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91	Sur un cinéma élégiaque : de la preuve à la plainte : le deuil, l'archive, la photographie Barada, Nina 12 1900 (has links) No description available. Élégie Deuil Mélancolie Plainte Preuve Cinéma Photographie Archives Histoire Mémoire Elegy Mourning Melancholia Protest Proof Cinema Photography Archives History Memory
92	"I am not concerned with poetry. My subject is war" : Écrire la Première Guerre mondiale : les enjeux du poème face aux circonstances / "I am not interested in poetry. My subject is war" : Challenging circumstances : writing the First World War poem Montin, Sarah 07 November 2015 (has links) Le premier conflit mondial qui met fin à l’après-midi doré de l’époque édouardienne signe l’entrée du Royaume-Uni dans le XXe siècle politique et esthétique. La place unique qu’occupe la Grande Guerre dans l’imaginaire collectif britannique participe de l’engouement populaire que suscite encore aujourd’hui la war poetry, devenue un véritable « lieu de mémoire » textuel. Son importance dans le paysage culturel britannique paraît dès lors démesurée par rapport à la place qu’elle occupe dans le canon poétique du XXe siècle. À la fois conservatrice et innovante, respectueuse des formes mais sujette à l’expérimentation, l’œuvre des war poets, souvent confondue avec celle des Georgian poets, se range du côté des modernes plutôt que des modernistes. Poésie de circonstance définie par le moment et le lieu d’écriture, elle est jugée à l’aune de la problématique moderne de l’œuvre « impure », poésie tournée vers la révélation de l’événement plutôt que vers l’acte de création. C’est cette tension entre l’appel du monde et l’appel du texte qui fonde la définition générique, esthétique et éthique de la war poetry. Son intérêt critique réside dans sa double finalité, son hybridité tonale, générique et formelle, sa nature composite et polymorphe qui l’inscrivent de plain-pied dans le registre de la dissonance, propre à la poésie moderne. / By putting an end to the golden Edwardian afternoon, the First World War propelled Britain into the political and aesthetic twentieth century. Owing to the unique place occupied by the Great War in the collective British mind, war poetry represents today a highly popular textual “realm of memory”. However, its relevance in Britain’s cultural landscape does not correspond to its status within the poetic canon of the twentieth century. Both conservative and innovative, intent on codified forms yet experimental in nature, often confused with Georgian Poetry, war poetry leans towards the modern rather than the modernist definition of poetry. As a form of occasional writing, determined by the place and time from which it sprung, war poetry is judged according to the modern standards of “impure poetry”, more focused on the revelation of the event than on the act of creation itself. It is the contradictory claims of world and text that found the generic, aesthetic and ethical definition of war poetry. Its critical interest resides in its dual purpose, its tonal, generic and formal hybridity, its complex and changing nature, which firmly inscribe it within the modern poetics. War poetry Poésie de circonstance Sujet lyrique Poésie biographique Histoire culturelle Première Guerre Mondiale Trauma Élégie War poetry Occasional poetry Lyrical subject Biographical poetry Cultural history First World War Trauma Elegy
93	"Hell Hath No Fury: <i>Furor</i> and Elegiac Conventions in Vergil's Depiction of Female Characters in the <i>Aeneid</i>." Herndon, Lindsay S. 08 February 2022 (has links) No description available. Classical Studies Latin elegy Latin epic elegiac conventions genres in Latin females in Latin Literature females in the Aeneid intertextuality optimist pessimist the Aeneid Dido Juno in the Aeneid furor virtus pietas Roman masculinity Roman male identity
94	"Mexican Goodbye" Hernandez, Xaviera 05 1900 (has links) Mexican Goodbye is a collection of poetry that interrogates the dichotomy of a family fractured in conjunction with a speaker's coming of age. The collection reckons with divorce and the subsequent dissolution of the speaker's Mexican American family. Individual poems deal with sisterhood, daughterhood, Chicanismo, grief, the intergenerational impact of the immigrant experience, and inherited trauma. The titular poem illustrates the typical Mexican goodbye, a Latine despedida which can last hours, extended by continued chisme and prolonged conversation. It is this cultural phenomenon that the collection endeavors to encapsulate by lingering in narrative, listing childhood experiences, and allowing the speaker to yearn to return and remain in the past. Ultimately, the speaker desires to linger in the farewell. poetry sisterhood daughterhood childhood adulthood immigrant experience divorce Mexican American Chicane Latine Tejana grief coming of age elegy generational trauma family queerness otherness Mexican goodbye citizenship undocumented immigrant Mexican-American border bilingual bicultural binational code-switching Spanish language southern Texan poetics
