ideal of communion that involves the dissolution of the individual self into a greater whole. In the works analyzed in the present thesis, Donne almost invariably formulates this ideal in terms of the relationship that unites body and soul in an individual, which he conceives as a reflection of the way in which the material and the spiritual interact in the universe. In his exploration of the ties that bind human beings together and to the Divine, the Metaphysical conceit is vital to the expression of his ideal of interrelatedness. This thesis therefore focuses on the way in which the conceit, as a literary device that compares relationships, reinforces his vision of a unified cosmos. / Ce mémoire a pour but d'explorer l'utilisation que le poète anglais John Donne fait d'une figure de style appelée « Metaphysical conceit » dans sa description des relations entre individus ainsi qu'entre l'homme et le divin. L'intention de ce mémoire est de faire émerger le caractère unificateur de la «Metaphysical conceit» dans l'œuvre de Donne. En effet, cette figure de style permet à cet auteur de traduire en langage poétique les liens intangibles qui unissent les êtres humains les uns aux autres ainsi qu'à Dieu dans le but précis de rendre plus tangible une réalité abstraite. Pour Donne, l'être humain se définit presque exclusivement à travers les rapports qui l'unissent à ses semblables, à Dieu, ou aux institutions politiques et religieuses qui gouvernent la société au sein de laquelle il évolue. Dans la plupart des oeuvres analysés dans ce mémoire, Donne tente d'exprimer sa vision d'un idéal qui implique la dissolution de l'être dans un tout beaucoup plus vaste. Il illustre cet idéal à travers la formulation d'une image, celle de la relation qui unit le corps à l'âme chez l'homme, qui reflète en soi l'interaction qui allie le matériel au divin dans l'univers. L'étude des œuvres de prose et de poésie de Donne révèle le rôle prépondérant joué par la « Metaphysical conceit » dans la formulation de son idéal de communion. Par conséquent, l'objet de ce mémoire est l'étude de la manière dont la « Metaphysical conceit » renforce la vision qu'avait Donne de l'univers comme d'un tout uni.
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Christ in Speaking Picture: Representational Anxiety in Early Modern English PoetryIrvine, Judith A 12 August 2014 (has links)
This dissertation explores the influence of Reformation representational anxiety on early seventeenth-century poetic depictions of Christ. I study the poetic shift from physical to metaphorical portrayals of Christ that occurred after the English Reformation infused religious symbols and visual images with transgressive power. Contextualizing the juncture between visual and verbal representation, I examine the poetry alongside historical artifacts including paternosters, a painted glass window, an emblem, sermons, and the account of a state trial in order to trace signs of sensory “loss” in the verse of John Donne, George Herbert, Aemilia Lanyer, and John Milton.
The introduction provides a historical and poetic overview of sixteenth-century influences on religious verse. The first chapter contrasts Donne’s sermons—which vividly describe Christ—with his poems, in which Christ’s face is often obscured or avoided. In the chapter on George Herbert's The Temple, I show how Herbert’s initial, physical portraits of Christ increasingly give way to metaphorical images as the book progresses, paralleling the Reformation’s internalization of images. The third chapter shows that Aemilia Lanyer’s Salve Deus Rex Judaeorum makes use of pastoral conventions to fashion Christ as a shepherd-spouse, the divine object of desire. In the final chapter I argue that three poems from John Milton’s 1645 volume can be read as containing signs of Milton’s emerging Arianism.
Depictions of Christ in the poetry of Donne, Herbert, Lanyer, and Milton reveal the period’s contestation over images; the sensory strain of these metaphorical representations results in memorable, vivid verse.
