ABSTRACT The local bhakti tradition prevalent and popular in the state of Mahārāṣṭra in India worships Rukmiṇī-Kṛṣṇa (Ru-K) as the divine couple. The divine couple Rādhā-Kṛṣṇa as the object of devotion of the greater Vaiṣṇava bhakti tradition has been the focus of several academic studies. Almost all scholarly publications and literature relating to the religious tradition of Kṛṣṇa tend to focus on Rādhā-Kṛṣṇa as the divine couple. In contrast, very little is published on Rukmiṇī-Kṛṣṇa as a divine couple. My doctoral research examines the almost 700-year old Rukmiṇī-Kṛṣṇa bhakti tradition that is still very much alive today and that continues to thrive in the state of Mahārāṣṭra in India. The research has focused on centrality of Goddess Rukmiṇī in the tradition and its doctrine as revealed from the Marāṭhī devotional literature written by its poet-sants. I also study the devotional practices and profile of contemporary Ru-K tradition followers to establish how their understanding of the doctrine influences and shapes their personal practices. In particular, I explore the hypothesis that the Rukmiṇī-Kṛṣṇa bhakti tradition is a distinctive, syncretistic, and living devotional tradition that integrates Vaiṣṇava and Śaiva elements in its Marathi poet-sant literature as well as in its religious practice amongst its followers. Thus, in both theory and practice, the tradition caters to the needs and dispositions of followers from various social classes. My research methodology mainly comprised textual analysis Marāṭhī devotional literature written by the four major poet-sants of the Ru-K bhakti tradition. The research also involved a small component of field trip to study the contemporary followers and practices of the tradition. Research revealed that the followers of Rukmiṇi-Kṛṣṇa bhakti tradition look upon Rukmiṇī as pure devotee of Kṛṣṇa. The analysis of the hagiographies and local legends reveal Rukmiṇī’s role as a mediator and facilitator of meetings of Kṛṣṇa with those who love him and are devoted to him. Acting as a mediator between Kṛṣṇa and his common devotees, she brought him out of his royal pastimes of Dvārakā to Paṇḍharapura, albeit on the pretext of getting upset with him. Following Kṛṣṇa’s appearance in Paṇḍharapura, it has become the centre and springboard of Rukmiṇī-Kṛṣṇa bhakti tradition. The Paṇḍharapura pastimes of Kṛṣṇa primarily involve personal loving exchanges between Kṛṣṇa (as Viṭṭhala) and his devotees from all walks of life. In these pastimes, Rukmiṇī plays the compassionate mediator between Kṛṣṇa and his devotees, facilitating their meetings and exchanges. Therefore, Rukmiṇī is also looked upon by devotees as a kind and considerate mother. Analysis of the sant literature of the tradition revealed the dichotomous doctrinal stance of Advaitic (non dualistic) nirguṇa bhakti towards an impersonal Supreme taken by Jñāneśvara and Ekanātha, and that of Vaiṣṇava (dualistic) saguṇa bhakti towards a personalised form of Supreme, taken by Nāmadeva and Tukārāma, co-existing under the umbrella of Rukmiṇī-Kṛṣṇa bhakti tradition. The reason for such a harmonious co-existence of mutually incompatible doctrines and flourishing of the tradition despite the incongruity is owing to the two common practices, singing the glories of Kṛṣṇa and worshipping of personal form of Kṛṣṇa, both of which are considered to be of significance by both doctrines, albeit for different reasons and to achieve dissimilar objectives. Both practices have been instrumental in bringing together the followers and devotees with contrasting and incompatible doctrinal leanings. The case study of the contemporary devotees revealed a dichotomy, in the form of two different classes of devotees found within the tradition, one consisting of the non-elite rank and file devotees from rural and semi-urban regions displaying saguṇa bhakti practices and understanding, and the other consisting of devotees from the elite class taking an Advaitic nirguṇa stance. These classes continue to be maintained because the preachers, although Advaitic in their personal stance, tend to preach saguṇa bhakti to the masses, considering them to be insufficiently qualified for the advanced stage of Advaita. Consequently, the dichotomy perpetuates itself and is apparently harmonized through this bivalence on the part of preachers and common devotees. The unique aspect involving the fusion of Śaivism and Vaiṣṇavism that one finds in the form of Hari-hara-aikya-bhava, sets the Rukmiṇī-Kṛṣṇa bhakti tradition distinctly apart from the greater Vaiṣṇava tradition, where such a fusion is not just absent, but rather clearly and consciously avoided.

