This report is a detailed account of the development, pre-production, production, and post-production of When We Fell, a short narrative film about love and loss of innocence within a dreamlike, lyrical narrative. / text

This poetry manuscript experiments with narrative and lyrical approaches while exploring themes of memory, family, gender roles, sexuality, and identity.

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Dabarties eilėraščiui ypač reikšminga kultūrinė žanro atmintis. Ji teikia papildomų prasmių. XXI amžiuje lyrikos žanrinis skirstymas nebėra aktualus. Labai dažnai sumaišomi gyvi ir nebegyvi žanrų elementai. Tačiau XX amžiuje buvo rašytojų, kurie pasirinkdavo vieną ar kitą žanrą, arba – bent jau žanro elementus savo poezijai. Tokie turinio ir formos elementai būdavo apjungiami į moderniąją visumą. Moderniosios lietuvių literatūros ištakos – Vakarų Europos literatūros tendencijų plėtotė XX amžiaus vidurio lietuvių prozoje ir poezijoje. Šiuo laikotarpiu Lietuvoje susiformavo ir Vakarų Europoje subrendo poetų žemininkų karta – poetų karta, kurios kūrybai įtaką darė ne tik Lietuvos kultūrinis modernizmas, bet ir Europos literatūros ištakos bei moderniausioji Vakarų Europos kultūra. Jonas Mekas yra retai analizuojamas literatūrinės kritikos. Poeto lyrika nagrinėta prarasto rojaus, gamtos kaitos, laiko ir erdvės įvaizdžių aspektais. Jo poezija, kaip pažymi kritikai savo straipsniuose, įtvirtino naują daiktiškumą. Iš keturių idilių laidų daugiausia dėmesio sulaukė 1955 metų laida. Pasirodžius šiam leidimui savo kritinį požiūrį Henrikas Nagys pateikia 1957 metų Literatūros lankų laikraštyje. / The literary searching of the 20th century Lithuania’s poets lead to the modern changes of the genre. In Jonas Mekas’ ‘Semeniskiu idiles’ lyrical subject is divided into subject-speaker and subject-observer. In ‘Semeniskiu idiles’ the time consists of two parts. The big circle of time belongs to the subject-speaker and it is his journey of one year in ‘lost paradise’ cycle of nature. The speaker using his senses and memory becomes the observer in the small circle of time. The space consists of two parts in ‘Semeniskiu idiles’. The big circle of space is the view which is seen by lyrical subject. In the small circle of space the lyrical subject-observer using his senses pays attention to concrete objects. Jonas Mekas can be named as the landowners.

Les lecteurs de Victor Hugo s'accordent à penser qu'il est un regardeur. Mais de quel regardeur s'agit-il ? Pour ce poète qui voyage, l'action de voir constitue, plus qu'un goût, un principe esthétique et poétique. Si Hugo s'attache à un beau paysage, c'est en vue d'en faire resurgir ce qui, tout en échappant au regard, prend la forme d'une pensée. Pour le dire autrement, le réel visible est, pour lui, tant régi par la Vérité cachée qu'il ne cesse de mettre en jeu l'existence du sujet. L'évocation d'un paysage est en ce sens la véritable pierre de touche du sujet : le paysage représente, comme inévitablement, le moi qui essaie de participer aux réseaux de l'univers. C'est pourquoi notre étude avait pour objet en particulier les paysages du voyage et de la poésie, afin d'examiner un moi et des moi intertextuels chez Hugo. La relative rareté des études sur le je en voyageur s'explique par une tradition critique qui le considère comme une incarnation immédiate d'un moi unique de l'auteur. Toutefois, on ne saurait trop souligner que, malgré les apparences, le je dans les textes de voyage est protéiforme non moins que le je poétique. Cette thèse dont les réflexions s'articulent autour des regards hugoliens vise ainsi à montrer la complexité du moi de Hugo, et à apporter une lumière nouvelle sur ses poèmes lyriques / Victor Hugo's readers agree that he is a viewer. But what viewer is it? For this poet who travels, the action of seeing constitutes, more than a fondness, an aesthetic and poetic practice. If Hugo attaches to a beautiful landscape, it is in order to bring out the truth escaping the gaze. To put it another way, the visible reality is, for him, so governed by the hidden truth that it emphasise the existence of the subject. The evocation of a landscape is in this sense the true touchstone of the subject: the landscape represents, as inevitably, the ego that tries to participate in the principle of the universe. This is why our study was particularly concerned with landscapes of travel and poetry, in order to examine an ego or egos intertextual in Hugo. The relative rarity of the studies on the traveler is explained by a critical tradition which considers him an simple embodiment of an ego of the author. However, it can not be over-emphasized that, in spite of appearances, the I in the travel texts is protean no less than the poetic I. This thesis whose reflections are articulated around the Hugo's landscapes aims thus to show the complexity of the ego of Hugo, and to bring a new light on his lyrical poems

