Esta tese se propõe examinar a poesia de John Donne (1572-1631) na perspectiva de um âmbito mais amplo de práticas representativas dos meios letrados das cortes do século XVII. Pressupondo a vigência de uma instituição retórica cujos preceitos condicionavam a prática poética, adota-se uma metodologia de pesquisa que flexibiliza os limites classificatórios da historiografia oitocentista posteriormente impostos aos poetas do século XVII. Assim, procede-se a uma análise retórico-poética da poesia de Donne, particularmente, mas também de seus coetâneos George Chapman, Fulke Greville, William Shakespeare e outros considerando os gêneros e estilos de suas composições, as espécies de agudeza que efetuavam, a adequação dos conceitos que formulavam como ornato dialético enigmático e a legibilidade que constituíam nas obras. Propõe-se uma investigação dos pressupostos doutrinários vigentes na época que significam as práticas representativas e as categorias que a envolvem, como a conceituação de que a poesia vernacular culta se define como prática de emulação da poesia greco-latina em seu elenco de autoridades; de que a preceituação vernacular analogamente se define como prática de emulação da preceitução antiga em seus postulados diversos; que a prática de emulação é ativa e não pressupõe cópia servil, mas variação dos argumentos de um mesmo lugar de invenção e variação do tópico elocutório, assumindo a versatilidade das operações retórico-poéticas como prova de engenho e arte. Tendo como força determinante a valoração do wit (engenho; ingenio; ingegno) nos meios letrados do século XVII, esta tese considera sempre que pode as práticas poéticas e preceptivas continentais, cruzando-as com suas contrapartes inglesas, buscando definir os critérios variados de recepção da poesia e os preceitos em uso que constituem a poética da agudeza. / This Ph.D. thesis examines the poetry of John Donne (1572-1631) in the light of the representative practices in the learned circles of 17th century courts. Presuming that there was an effective presence of a rhetorical institution at that time, which conditioned poetical production, I have adopted a critical methodology that displaces the classificatory limits of 19th century historiography later imposed on the poets of the early 17th century. I have specifically made a rhetorical-poetical analysis of the poetry of Donne, but also of George Chapman, Fulke Greville, William Shakespeare and others, considering the genres and the styles of their composition, the types of wit they used, the aptness of the conceits formulated as enigmatic dialectical ornaments, and the legibility of their works. I have also investigated the doctrinal conjectures current at the time which then signified the representative practices, such as the concept that cultivated vernacular poetry was defined as an emulation of Greek and Latin poetry; that the vernacular doctrines of rhetoric were also defined as emulation of ancient doctrines; and that the practice of emulation was an active force, and did not imply servile imitation, but rather a variation of the places of argument and the elocutory topic, taking on the diversity of rhetorical and poetical procedures as proof of wit and art. Taking as a determining force the value given to wit (engenho; ingenio; ingegno) in the learned circles of the early 17th century, this thesis also takes into consideration continental poetical and rhetorical practices, cross-examining them with English ones, in an attempt to define the diverse criteria of poetry reception and the precepts then extant which ultimately constituted the poetics of wit.

This thesis explores changes in approaches to the interpretation of the genre of classical Chinese poetry re-created as English poetry during the twentieth century. This genre, produced by two literary cultures - Chinese and English - is subjected to critical scrutiny in both its original and re-created forms and this study discusses the extent to which critical theories resulted in shifts in the interpretive approaches of twentieth century translations of the genre. Interpretive changes are exposed by comparative analysis of publications of the genre by Ezra Pound and Arthur Waley, Burton Watson and Gary Snyder, James J. Y. Liu and Stephen Owen and Pauline Yu and Haun Saussy. This involves a discussion of how their formative years, environmental factors and critical pressures influenced their approaches to interpretation of the genre. The study found that changes to interpretative approaches for the genre rested on two key experiences of translators and readers. Primary influences - family, education and personal pursuits - did affect interpreters of the genre but secondary influences - critical theories, literary trends, political, religious and social movements - had greater impact on interpretive change. Isogesis, an unavoidable factor of cultural interpretation, insidiously influenced how the genre was interpreted and that the increased use of montage and anthology late in the twentieth century attempted to reduce the effect of isogesis and, even more importantly, returned the genre to its cultural roots, the Shijing, the earliest Chinese classical anthology of poetry. This study illustrates three areas of importance. Firstly, it shows that biographical and environmental factors affecting translators caused shifts in approach to interpretation of classical Chinese poetry re-created as English poetry. Secondly, choices of what to re-create and print - made by translators, editors and publishers - affect reader response to the genre. Thirdly and finally, it suggests the possibility that the interpretive approaches of these eight translators can be employed as poetic montage in the third millennium to reduce the effect of misinterpreting of the genre. / Thesis (M.A.)--School of Social Sciences, 2006.

