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<p dir="ltr">Creative writing thesis as a collection of poetry for the fulfillment of MFA in Poetry. </p>

Made available in DSpace on 2017-07-21T14:54:07Z (GMT). No. of bitstreams: 1 Thatiane Prochner.pdf: 1596582 bytes, checksum: 07dfb0a2a04f278c6f58a63fede0fcfb (MD5) Previous issue date: 2014-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Gaucherie is known as one of the most present and intense features in Drummond’s work, as a conducting wire which defines the lyric self in a transformation course. But where’s the radix of this gauche? The poet sets his path with Alguma Poesia opening poem, however, this gauche, in later works, appears latently, like one of his disguises. Until in Boitempo (the trilogy), the lyric self turns into past, mixing time, determining the character who consecrates him as the displaced person. In this work, the language reaches its most prosaic level in poetry; the child’s language is embedded in adult prose, like an attempt of writing the self and for seeking understanding, besides the lector’s importance of sharing this lived universe. This essay aims at pursue, from stylistic analysis of Boitempo’s poems, elements of prosaic poetry which interweave in gauche subjectivity constitution, at a time poetry becomes a divan to the lyric self in his comprehension of himself. For both, the research is focused in the literary text, starting with a bibliographic study that theorizes Drummond’s language cut process, in a dialogical exercise between the author and the lector. This way, beyond Boitempo’s work with the poems, other ones will be highlighted in the analysis. Among selected researchers: Berardinelli (2007), Sant’Anna (1992), Correia (2002), Cançado (2006), Villaça (2006) and Moraes Neto (2007). / A gaucherie é sabida como uma das características mais presentes e intensas na obra de Drummond, como um fio condutor que define o eu lírico num percurso de transformação. Mas onde a raiz desse gauche? O poeta marca sua trajetória com o poema de abertura de Alguma Poesia, contudo, nas obras subsequentes, o gauche aparece de forma latente, como um de seus disfarces. Até que em Boitempo (a trilogia), o eu lírico volta ao passado, mesclando os tempos, e determina o personagem que o consagra como a displaced person. Nesta obra em questão, a linguagem alcança seu nível mais prosaico dentro da poesia; a linguagem da criança está embutida nessa prosa adulta, como uma tentativa de escrita sobre si e a busca pelo entendimento, além da importância do leitor no compartilhamento desse universo vivido. Esta pesquisa trabalha no sentido de buscar, a partir da análise estilística dos poemas de Boitempo (a trilogia), elementos da poesia prosaica que se entrelaçam na constituição da subjetividade do gauche, no momento em que a poesia se faz divã para o eu lírico em sua compreensão de si mesmo. Para tanto, o estudo parte de um trabalho focado no texto literário, partindo-se de uma pesquisa bibliográfica de teorização sobre o processo de lapidação da linguagem drummondiana, num exercício dialógico entre poeta e leitor. Logo, além do trabalho com os poemas de Boitempo, poemas de outras obras do autor também estarão em destaque. Entre os estudiosos selecionados: Berardinelli (2007), Sant’Anna (1992), Correia (2002), Cançado (2006), Villaça (2006) e Moraes Neto (2007).

This study aims to compare British war poetry of the First World War with Iraqi poetry from the mid-20th century with special reference to Iraqi war poetry of the 1980’s Iraq-Iran War and the period that followed it. It will also investigate the influence of the designated British war poetry on the chosen body of Iraqi poetry. Through the comparison of sample poems the study presents, firstly, the direct influence of the British poetry of the Great War and its translation which formed the seeds of a more radical movement in Iraqi poetry during the 1980’s Iran/Iraq War and the period that followed it. The study also presents a comparison of the works of British and Iraqi civilian poets during and after the war time and their contribution in setting the ground for the younger generation to create more subversive poetic forms with special reference to women as influential characters and inspirations in their works. The moment of the 1980’s war marks the break with the clear direct influence of British war poetry and starts another phase of the comparison of a universal bond of similar reactions, conscious and unconscious expression reflecting the lives of the combatant group of men first and then of poets sharing a devastating war reality. The study reveals a remarkable, more radical change of poetic forms in Iraqi poetry between the time of the first seeds planted by the influence of translations from European poetry until the time of the Iran/Iraq war and the Gulf War in 1991 and the rise of the new nihilistic generation of the 1990s subverting war, politics and cultural life through their innovation in prose poem writing and its significance as an alternative space for their political and social subversion.