ABSTRACT The local bhakti tradition prevalent and popular in the state of Mahārāṣṭra in India worships Rukmiṇī-Kṛṣṇa (Ru-K) as the divine couple. The divine couple Rādhā-Kṛṣṇa as the object of devotion of the greater Vaiṣṇava bhakti tradition has been the focus of several academic studies. Almost all scholarly publications and literature relating to the religious tradition of Kṛṣṇa tend to focus on Rādhā-Kṛṣṇa as the divine couple. In contrast, very little is published on Rukmiṇī-Kṛṣṇa as a divine couple. My doctoral research examines the almost 700-year old Rukmiṇī-Kṛṣṇa bhakti tradition that is still very much alive today and that continues to thrive in the state of Mahārāṣṭra in India. The research has focused on centrality of Goddess Rukmiṇī in the tradition and its doctrine as revealed from the Marāṭhī devotional literature written by its poet-sants. I also study the devotional practices and profile of contemporary Ru-K tradition followers to establish how their understanding of the doctrine influences and shapes their personal practices. In particular, I explore the hypothesis that the Rukmiṇī-Kṛṣṇa bhakti tradition is a distinctive, syncretistic, and living devotional tradition that integrates Vaiṣṇava and Śaiva elements in its Marathi poet-sant literature as well as in its religious practice amongst its followers. Thus, in both theory and practice, the tradition caters to the needs and dispositions of followers from various social classes. My research methodology mainly comprised textual analysis Marāṭhī devotional literature written by the four major poet-sants of the Ru-K bhakti tradition. The research also involved a small component of field trip to study the contemporary followers and practices of the tradition. Research revealed that the followers of Rukmiṇi-Kṛṣṇa bhakti tradition look upon Rukmiṇī as pure devotee of Kṛṣṇa. The analysis of the hagiographies and local legends reveal Rukmiṇī’s role as a mediator and facilitator of meetings of Kṛṣṇa with those who love him and are devoted to him. Acting as a mediator between Kṛṣṇa and his common devotees, she brought him out of his royal pastimes of Dvārakā to Paṇḍharapura, albeit on the pretext of getting upset with him. Following Kṛṣṇa’s appearance in Paṇḍharapura, it has become the centre and springboard of Rukmiṇī-Kṛṣṇa bhakti tradition. The Paṇḍharapura pastimes of Kṛṣṇa primarily involve personal loving exchanges between Kṛṣṇa (as Viṭṭhala) and his devotees from all walks of life. In these pastimes, Rukmiṇī plays the compassionate mediator between Kṛṣṇa and his devotees, facilitating their meetings and exchanges. Therefore, Rukmiṇī is also looked upon by devotees as a kind and considerate mother. Analysis of the sant literature of the tradition revealed the dichotomous doctrinal stance of Advaitic (non dualistic) nirguṇa bhakti towards an impersonal Supreme taken by Jñāneśvara and Ekanātha, and that of Vaiṣṇava (dualistic) saguṇa bhakti towards a personalised form of Supreme, taken by Nāmadeva and Tukārāma, co-existing under the umbrella of Rukmiṇī-Kṛṣṇa bhakti tradition. The reason for such a harmonious co-existence of mutually incompatible doctrines and flourishing of the tradition despite the incongruity is owing to the two common practices, singing the glories of Kṛṣṇa and worshipping of personal form of Kṛṣṇa, both of which are considered to be of significance by both doctrines, albeit for different reasons and to achieve dissimilar objectives. Both practices have been instrumental in bringing together the followers and devotees with contrasting and incompatible doctrinal leanings. The case study of the contemporary devotees revealed a dichotomy, in the form of two different classes of devotees found within the tradition, one consisting of the non-elite rank and file devotees from rural and semi-urban regions displaying saguṇa bhakti practices and understanding, and the other consisting of devotees from the elite class taking an Advaitic nirguṇa stance. These classes continue to be maintained because the preachers, although Advaitic in their personal stance, tend to preach saguṇa bhakti to the masses, considering them to be insufficiently qualified for the advanced stage of Advaita. Consequently, the dichotomy perpetuates itself and is apparently harmonized through this bivalence on the part of preachers and common devotees. The unique aspect involving the fusion of Śaivism and Vaiṣṇavism that one finds in the form of Hari-hara-aikya-bhava, sets the Rukmiṇī-Kṛṣṇa bhakti tradition distinctly apart from the greater Vaiṣṇava tradition, where such a fusion is not just absent, but rather clearly and consciously avoided.