The aim of this dissertation is to examine how the lyrical subject is presented in Tomas Tranströmer’s poetry and prose.  Crucial concepts such as the lyrical subject, autobiography, and the memoir are thoroughly discussed and defined based on modern research. The first chapter is devoted entirely to Tranströmer’s prose. Unlike previous studies, this dissertation seeks to establish the genre to which the poet’s memoirs belong. The comparative analysis I use in my dissertation enables us to see both the differences and the similarities in the way that Tranströmer presents the lyrical subject in his prose and poetry. I have taken into account the motifs used by Tranströmer in his memoirs as well as in his poetry. The next chapter discusses the Swedish reception of modernism, a literary movement, which also according to Tranströmer himself, greatly influenced his literary debut in Sweden in the 1950s. The subsequent chapters of my dissertation are devoted to an analysis of Tomas Tranströmer’s poems, which I classify on the basis of how they express the lyrical subject. I analyze both the way the lyrical subject is expressed and its place in the poem. Even though Tomas Tranströmer often uses his own experiences in his works, he transforms them in order to make them more universal. Thus, the lyrical subject is not identical with the poet himself. At the same time, the way the lyrical subject is expressed in a poem highlights its personal character. In the conclusion of the dissertation it is argued that further research is needed to establish whether the selection of Tomas Tranströmer's poems made by the editors of various anthologies may have influenced the reception of his poetry as being objective and impersonal.

CHANG, HSIAO-FENG who was famous for her essays in the mid and late 1960s has enjoyed an excellent reputation for her works and has been well-known author of a number of books for her wide-ranging artistic creation field. Especially, the achievement of her lyrical essays is remarkable with both qualities of rationality and sensibility, the style of the work is most changeful; she has many works which are imaginative and flexible language utilization; the materials of her works are diverse and the essence of her thought is rich in humane concerns. Her works not only can derive the advantages from the classic traditional cultures but also present the appearance of modern literature. In addition to the tender and sensitiveness, as a woman writer, her writing is of lightheartedness and vigor. A unique style of her essays assures her unique status in Taiwanese literary circles. The thesis sets out to study those lyrical essays which had ever been published from 1966 to 2003. First of all, we will provide an objective look at the external factors such as the experience of the writer, the characteristics of literature, and the conditions of her lyrical essays creation in order to gain a more comprehensive understanding on the features of her works. At last, we sum up and clear out the plentiful content of her works which is full of the effects of the artistic achievements on her literary skills. Hoping that the unique meaning and value of CHANG, HSIAO-FENG's lyrical essays in Taiwan literary circles can be identified. This thesis consists of five chapters: Chapter One is ¡§Introduction¡¨ which presents the motives, objectives, the review of the previous studies, the definition of ¡§lyrical essays¡¨, and the establishment of the research scope as well as the research method. Chapter Two is the general discussion of CHANG, HSIAO-FENG and her lyrical essays. We will focus on an all-dimensional discussion of her life experience and divide her life into three stages to indicate that how the life experience influence her works and to explore her own endeavors in engaging in both of creation and editing and the results. This is the preparation for discussing her works. Secondly, we explore the concept of literature. We describe her idea and principle on the literature and creation relating to the discussion of her works as the foundation of cross reference. Moreover, this paper tries to give a general overview of her essay topics and the change of the styles of works at different stages. Chapter Three. ¡§Evolution of her works.¡¨ We review and summarize the content of lyrical essays at different stages. This thesis aims to explore and analyze from three aspects to present the status of her emotions and a broad perspectives on human concerns of CHANG, HSIAO-FENG. Chapter Four. ¡§Artistic Skills.¡¨ We review her lyrical essays and put her great achievements on the artistic skills in order synthetically. With the investigations from four aspects, we sense the outstanding artistic achievements on the skills of the lyrical essays. Chapter Five is ¡§Conclusion¡¨. The author briefly summarizes the critics and suggestions in previous studies from chapter one to four. We place the meaning and value of CHANG, HSIAO-FENG¡¦s essays in the objective and fair positioning. The writer brings out the suggestive guideline for the research workers in the future.

Wave: A Dance Composition and Performance is a choreographic work and performance that tells a personal narrative in comparison to a wave. I performed the modern/lyrical dance with two other dancers, Rachel Crabtree and Kate Trabalka, on the evening of November 16th, 2018 in room 205 of the ETSU Campus Center building. My previous technical dance training, and training as a dance minor at East Tennessee State University from 2015-2018 prepared me to proudly present a piece that was entirely choreographed by me. The following research of modern and lyrical dance shaped my choreography, as well as my musical choices that I carefully selected and edited. Using weight sharing and partner work, and pulling inspiration and direction from the Laban Movement Analysis, I thoughtfully created a ten-minute-long production. Through research and contemplation of my life, I dove head first into pouring my heart and soul into the choreography, and this thesis documents all of the aspects that came together to create Wave.

This thesis is a collection of poems that meditates on the legacies we inherit and the legacies we leave behind.