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'And I am re-begot' : the textual afterlives of John DonneRundell, Katherine January 2016 (has links)
This thesis is a cultural history of the textual afterlives and poetic appropriations of John Donne's verse. I use print and manuscript miscellanies, hitherto unstudied commonplace books, letters, diaries and seventeenth and eighteenth century criticism to ask, who was reading Donne and in what physical forms? By looking at allusive strategies and reading practices of the time, I demonstrate how many different Donnes can be identified when we strip away modern notions of what 'Donne' is and seek multiple afterlives. I nuance the idea of Donne as a determinedly coterie poet, suggesting his print presence might have looked to his early audience like a strategic writer who had not, despite Izaak Walton's narrative, closed off the possibility of public authorship. I find there was a period of radical re-appropriation and re-reading of Donne in the seventeenth and eighteenth century: Donne was as a guiding influence to canonical poets. Rochester is perhaps the poet whose voice most vividly recalls Donne's swaggering persona and intricately-constructed rendering of apparent spontaneity. Katherine Philips's verse makes sophisticated use of Donne's voice in her intimate quasi-erotic verse; I contrast this with the voice of her poems written for state occasions to show how Donne becomes a resource for self-revelation. Dryden offers a sustained critical vision of Donne: although, as the primary mercenary proponent of mass popular literature, he may seem initially wholly unDonnean, I show how his verse both explicitly and obliquely negotiates with Donne's wit and form. I end by looking at the problematic offered by the negotiates with Donne's wit and form. I end by looking at the problematic offered by the dual critique and celebration in Pope's versification of Donne's Satyres, and at the Dunciad, to see where the limits of allusion come up against Pope's cacophonous multiplicity of voices. These four poets take different threads from Donne's canon to different ends and, in so doing, create different Donnes.
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A dança das Aiabás: dança, corpo e cotidiano das mulheres de candomblé. / La Danza delle AIABAS, corpo, danza e quotidiano delle donne di candomblé.Barbara, Rosamaria 08 May 2002 (has links)
Este trabalho trata do complexo processo ritual do candomblé, que é individual e coletivo. Através do processo que leva o fiel a se aproximar ao candomblé, o indivíduo é conduzido a viver intensamente no próprio corpo a experiência religiosa que o levará à transformação do sofrimento e da dor até um novo renascimento na força e na alegria de viver. O processo é corporal, é o corpo que sente e que conhece por meio da ampliação das percepções sensoriais. O fiel é levado assim a ter confiança nas suas sensações porque trata-se de um outro tipo de conhecimento, um conhecimento corporal, fundamentado no corpo e na valorização da própria experiência de vida. Esse processo levará à iniciação e à possibilidade de dançar no rito público do candomblé. A dança, que é dança de transe, adquire um duplo papel: de um lado dá-se a demonstração da experiência mística do fiel na transformação interior, do outro, por meio dos passos das coreografias, conta a história mítica e revela a visão de mundo do grupo. A pesquisa foi desenvolvida com uma metodologia fenomenológica e realizada em um dos terreiros mais antigos de Salvador, no qual por tradição a chefia sacerdotal é transmitida por via feminina. / La presente tesi si occupa della fenomenologia del corpo nelle religioni di possessione, in particolare il candomblé. L'esperienza del corpo viene educata durante il periodo di iniziazione e avrà come sbocco le danze rituali che sono la manifestazione degli dei. Inoltre La transe è proposta come una altro modo di conoscere il mondo. Un conoscere che permette un'altra canalizzazione della propria vita. Alla base l'esperienza e la storia delle donne di candomblé che hanno superato momenti di sofferenza e dolore mediante l'entrata nel candomblé.
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Subjetividades submissas: discursos acerca da sexualidade da mulher idosa / Subjectivités soumis: discours sur la sexaulité de la femme âgéeGomes, Elcha Britto Oliveira 02 September 2015 (has links)
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Previous issue date: 2015-09-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Questo lavoro si propone di segnalare alcuni imperativi sociali attribuiti alla donna anziana che è discriminata due volte, per l’età e per il genere. Si propone una riflessione sul concetto manicheista applicato alla donna anziana. Condannate al soggiogamento intellettuale, agli stereotipi e all'eterna lotta per la parità dei diritti, le donne anche in età avanzata devono affrontare ulteriori pregiudizi. Per gli stereotipi determinanti, è etichettata come vecchia e brutta, strega e di quant’altro sorge nel repertorio volgare del linguaggio popolare , e per questo la donna è attingita nella sua soggettività. Questo lavoro pretende spiegare come si strutturano i rapporti di potere e di come sono organizzate le forme di resistenza ad essi. Si questiona attraverso l'analisi di estratti di messaggi di posta elettronica di un sito destinato agli anziani, quali sono i discorsi e le forze di oppressione e di impulsione della loro sessualità. Si arriva così alla conclusione che i discorsi sono eterogenei, e nonostante non si enfatizzi la femminilità, non sono necessariamente negativi, ed in particolare filtrati per le caratteristiche del sito. / Esse trabalho tem por objetivo relatar alguns imperativos imputados a mulher idosa, que sofre preconceito duas vezes: pela idade e pelo gênero. Propõe uma reflexão sobre o conceito maniqueísta aplicado a mulher idosa. Fadada a subjugação moral e intelectual, aos estereótipos e a eterna luta por direitos iguais, a mulher mesmo em idade avançada enfrenta mais preconceito. Dos estereótipos determinantes, é taxada de velha feia, de bruxa e do que mais surgir no falatório popular, por isso, essa mulher tem sua subjetividade atingida. Tem a pretensão de explicar como se estruturam as relações de poder e como se organizam as formas de resistência às mesmas. Questiona através da analise de discurso dos trechos de postagens de um site direcionado aos idosos quais as falas e forças de opressão e de impulsão dessa sexualidade. Conclui-se que os discursos são heterogêneas, não necessariamente negativas, e, em particular, filtradas pelas características do site.