Nowdays Karel Maria Drahotín baron Villani is practically unknown although he belonged to renowned and brilliant individualities of the Czech cultural life in the 19th century. First of all he was popular as liberal politician who held the same opinions like František Palacký. Villani gave himself to poetry as well though his poems did not reach the top. He was one of first authors who appreciated Mácha´s Máj. The thesis deals not only with baron Villani´s political opinions and his literary work but also his public activities, salon of his family and his legency created after his death as well.

Esta dissertação estuda a obra de Jorge de Sena a partir do cotejo de sua poesia e de sua crítica. O corpus de leitura é composto pelos Quatro sonetos a Afrodite Anadiómena, presentes no livro Metamorfoses, bem como dos ensaios constantes nos livros Dialéticas Teóricas da Literatura e Dialéticas Aplicadas da Literatura. Dessa comparação, busca-se entender a função poético-crítica na obra de Jorge de Sena e suas variadas implicações com a modernidade literária. / The dissertation studies the works of Jorge de Sena from the comparison of his poetry and his critical. The reading corpus is composed by Quatro sonetos a Afrodite Anadiómena, present in the book Metamorfoses, and by the essays contained in the books Dialéticas Teóricas da Literatura e Dialéticas Aplicadas da Literatura. From this comparison, searches to understand the poetic-critical function of Jorge de Sena works and its varied implications with the modernity literary.

This study has as main objective to analyze the biography of William Blake: dreamed and researched by Alexander Gilchrist and finished by his wife Anne Gilchrist and by the painter and writer Dante Gabriel Rossetti. Considered a mad genius that talked to spirits by a great part of his contemporaries, William Blake became known only after his death, in 1827, for his works as a poet, painter and engraver. In a first moment, a short biography of Alexander Gilchristis presented, as well as of the others involved in the writing of the biography Life of William Blake: Pictor Ignotus. In the second chapter, an analysis is conducted on what Gilchrist wrote about Blake s technical side and his educational background. The third chapter is about the visionary Blake, and how these episodes are portrayed in the Gilchrist s biography. In the last chapter, a parallelis traced between what Alexander Gilchrist wrote in his biography and what five authors before him wrote on Blake. These authors are: Cunningham, J. T. Smith, Malkin, Tatham and Crabb Robinson. In this way, we intend to reach a hypothesis on which authors were used as sources by Gilchrist to write Life of William Blake: Pictor Ignotus. / Esse trabalho tem por objetivo analisar a primeira biografia escrita sobre William Blake, biografia esta sonhada e pesquisada por Alexander Gilchrist e finalizada por sua esposa Anne Gilchrist e pelo pintor e também escritor Dante Gabriel Rossetti. Considerado um gênio louco que falava com os espíritos por grande parte de seus contemporâneos, é apenas após sua morte, em 1827, que William Blake passa a ser reconhecido por suas obras como poeta, pintor e gravurista. Em um primeiro momento, é apresentada uma curta biografia de Alexander Gilchrist e das pessoas que colaboraram com a escrita da biografia Life of William Blake: Pictor Ignotus. No segundo capítulo, é feita uma análisedo que Gilchrist escreveu sobre o lado técnico de Blake, sua educação e seus estudos. O terceiro capítulo trata do Blake visionário, e como estes episódios são retratados na biografia em questão. Já o último capítulo faz um comparativo entre o que Gilchrist escreve de Blake com o que pode ser encontrado nos autores anteriores a ele, como Cunningham, J. T. Smith, Malkin, Tatham e Crabb Robinson, chegando assim a uma hipótese de quais os autores acima citados serviram como fontes para a escrita de Life of William Blake: Pictor Ignotus.

