nÃo hà / O presente estudo tem como objetivo a anÃlise da personagem Dido e do tema da viagem nÃutica a partir de duas obras da poesia latina: a Eneida de VirgÃlio e as Heroides de OvÃdio. O mito da rainha de Cartago e seu fim trÃgico como consequÃncia de uma paixÃo desmedida por Eneias à um ponto convergente das duas obras. A personagem Dido, apÃs a morte de seu marido, Siqueu, mantÃm-se fiel a ele, nÃo se entregando a nenhum outro homem. Essa condiÃÃo de viÃva casta muda com a chegada de Eneias a Cartago. O romance de Eneias e Dido, na Eneida, acontece no canto 4 e chega Ãs extremas consequÃncias: a morte de Dido. Dialogando com essa versÃo Ãpica de VirgÃlio, a histÃria de Dido reaparece no seio da elegia: o desespero da rainha âabandonadaâ por Eneias ganha uma nova versÃo na carta 7 da obra Heroides de OvÃdio. O poeta elegÃaco se utiliza dos monÃlogos da fenÃcia, retirados do canto 4 da Eneida (v. 305-330; v. 365-387; v. 534-552 e v. 590-629) para compor a missiva de lamentos. Tanto na Eneida como nas Heroides percebemos que a viagem nÃutica incide diretamente no episÃdio de Dido: a chegada de Eneias a Cartago provoca o encontro amoroso, e a partida do herÃi que segue sua missÃo resulta na separaÃÃo dos amantes. A personagem e a viagem nÃutica sÃo abordadas de formas diferentes nos dois autores, os assuntos sÃo adequados ao gÃnero e ao estilo de cada poema (grauis para a Ãpica; humilis para a elegia amorosa). Investigaremos a apropriaÃÃo feita por VirgÃlio e OvÃdio do tema da viagem nÃutica: o primeiro em favor da Ãpica, sendo essa uma temÃtica essencial do gÃnero elevado; e o segundo em favor da elegia, utilizando a viagem em alto mar tambÃm como uma metÃfora elegÃaca. Examinaremos esse corpus com base na teoria dos gÃneros e na anÃlise da elocuÃÃo dos dois textos, levando em consideraÃÃo o processo alusivo como elemento de construÃÃo do texto ovidiano.

assise sur le toit, une femme médite sur la mort de son père // De tout là-haut, le monde lui apparaît tout petit, la mort toute large. Ce tyran-communiste de père pétri d’idéalisme pour le monde et pétri de colère pour elle, où est-il maintenant? Et ce ciel où son regard se perd, que lui annonce-t-il? Publié en 1999 chez ECW Press, Kaddish For My Father est le dernier recueil de poésie de Liba (Libby) Scheier, une écrivaine canadienne-anglaise aujourd’hui décédée. La traduction de cette œuvre est le projet qui anime cette étude. Généralement récité à l’enterrement d’une personne, le Kaddish est une prière de la liturgie juive glorifiant le nom de Dieu. Sur la deuxième de couverture du recueil de Scheier, on peut lire que l’auteure s’est inspirée de la Kabbale, une tradition mystique juive dont les concepts, les notions et les symboles peuvent s’avérer complexes à saisir, difficiles à déceler dans un texte donné et, c’est l’hypothèse ici, malaisés à traduire. Cette étude comporte deux volets. Dans un premier temps, un volet théorique vise à offrir une mise en contexte de l’œuvre et de la démarche littéraire de Libby Scheier. Partant de l’expérience de cette traduction, l’étude examine ensuite quelques voix théoriques (dont celles de Merleau-Ponty, Meschonnic, Berman et Folkart) m’ayant permis de déterminer ma position traductive, pour se conclure sur une description des défis de traduction spécifiquement liés à la Kabbale. La traduction que je soumets en annexe constitue le deuxième volet de ce projet.-----sitting on a roof, a woman meditates on the death of her father From above, the world appears small to her, and death large. This bully-Communist father so full of idealism for the world, so full of anger at her, where is he now? And this sky filling her eyes, what does it portend? Published in 1999 by ECW Press, Kaddish For My Father is the last poetry collection written by the late Anglo-Canadian writer Liba (Libby) Scheier. The translation of this work is the project at the heart of this study. Generally recited at the burial of a person, the Kaddish is a prayer from the Jewish liturgy glorifying the name of God. On the inside front cover of Kaddish for my father, one learns that the author was inspired by the Kabbalah, a Jewish mystical tradition presenting a complex array of notions, concepts and symbols that can be hard to grasp, difficult to identify within a text and, as the hypothesis stands here, challenging to translate. There are two components to this study. Firstly, a theoretical component aims at presenting the context in which this work came to be and offers a perspective on Scheier’s literary approach. Springing from the experience of this translation, this study then examines the different theoretical voices (among them Merleau-Ponty, Meschonnic, Berman and Folkart) that helped me determine my position traductive (translation approach). I conclude with a description of the challenges, specific to the Kabbalah, that arose at the translation stage. The translation that I offer in the appendix constitutes the second component of this project.