95	Romantic posthumous life writing : inter-stitching genres and forms of mourning and commemoration Chiou, Tim Yi-Chang January 2012 (has links) Contemporary scholarship has seen increasing interest in the study of elegy. The present work attempts to elevate and expand discussions of death and survival beyond the ambit of elegy to a more genre-inclusive and ethically sensitive survey of Romantic posthumous life writings. Combining an ethic of remembrance founded on mutual fulfilment and reciprocal care with the Romantic tendency to hybridise different genres of mourning and commemoration, the study re- conceives 'posthumous life' as the 'inexhaustible' product of endless collaboration between the dead, the dying and the living. This thesis looks to the philosophical meditations of Francis Bacon, John Locke and Emmanuel Levinas for an ethical framework of human protection, fulfilment and preservation. In an effort to locate the origin of posthumous life writing, the first chapter examines the philosophical context in which different genres and media of commemoration emerged in the eighteenth century. Accordingly, it will commence with a survey of Enlightenment attitudes toward posthumous sympathy and the threat of death. The second part of the chapter turns to the tangled histories of epitaph, biography, portraiture, sepulchre and elegy in the writings of Samuel Johnson, Henry Kett, Vicesimus Knox, William Godwin and William Wordsworth. The Romantic culture of mourning and commemoration inherits the intellectual and generic legacies of the Enlightenment. Hence, Chapter Two will try to uncover the complex generic and formal crossovers between epitaph, extempore, effusion, elegy and biography in Wordsworth's 'Extempore Effusion upon the Death of James Hogg' (1835-7) and his 'Epitaph' (1835-7) for Charles Lamb. However, the chapter also recognises the ethical repercussions of Wordsworth's inadequate, even mortifying, treatment of a fellow woman writer in his otherwise successful expression of ethical remembrance. To address the problem of gender in Romantic memorialisation, Chapter Three will take a close look at Letitia Elizabeth Landon' s reply to Wordsworth's incompetent defence of Felicia Hemans. Mediating the ambitions and anxieties of her subject, as well as her public image and private pain, 'Felicia Hemans' (1838) is an audacious composite of autograph, epitaph, elegy, corrective biography and visual portraiture. The two closing chapters respond to Thomas Carlyle's outspoken confidence in 'Portraits and Letters' as indispensable aids to biographies. Chapter Four identifies a tentative connection between the aesthetic of visual portraiture and the ethic of life writing. To demonstrate the convergence of both artistic and humane principles, this cross-media analysis will first evaluate Sir Joshua Reynolds's memoirs of his deceased friends. Then, it will compare Wordsworth's and Hemans's verse reflections on the commemorative power and limitation of iconography. The last chapter assesses the role of private correspondence in the continuation of familiar relation and reciprocal support. Landon's dramatic enactment of a 'feminine Robinson Crusoe' in her letters from Africa urges the unbroken offering of service and remembrance to a fallen friend through posthumous correspondence. The concluding section will consider the ethical implications for the belated memorials and services furnished by friends and colleagues in the wake of her death. 808.8035
96	La diction des chants parénétiques : de Kallinos à Tyrtée [édition, traduction, interprétation] / The diction of the parenetic songs : from Kallinus to Tyrtaeus [edition, translation, interpretation] Année, Magali 15 November 2014 (has links) La singularité et la fonction holoparénétique particulièrement efficace des fragments de Tyrtée et de Kallinos, trop longtemps négligées par une tradition philologique étroitement homérocentrée, imposaient d’elles-mêmes que l’on revienne sur le texte de ces deux poètes-savants du VIIe siècle a. C. et, pour ce faire, que l’on s’en tienne à la lettre des manuscrits sans d’entrée de jeu s’en offusquer, et que l’on étudie pour elle-même, en ses profondeurs linguistiques, la diction qui fut la leur et qui pour la première fois, concomitamment à Archiloque, usa du mètre élégiaque. Or, outre que le fonctionnement dialectal et rythmique de leurs fragments se révèle plus fluctuant qu’il n’y paraît, leur organisation intrinsèquement « stanzaïque » reposant sur des systèmes d’échos plus phoniques que lexicaux, ainsi que l’usage répétitif de la forme rythmiquement marquée des participes moyens-passifs en -me/noj/-(o/)menoj, sont deux traits qui nous fondent à penser que c’est un « rythme sonore », ou plus précisément « phonico-pragmatique », qui devait en être le moteur. Aussi est-ce pourquoi, puisqu’on reconnaît de plus en plus unanimement au Cratyle (dialogue éminemment poiétique de Platon) un savoir linguistique aussi fiable que véritable, j’ai cherché à travers lui une méthode qui permette d’appréhender un tel état de langue. Le parcours herméneutico-philologique qui en découle, mené à l’intérieur d’un système de correspondances phonico-syllabiques centré sur le radical du verbe me/nw « rester, tenir bon », permet de se frayer un chemin dans la dimension intra- et infra-linguistique de la diction parénétique de Tyrtée et de Kallinos afin de mieux comprendre les raisons et la nature d’une efficacité qui hérite à l’évidence de traditions non narratives. / The singularity and the most effective holoparenetic function of Tyrtaeus’ and Kallinos’ fragments, too long neglected by a philological tradition