El origen y significado de la inspiración poética” ha sido siempre objeto de considerable controversia. Lo que los críticos no preguntan muy a menudo es: ¿cuáles son las palabras o frases que los textos poéticos tempranos, previos al Período Clásico, usaron para expresar el genio poético o mousikē que nosotros asociamos con la inspiración en la poesía griega temprana? En este ensayo examino, en primer lugar y principalmente, tanto la terminología empleada por Homero y Hesíodo para expresar la experiencia poética, como el rol del aoidoso cantor/poeta en sus descripciones respectivas. Sostengo no solo que se confunden en Homero y Hesíodo las nociones físicas y figurativas de inspiración”, es decir, que no son diferenciadas por los poetas de manera consciente, sino que la poesía misma debe haber sido vista por Homero y Hesíodo como un don divino –de acuerdo a la voluntad de los dioses–. También sostengo que diversas etimologías y contextos sugieren fuertemente que un tipo de mania o posesión extática fue una parte importante del proceso poético temprano. El trabajo aquí presentado es una versión abreviada de un proyecto de investigación más amplio que busca examinar el origen y desarrollo de las actitudes pre-platónicas, platónicas y post-platónicas hacia la inspiración y la alegoría. --- Some Reflections on the Early Greek Notion of Poetic Inspiration”. The origin and meaning of poetic inspiration” has always been the subject of considerable controversy. What critics rarely ask are: what words or phrases did the early poetic texts use to express the poetic genius or mousikē we associate with inspiration in the early Greek poetry, and thus prior to the Classical period? In this paper, I examine first and foremost both the terminology employed by Homer and Hesiod to express the poetic experience and the role of the aoidos or singer/poet in their respective accounts. I argue that not only are the physical and figurative notions of inspiration” in Homer and Hesiod confused, that is, they are not consciously distinguished for the poets, but poetry itself for Homer and Hesiod must have been seen as a divine gift –as willed by the gods. I also argue that a number of etymologies and contexts strongly suggest that a type of mania or ecstatic possession was very much a part of the early poetic process. The work presented here is an abridged part of a larger research project that seeks to examine the origin and development of pre-Platonic, Platonic and postPlatonic attitudes toward inspiration and allegory.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-29T13:18:01Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_ThaisRabelo-BC.pdf: 872922 bytes, checksum: 58fdd27c7f476e107f63827b46ec963d (MD5) / Made available in DSpace on 2016-07-29T13:18:01Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_ThaisRabelo-BC.pdf: 872922 bytes, checksum: 58fdd27c7f476e107f63827b46ec963d (MD5) Previous issue date: 2016-02-26 / CAPEs / A relação entre poeta e a cidade é uma rede de significações móvel e rasurada, na medida em que, os sentidos constituídos dependem muito do olhar lançado e da experiência estética concebida. No caso da poesia de Myriam Fraga, as duas representações tornam-se, por vezes, metonímia uma da outra. Assim, neste trabalho, objetiva-se, analisar a representação do poeta e da cidade no Livro dos Adynata (1973), estruturada a partir de uma poética da impossibilidade, centralizada nas formas de dizer, ver e ser, que atravessam a existência do eu-lírico, e neste sentido, refletir as proporções de um livro de poemas ao aceitar o risco da busca pela palavra, até mesmo quando esta é aparentemente renunciada. Destaca-se para tal embasamento, os teóricos da palavra e do caminho poético, Paz (2012), Dufrenne (1969), Friedrich (1991), Heidegger (2012), Bosi (2000), Adorno (2003), Fischer (1981), Rancière (1995), dentre outros, que conseguem dialogar os desdobramentos da lírica na contemporaneidade, sem perder de vista as origens deste campo do discurso. / The relationship between the poet and the city is a network of mobile and erased meanings, inasmuch as the constituted meanings depend largely on the launched look and aesthetic experience conceived. In the case of Myriam Fraga’s poetry, the two representations become, sometimes, metonymy of one another. Thus, in this work, the objective is to analyze the representation of the poet and the city in the Livro de Adynata (1973), structured from a poetics of impossibility, centered on ways to say, see and be that cross the existence of the lyric self, and accordingly, reflect the proportions of a book of poems to accept the risk of the search for word, even when it is apparently renounced. It stands out for such foundations, word and poetic way theorists, Paz (2012), Dufrenne (1969), Friedrich (1991), Heidegger (2012), Bosi (2000), Adorno (2003), Fischer (1981) , Rancière (1995) among others, who can dialogue the deployments of lyrics in contemporary times, without losing sight the origins of this field discourse.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-08-03T13:36:10Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_ThaisRabelo-BC.pdf: 872922 bytes, checksum: 58fdd27c7f476e107f63827b46ec963d (MD5) / Made available in DSpace on 2016-08-03T13:36:10Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_ThaisRabelo-BC.pdf: 872922 bytes, checksum: 58fdd27c7f476e107f63827b46ec963d (MD5) Previous issue date: 2016-02-26 / CAPEs / A relação entre poeta e a cidade é uma rede de significações móvel e rasurada, na medida em que, os sentidos constituídos dependem muito do olhar lançado e da experiência estética concebida. No caso da poesia de Myriam Fraga, as duas representações tornam-se, por vezes, metonímia uma da outra. Assim, neste trabalho, objetiva-se, analisar a representação do poeta e da cidade no Livro dos Adynata (1973), estruturada a partir de uma poética da impossibilidade, centralizada nas formas de dizer, ver e ser, que atravessam a existência do eu-lírico, e neste sentido, refletir as proporções de um livro de poemas ao aceitar o risco da busca pela palavra, até mesmo quando esta é aparentemente renunciada. Destaca-se para tal embasamento, os teóricos da palavra e do caminho poético, Paz (2012), Dufrenne (1969), Friedrich (1991), Heidegger (2012), Bosi (2000), Adorno (2003), Fischer (1981), Rancière (1995), dentre outros, que conseguem dialogar os desdobramentos da lírica na contemporaneidade, sem perder de vista as origens deste campo do discurso. / The relationship between the poet and the city is a network of mobile and erased meanings, inasmuch as the constituted meanings depend largely on the launched look and aesthetic experience conceived. In the case of Myriam Fraga’s poetry, the two representations become, sometimes, metonymy of one another. Thus, in this work, the objective is to analyze the representation of the poet and the city in the Livro de Adynata (1973), structured from a poetics of impossibility, centered on ways to say, see and be that cross the existence of the lyric self, and accordingly, reflect the proportions of a book of poems to accept the risk of the search for word, even when it is apparently renounced. It stands out for such foundations, word and poetic way theorists, Paz (2012), Dufrenne (1969), Friedrich (1991), Heidegger (2012), Bosi (2000), Adorno (2003), Fischer (1981) , Rancière (1995) among others, who can dialogue the deployments of lyrics in contemporary times, without losing sight the origins of this field discourse.