This thesis uses four works by the contemporary Canadian poet Anne Carson (born 1950) to argue that it is in the embracing of failure and difficulty that modern poetics may negotiate formal erosion and the limits of language. The introduction addresses Carson’s divisive reputation, and uses two separate criticisms of her poetic skill to delineate her liminal position in the modern poetic landscape, and therefore demonstrate her potential as a valuable framework for discussing innovative form. Via an examination of the criticisms of Robert Potts and David Solway, I argue that Carson is neither high priestess of postmodernism nor a collagist of poorly produced forms. This illuminates two points: one, that she occupies a space outside several modern ideologies of poetic authenticity, expression and form, and two, that this position can be effectively used to interrogate those ideologies and investigate new possibilities for poetic creativity. In Chapter 1, Nox, Carson’s elegy for her brother Michael, is argued to experiment with traditional elegy form – but not in a mode that wholly follows Jahan Ramazani’s famous framing of 20th century elegy form as traumatically fractured. Nox is shown not to be merely subversive, but also interrogative of its own formal tradition, embracing the inherent contradiction within elegy: that absence could be rendered as presence, that a living, flawed language could make the dead speak. From this contradiction, I argue, Nox creates a solution: it occupies a position of formal non-forming, a return to the state of poesis, refusing to emerge as a completed poem or retreat into fragmentation but instead occupying a liminal space of continual creation. In the second chapter, this preoccupation with elegy’s paradox is shown to be part of a greater theme within Carson’s work. The failures of language in Carson are elucidated with reference to the sceptical 19th-century theorist Fritz Mauthner. Mauthner is argued to be the best theorist for the thesis’s framework because of his belief in the possibilities of language’s resurrection as a valid communicative medium. Through three texts, “By Chance The Cycladic People”, The Glass Essay and Just For The Thrill, Carson’s interrogation of this hope is shown to produce creativity from difficulty, creating monstrous form-combinations to render the silence beyond language’s limits as poetically productive. Carson’s texts, in their struggle with failure and their obsessive doubt, can be used to construct several means of negotiating the limits of form and the inherent fallibility of language. The conflict between the drive for authentic expression and the perceived failure of expressive mediums is one of the defining features of both Carson’s work and modern poetry in general. However, it is by inhabiting and challenging the fraught areas at the edge of meaning that poetry of the 21st century can, in the words of Carson’s influence Samuel Beckett, try again, fail again, fail better. Synopsis: The Traitor’s Symphony is an experimental novel in three voices, set in an unspecified totalitarian state known only as the Regime at some point in the twentieth century. It follows the career of David, a young composer who rises from tortured outcast to celebrated Regime talent through scheming, moral ambiguity, and a deal with the Professor, a translator and populist radio pundit. David trades the sexual attentions of Dion, a beautiful but brain-damaged boy, for the Professor’s help in rising through the ranks of the Regime’s musical system. The voices of the Professor and his doctor wife Anne, who have just lost their newborn son, alternate with David’s as the bargain binds them together in disaster. The narrative is inspired by the lives of collaborationist composers in various 20th century states, including Dmitri Shostakovich and Carl Orff, but is not focussed on any one figure. Instead, it takes various elements of their experience - the state apparatus of approval, the minute observation of ‘doctrine’ in musical content, and the humiliation and blacklisting of composers who did not produce acceptable content - as the starting point for a narrative exploring the complex relationship between art, artists and the modern totalitarian state. Research in this area was shaped by Alex Ross’s The Rest Is Noise: listening to the twentieth century (New York: Farrar, Straus and Giroux, 2007) and the work of Michael Kater, most notably Composers of the Nazi era: eight portraits (New York: Oxford University Press, 2000), and supplemented by archival work in the Stasimuseum and Bundesbeauftragten in Berlin. More broadly, the novel focusses on the difficulties of grief, love and survival in totalitarian environments. Its setting, the Regime, was created by combining elements of daily life under the Stalinist Terror, The Democratic Republic Of North Korea, and Nazi and Stasi Germany, drawing on sources including Anna Akhmatova’s poetry and Chol-Hwan Kang’s The Aquariums Of Pyongyang (New York: Basic Books, 2001). The Regime’s embedded paranoia, hyper-vigilance, rigorous propaganda, regulated femininity, cult-like leader worship and brutal reprisal for non-conforming citizens are constructed from these historical precedents. Each of the three voices is stylised as a poetic form, as a method of expressing the repression of the individual and the culture of fear in the Regime’s system. This formal dimension draws on modernist literature in its use of language as expression of identity, but also on Wittgensteinian doubt that true communication could ever exist between such personal webs of meaning. Both David and Anne must actively suppress their private pain, he the agony of torture and burden of being labelled a traitor, she the disorienting grief of her son’s death and the loss of her husband’s love. Their inner emotional states are reflected in the forms of their vocals: David’s fractured voice, with its distressed percussive rhythm, is the voice of a musician physically and mentally smashed, while Anne’s blank, frantic segments express the dislocation of her foreignness and the gulf that grief has created in her marriage. The Professor, in contrast, begins the novel in supreme command of language, with brief breaks into sensual chaos as the only manifestation of his hidden mourning. The vocal shifts reflect and form the narrative progression.