narrowly focussed on the homeric model, imposed themselves for a return to the text of these two wise-poets of the VIIth century B. C. and, to do this, required that we stick to the letter of the manuscripts without first take offense, and that we study for itself, in its depths language, the diction which was theirs and that for the first time, concomitantly with Archilochus, used the elegiac meter. Now, apart from their being dialectically and rhythmically more fluctuating than it looks, their organization inherently “stanzaic”, based on echoes which are more phonic than lexical, as well as the repeated use of the rhythmically marked form of the medio-passive participles in -me/noj/-(o/)menoj, are two features that underpin us to believe that it is a "sound " or more precisely "phonico-pragmatic" rhythm which was to be their driving force. For that reason and since it is more and more established that we must trust the linguistics of Plato’s Cratylus, I have been looking through it for a method that tackles such a state of language. The resulting hermeneutic and philological journey, through out a whole system of phonico-syllabic correspondences turning around the verbal stem of me/nw “to stand firm”, helps clear a path into the intra- and infra-linguistic dimension of Tyrtaeus’ and Kallinus’ parenetic diction in order to understand better the reasons and the nature of an efficiency that inherits obviously non-narrative traditions. Élégie archaïque Savoirs archaïques Diction parénétique Linguistique Grammaire historique (phonico)-pragmatique Deixis Efficacité du langage Philologie herméneutique Rythme Performance poétique Sonorité Tyrtée Kallinos Platon Cratyle Lois Archaic elegy Archaic knowledge Parenetic diction Linguistics Historic grammar (phonico)-pragmatics Deixis Language efficiency Hermeneutic philology Rhythm Poetic performance Sound and sonority Tyrtaeus Kallinos (Callinus) Plato Cratylus Laws
97	Great Wounds: A Collection of Essays and Prose Haak , Sarah 10 June 2019 (has links) No description available. Behavioral Psychology Composition Design Environmental Studies Fine Arts Personality Personal Relationships Psychology Ambiguous loss grief natural disaster schizophrenia mental illness suicide audio essay creative nonfiction lyric essay poetry personal essay uncertainty prose elegy military PTSD psychology motherhood Las Vegas elm trees hurricane orp
98	In soft Complaints no longer ease I find Blackmore, Sabine 30 March 2015 (has links) Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient. / This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy. Lyrik Melancholie englische Dichterinnen 18. Jahrhundert poetische Selbstkonstruktion Anne Wharton Anne Finch Elizabeth Singer Rowe Henrietta Knight Elizabeth Carter Mary Leapor Mary Chudleigh Mehetabel Wright Elizabeth Boyd Humoralpathologie Nerven melancholische Femininität Elegie Trauer poetry melancholy English Women poets 18th century poetic self-construction Anne Wharton Anne Finch Elizabeth Singer Rowe Henrietta Knight Elizabeth Carter Mary Leapor Mary Chudleigh Mehetabel Wright Elizabeth Boyd humoralism nerves melancholic femininity elegy mourning 420 Englisch HK 1091 HK 1181 ddc:420
99	Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry Hiebert, Luann E. 11 April 2016 (has links) Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism. In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures. / May 2016 Elegiac poetry Motherhood Maternity poetry Canadian poetry Women authors Poetics Maternal subjectivity Maternal theory Feminist poetry Prairie poetry Pregnancy Childbirth Mourning mother loss Mourning child loss Maternal lineage Mother poets Prairie women's poetry 21st century poetry Ariel Gordon Barbara Langhorst Canadian literature (English) Charlene Diehl-Jones Claire Harris Cultural transmission Cultural violence Culture and motherhood Domestic violence Elegy Hospitality and responsibility Jennifer Still Lisa Martin-DeMoor Literary criticism Louise Bernice Halfe Maternal discourse Maternal aesthetics Maternal inheritance Maternal silence Maternal writing Méira Cook Erín Moure Melanie Dennis Unrau Mother myths Postcolonial writing Motherhood studies Motherhood and feminism Prairie women poets Regional literature Rita Bouvier Sally Ito Sarah Klassen Su Croll Subjectivity Writing and motherhood Writing the other
100	Fall Like a Man North, Naomi 20 April 2016 (has links) No description available. Aesthetics Bible Bilingual Education Dance Earth Ecology East European Studies Energy English As A Second Language Environmental Philosophy Ethics Ethnic Studies European History Families and Family Life Fine Arts Folklore Foreign Language Forestry Gender History Holocaust Studies Human Remains Language Language Arts Literacy Literature Minority and Ethnic Groups Modern History Modern Language Modern Literature Multilingual Education Multicultural Education Peace Studies Performing Arts Personal Relationships Personality Regional Studies Religion Religious History Slavic Literature Slavic Studies Spirituality Theology Therapy Womens Studies World History poetry poems Polish Poland death grief ethnic identity nature bilingual poetry elegy patriarch loss contemporary poetry solidarity movement emigration immigration third-generation immigrant Wigrance Pittsburgh working-class poetry

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