Após mais de duzentos anos, o interesse pela obra de Karl Philipp Moritz (15 de setembro de 1756 26 de junho de 1793) só tem aumentado. Diferentes autores como Herman Hesse e Walter Benjamin, e, mais recentemente, Hans Joachin Schrimpf, Tzvetan Todorov, Peter Szondi, Arno Schmidt e Peter Handke têm escrito ressaltando a importância e a fecundidade desse autor. Moritz pode ser considerado um dos autores inaugurais do romantismo alemão. Este mestrado em filosofia, área de estética, pretende, por meio de seleção, tradução e introdução dos textos de Karl Philipp Moritz, contribuir para a valorização dessa importante obra em nossa cultura. Os textos selecionados são de teoria da linguagem, estética e filosofia. / After over two hundred years, the concern for the works of Karl Philipp Moritz (September 15th 1756 June 26th 1793) has increased steadily. Different authors such as Herman Hesse and Walter Benjamin and more recently Hans Joachin Schrimpf, Tzvetan Todorov, Peter Szondi, Arno Schmidt and Peter Handke have written on the relevance and fecundity of this author. Moritz can be said to be one of the inaugural authors of German Romanticism. This Masters in Philosophy, in the Aesthetics field, intends, by means of selection, translation and introduction of Karl Philipp Moritz texts, to contribute to the appreciation of this important work in our culture. The selected texts belong to the fields of Language Theory, Aesthetics and Philosophy.

Neste trabalho, reflito sobre a presença de Baudelaire e de Rimbaud em canções brasileiras. Meu objetivo é discutir a função das alusões a tais poetas partindo da hipótese de que o mito do poeta maldito está presente, de alguma forma, em todas as canções do corpus. Para tanto, selecionei canções lançadas entre 1980 e 2010, período com maior concentração de alusões. As décadas de 1980-1990, especificamente, marcam um período cancional chamado de rock brasileiro, que incorporou elementos da contracultura europeia e estadunidense, momento em que a atualização do mito do poeta maldito foi significativo. Não obstante, outros gêneros cancionais são contemplados neste trabalho, pois também evocam o mito. O corpus foi dividido de acordo com os tipos de alusão, a saber: Baudelaire, Rimbaud, O mito do poeta maldito, e As Flores do Mal, cada qual explorado em um capítulo específico. Há também uma parte destinada à análise de marcas francesas gerais, que mostram a presença francesa de forma mais ampla no cancioneiro do período que aponto aqui. As canções são analisadas conforme suas especificidades, tanto na relação melodia-letra, quanto no âmbito da interpretação do artista, do arranjo, e do contexto histórico - ou na intersecção de todos esses elementos - sempre com a intenção de refletir sobre a alusão em questão e suas possíveis funções. O trabalho também conta com um anexo de letras de canções do corpus e entrevistas com alguns compositores. / In this research, I reflect on the presence of Baudelaire and Rimbaud in Brazilian songs. My aim is to discuss the role of allusions to such poets on the assumption that the myth of the \"accursed poet\" is present in some form in all the songs of the corpus. For that, I selected songs released between 1980 and 2010, a period with higher concentrations of allusions. The decades of 1980-1990, specifically, mark a musical period called \"Brazilian rock\", which incorporated elements of the European and American counterculture, at which time the update of the myth of the curse was significant. Despite this, other musical genres are dealt with, once they also evoke the myth. The corpus is divided according to the types of reference, namely: \"Baudelaire\", \"Rimbaud\", \"The myth of the curse,\" \"The Flowers of Evil\", each explored in a specific chapter. There is also a section devoted to the analysis of general French marks that show the French presence more widely in the songbook of the period I point here. The songs are analyzed according to their specific characteristics, both in melody-letter relationship, as in the interpretation of the artist, the arrangement, and the historical context - or at the intersection of all these elements - always with the intention of reflecting on the reference in question and their possible functions. The work also has an attachment corpus of song lyrics and interviews with some composers.