After being "work in progress" for nearly 23 years, Gunnar Ekelӧf’s long; "Waste Land" poem or quotation-mosaic A Mӧlna Elegy appeared in 1960. For the purposes of this study I have had access to the original manuscripts, notebooks and letters of Gunnar Ekelӧf. Part I As is also the case with T. S. Eliot's: The Waste Land, the critical appraisal of Gunnar Ekelӧf's open-form poem A Mӧlna Elegy has been marked by the dominance of a holistic approach to literature; the work has accordingly been described! either as chaotic and structureless and seen as reflecting Ekelӧf's evolving, contradictory views of art during the long period of genesis or the attempt has been made to reconcile the: chaotic impression which the poem makes with the traditional criterion of "textual, unity" by recourse to: the notion of musical structure or to the idea of the lyrical "I" as focal point and unifying principle. The first part of this: study has been devoted to: an examination of those extrinsic elements in Ekelӧf's world view and aesthetics which motivated his use of the open structure in A Mӧlna. Elegy: his aesthetics of the indistinct and interest in the: active reader role his aesthetics of the incomplete. Works by Egbert Faas, Umberto Eco and Fritjof Capra have provided the conceptual framework for the notion of the open-form, i.e. of Western art forms which make use of trains of thought common to Eastern mysticism and modern physics and to which the traditional notion of "organic unity" is not germane. Part II The second half of this study concerns itself with an exploration of the question of the supposed influence of T. S. Eliot on Gunnar Ekelӧf, the subject of considerable debate among Swedish critics; the centre of interest has been the possible influence of Eliot's Four Quartets on Ekelӧf's collection Ferry Song (1941) and, more importantly, the possible influence of The Waste Land on A Mӧlna Elegy. Several aspects of the Eliot-Ekelӧf interference hypothesis have been examined: the history of Eliot's supposed influence on Ekelӧf in critical circles; Ekelӧf's reception of Eliot-Ekelӧf’s attitude towards the concept of "influence"; his views on the question of his supposed dependency on Eliot; textual similarities in Ekelӧf's work which could conceivably be put forward in support of the Eliot-Ekelӧf influence hypothesis. / Arts, Faculty of / English, Department of / Graduate

L’histoire des genres et des idées littéraires, la sémiotique, la stylistique, la métrique et la littérature en général sont au cœur de notre recherche. Aussi, avons-nous appliqué les théories de l’intertextualité en étudiant les élégies de Tibulle et de Properce, afin de mettre en évidence les processus différenciés qui permettent de maintenir une continuité, et qui font la richesse du genre élégiaque érotique romain. Elles ont mis en évidence les principes d'intertexte et d'allusion, voire de métapoésie, autant que de genre et de généricité, en une hybridité d'écriture très conforme avec une esthétique augustéenne de l'hétérogène. Le résultat en est une réécriture, certes en reconnaissance acquise (fût-elle « allusive » et « réflexive »), mais riche d'auctorialité, pour de nouveaux pactes d'écriture et de lecture, laissant place à un « fait littéraire proprement latin », dans une perspective de recherche tout à la fois diachronique, littéraire, (intertextualité, genre et généricité) et idéologique. / The history of literary genders and ideas, the semiology, the style, the metric and the literature in general are in the very centre of our research, but the greatest interest of this work lies in making apparent the evidence of continuity according to the different processes that enrich the Latin love elegy genders. Furthermore, it is noted that the principals of intertext and allusion, and hence of the metapoetry, along with the genders and genericity, appear in a hybrid writing manner very appropriate with the Augustan aesthetics of heterogeneity. As a result it is shown that the Latin love elegy is a rewriting which is based on already acquired knowledge, rich in auctorial, for new pacts of writing and lecture, therefore leaving space for a “proper Latin literary fact”. The perspective of this research is diachronic, literary (intertextuality, gender, genericity) and, at the same time, ideological.