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An Examination of the Solo and Duet Vocal Repertoire of Kenneth MahyThomas, Eric Sanders 06 May 2008 (has links)
This doctoral essay examines the vocal solo and duet repertoire of Kenneth Mahy, an American composer of art song and choral music in the late twentieth and early twenty-first centuries. By examining his songs, assessing their difficulty, and analyzing their texts, this essay establishes that Kenneth Mahy is a composer worthy of note. In addition, this study provides pedagogical observations and performance notes of his songs. Furthermore, this essay provides biographical information about Mahy, and examines how his training, education, military experience, and unique experiences as the son of missionaries in China and the Philippines, among other influences, have affected and shaped his compositions. Resources include source material gathered from Mahy's personal archives, manuscripts and scores, and personal interviews with Mahy. This information provides comprehensive insight into a unique and deserving composer of modern American art song.
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"All Mankind is of One Author, and is One Volume" : An examination of commitment and abandonment in Ernest Hemingway's For Whom the Bell TollsLööf Larsson, Jacob January 2013 (has links)
This essay examines commitment and abandonment structured as two binary opposites informing For Whom the Bell Tolls. The intention behind this structuring is to highlight Hemingway’s message of the novel, set forth by the epigraph by Donne; everyone is part of mankind and every death diminishes everyone equally. The consistent structuring of characters can be seen by the fact that everyone who is committed, loyal and honest is punished while the reverse is true for people who abandon, desert and betray. The one exception to this is Pilar who, because of the role as a liberated woman given to her by Hemingway, is not included in this general categorization.
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Affect before Spinoza: Reformed Faith, Affectus, and Experience in Jean Calvin, John Donne, John Milton and Baruch SpinozaLeo, Russell Joseph January 2009 (has links)
<p>Affects are not reducible to feelings or emotions. On the contrary, Affect Before </p><p>Spinoza investigates the extent to which affects exceed, reconfigure and reorganize </p><p>bodies and subjects. Affects are constitutive of and integral to dynamic economies of </p><p>activity and passivity. This dissertation traces the origins and histories of this definition </p><p>of affect, from the Latin affectus, discovering emergent affective approaches to faith, </p><p>devotional poetry and philosophy in early modernity. For early modern believers across </p><p>confessions, faith was neither reducible to a dry intellectual concern nor to a personal, </p><p>emotional appeal to God. Instead, faith was a transformative relation between humans </p><p>and God, realized in affective terms that, in turn, reconfigured theories of human agency </p><p>and activity. Beginning with John Calvin and continuing through the work of John </p><p>Donne, John Milton, and Baruch Spinoza, Affect Before Spinoza posits affectus as a basis </p><p>of faith in an emergent Reformed tradition as well as a term that informs disparate </p><p>developments in poetry and philosophy beyond Reformed Orthodoxy. Calvin's </p><p>configuration of affect turns existing languages of the passions and of rhetorical motives </p><p>towards an understanding of faith and certainty. In this sense, Calvin, Donne, Spinoza </p><p>and Milton use affectus to pose questions of agency, will, tendency, inclination, and </p><p>determinism.</p> / Dissertation
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John Donnes poetiska teknik : - två små nedslag -Sirelius, Julia January 2007 (has links)
No description available.
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