Based on the author's Thesis (doctoral--Oxford). / Description based on print version record. Includes bibliographical references and index.

Thesis (M.A.)--Kutztown University of Pennsylvania, 1995. / Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 180-190).

Thesis (Ph. D.)--University of Sydney, 2007. / Title from title screen (viewed 27 February 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Bibliography: leaves 250-256. Also issued in print.

Thesis--University of Pittsburgh. / Bibliography: p. [285]-289.

Thesis (Ph. D.)--Princeton university, 1918. / Cover-title. Without thesis note. Bibliography : p. [407]-411.

From Introductory note: The Complete Poems of W.H. Davies (London: Jonathan Cape, 1963; rev. 1968) has been used throughout this study. Accordingly, unless otherwise stated, all citations of poem numbers and pagination refer to this text. Critical literature on the work of W.H. Davies is restricted in quantity and limited in scope. There are few comprehensive assessments of Davies as poet, autobiographer, novelist, or raconteur. Apart from such sources as Richard J. Stonesifer's full-length critical biography (1963), Lawrence Hockey's biographical monograph (1971), and Thomas Moult's anecdotal and historical appreciation (1934), critical material must be drawn from contemporary reviews, isolated articles in magazines such as The Catholic World and Fortnightly Review, and specific chapters in surveys of the poetry of the early twentieth century, although Davies is frequently alluded to passim in literary histories which deal with this period. Many of these studies favour biographical exposition and evaluation rather than descriptive analysis and discursive interpretation. A detailed chronology of Davies's works is included in Stonesifer's discussion. This thesis is not attempting to trace a line of development for two reasons. First, the Complete Poems gives no indication of date of composition or publication of particular poems, and the present writer has access only to the dates of publication of individual volumes as external evidence of a chronology, internal evidence being confined to such infrequent references as "the birds of steel" in Poem no. 236, p. 260. Secondly, the lyrics themselves do not, on the whole, evince much stylistic and thematic development, and the concern of this study is with recurrent themes and techniques dispersed throughout the oeuvre.

No description available.

This dissertation explores John Ashbery's interactions with several generations of English poets, during a period which ranges from the late 1940s to the present day. It seeks to support two principle propositions: that Ashbery's engagements with contemporaneous English poets had a decisive influence on his poetic development; and that Ashbery's own poetic and critical work can be employed to revise our understanding of mid-to-late 20th century English poetry. The dissertation demonstrates that Ashbery's relationships with four English poets - W.H. Auden, F.T. Prince, Lee Harwood and Mark Ford - occurred at significant junctures in, and altered the course of, his poetic development. Ashbery's critical and poetic engagements with these poets, when read together, are shown to constitute an idiosyncratic but coherent re-reading of the English poetry of the past and present. The dissertation addresses the ways in which each poet theorises the difficulties posed, and opportunities afforded, by perceived changes in Anglo-American poetic relations at different points during the 20th century. Chapter one re-evaluates Ashbery's relationship with Auden. It traces the legacy of Auden's coterie poetics in The Orators for Ashbery and Frank O'Hara, offers a revisionary reading of The Vermont Notebook as a strident response to Auden's late-career conservativism, and reads in depth Ashbery's unpublished, highly ambivalent elegy for him, "If I had My Way, Dear". Chapter Two attends to the extensive correspondence between Ashbery and Prince, argues that Prince's work provided a model for Ashbery's "encrypted" early lyrics addressing his homosexuality, and reads "Clepsydra" as an early elaboration of Ashbery's conception of a reciprocal influential model. Chapter Three examines Lee Harwood's "imitations" of Ashbery, and considers the latter's first critical formation of an English "other tradition" through his association of Harwood with the work of John Clare. Chapter Four portrays Ashbery's relationship with Mark Ford as a successful enactment of reciprocal influence, a form of engagement which allows Ashbery a means to "shake off his own influence" and to retain his status as a "major minor writer".