No final do século I a.C., a Elegia Erótica Romana desafiou os gregos e as convenções poéticas apresentando um poeta-amante que cantava suas aventuras amorosas em primeira pessoa. Como se isso não bastasse, esse eu-elegíaco se dedicava à puella como se tal tarefa fosse uma militia, um seruitium amoris, e que exigia tempo integral. Galo, Propércio e Tibulo nos apresentaram suas dominas e se negaram a servir à pátria. Ovídio foi além: seguiu seus predecessores mas fez com que seus leitores aprendessem a entender o papel de cada uma das normas na construção desse gênero. Escreveu seu primeiro livro, Amores, e , a partir daí, começou a traçar um caminho ascendente: queria sua Elegia elevada, não apenas média. Para isso, produziu recusationes, elegias programáticas e, o mais importante, confluiu gêneros. Fez uso da Epistolografia, da Retórica, da Didática e de personas e exempla míticos para compor Heroides, Ars amatoria e Remedia amoris. Nesta dissertação, mostra-se a trajetória do poeta na elevação da Elegia Erótica de Ovídio. / At the end of the 1st. century b.C., Latin Erotic Elegy challenged Greeks and poetic conventions when portrayed a man, poet and lover, talking, in the first person, about his adventures: he also dedicated himself to a puella as if it were a militia, his seruitium amoris, which was a full-time job. Gallus, Propertius and Tibullus introduced us to their dominas and did not (want to) serve their nation. Ovid did more than that: he followed his predecessors but made his readers learn the role of each of the principles of the genre. He wrote his first book, Amores, and, from then on, delineated an ascendant path: he wanted his Elegy to be high, not only something that depicted an average subject. In order to achieve it, he composed recusationes, programmatic elegies and, most important of all, he converged genres: he was able to use Epistolography, Rhetoric, Didactic and mythological personas and exempla to write Heroides, Ars amatoria and Remedia amoris. In this dissertation, we show his trajectory in the elevation of Ovids Erotic Elegy.

The poems in this collection are elegiac; celebrations of losses and failures, tributes to the daily doldrums that are at the center of human experience. They threaten to expose the uncertainty that exists and refuses to exist in our everyday lives. They explore the otherness associated with the individual and often turn to the universal formulas of music and physics to make order of the world around them. Often times the Speaker finds that the seeming chaos manifests within her already orderly life, the daily routines of work and family. Poetic magic, so to speak, weds this ordered chaos to the laws of nature and its routines, especially birds, which makes a recurrent appearance throughout the manuscript.

<p>  </p> <p>This thesis is a book length collection of poetry. Divided into four sections, the book explores longing, distance, and often reckons with absence, as the poems attempt to overcome absence to achieve connection. Each of the first three sections seek to reach connection in their own distinct ways: the first through engaging the natural world, the second through exploring universal challenges of the human condition, and the third through place and location. The fourth and final section displays connections achieved or reimagines absence as something that can take on a presence through language and art. Many poems throughout the book stem from personal experience, longing for a lover or reimagining childhood experiences. Other poems step outside of the self to explore historical figures, events, or places. Many poems blend personal experiences with historical or scientific research to arrive somewhere new. The poems range from narrative to lyric and often engage modes such as elegy, reverie, meditation, and ars poetica. The poems possess a strong attention to sound and line and often utilize horizontal whitespace to physically manifest absence or motion on the page. In <em>Smallest Excavations</em>, the poet can be thought of as a collector—of snippets of memories, factoids, places, people, and natural wonders. What is collected is changed by the speaker’s poetic rendering, just as what is collected changes and molds the speaker’s identity.</p>

In the wake of the industrialization, urbanization, and global conflicts of the late nineteenth and early twentieth centuries, Europe was forced to call into question its Enlightenment faith. In particular, Bildung—as the cultural education of the individual that emerged out of the Enlightenment—lost its footing amidst experience’s new texture of trauma. This thesis will examine Rilke’s Duineser Elegien, Proust’s Du côté de chez Swann, and Michaux’s Misérable miracle as each work pertains to and reconceives of the intertwining of Bildung and elegy, as a literary form both underpinned by and unconvinced of Bildung. For them, I will argue, elegy served as a potential form for re-writing historical indifference and for preparing, through limit-experience and loss, linguistic antidotes for the elision of difference produced in history’s wake.

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