<p>Predmet istraživanja u ovom radu jeste identifikacija i osvetljavanje dominantnih obrazaca avangardnog i hri&scaron;ćanskog identiteta u delu Rastka Petrovića. Rastko uvek nastupa sa pozicije nekog ko je blisko upoznat sa umetno&scaron;ću, istorijom i njenim nepredvidivim i nepravednim političkim projektima. Poku&scaron;avajući da rastumači njihove uzroke i posledice, stalno ističe potrebu za integralnim čovekom, kulturom i dru&scaron;tvom uop&scaron;te, kako po pripadnike sopstvenog naroda, tako i na regionalnom i globalnom nivou. Rastkovo opredeljenje da je svet u nastajanju povezan s ideologijom deča&scaron;tva (mladića), znači da je čovek po njemu u događaju Bogomladenca doživeo vrhunac, tj. u potpunosti ispunio cilj ka kome oduvek teži. Su&scaron;tinsko, a ne tek sporedno, akcidentalno određenje čoveka jeste da nadiđe sebe i stremi ka Bogu. Centralnu ulogu u okviru ove transcedencije trebalo bi da ima analiza apriorne strukture čovekovog bića i u njima prepozna otvorenost i sposobnost da se avangardna/hri&scaron;ćanska poruka čuje i adekvatno razume. Rastko u tradiciji vidi istinsko upori&scaron;te transcendencije i afirmacije verodostojnog bića i odgovarajuće slobode gde apsolutna sloboda i apsolutni autoritet nisu suprotstavljena svojstva, već izraz istog bića. Rastkove ideolo&scaron;ke evropske pretenzije mogu se okvalifikovati kao veliki intelektualni napor i pregnuće da se stvori,&nbsp;usvoji i inkorporira jedan novi (obnovljeni) kulturni i religiozni mit koji se kao takav projektuje u praistoriju, a potom samoreguli&scaron;e mnoge savremene fenomene.</p> / <p>The main subject of this PhD thesis was to identify and shed the light on the dominant form of avant-garde and the Christian identity in the work of Rastko Petrovic. Rastko always acted from the perspective of someone who was closely familiar with the art, with history and its unpredictable and unjust political projects. Trying to understand its causes and consequences, Rastko Petrovic has repeatedly stressed the need for the integral and comprehensive man, culture and society in general, both in terms of his own people, and at the regional and global levels. Rastko&rsquo;s commitment to the idea that the emerging World is connected with the ideology of boyhood, means that the man as an individual has culminated in Divine Child event, and only through that event has fully met the purpose towards which it has always aspired. The essential and not only secondary and accidental determination of man is to transcend himself and strive towards God. An a priori analysis should have the central role within this transcendence of the structure of human beings with its ability to recognize in them the openness and the ability to properly hear and understand the avant-garde / Christian message. Tradition is in the eyes of Rastko Petrovic the only true stronghold of such transcendence and affirmation of one true and credible human being and adequate freedom where absolute&nbsp;freedom and absolute authority are not contradictory properties, but an expression of the one same being. Rastko&rsquo;s ideological European claims may be characterized as a great intellectual effort and endeavor to create, adopt and incorporate a new (renewed) cultural and religious myth which, as such, projects in prehistory, and then self-regulates many contemporary phenomena.</p>

This thesis demonstrates the aesthetic impact of crisis on Ingeborg Bachmann's late verse and prose. It examines poetic drafts written during a period of personal breakdown in the 1960s, which have largely been received as documents of personal suffering, and identifies these texts as a radical stage of writing that was to prove formally significant for Bachmann's development of the prose "Todesarten"-Projekt. This thesis draws on the new material made available with the publication of these poetic drafts to chart the genesis of Bachmann's acclaimed late oeuvre. By selecting and grouping lyric fragments, the thesis defines recurrent features in this verse and accounts for the texts as a body of writing that forms a radical, yet undocumented, part of this oeuvre. In terms of both their form and of their content, the fragmentary drafts are shown to reflect new engagement with aspects of experience conventionally excluded from High Art. In light of Bachmann's growing preoccupation with the need for aesthetic engagement in the post-war era, close readings reveal how she set about taking her subjective suffering as a basis for a critique of the social order. The thesis outlines how, during the 1960s, Bachmann pioneered a symptomatic expressive mode that - in the disrupted form of the writing - found an indirect means of manifesting the wider origins of subjective disturbance. The ambiguous aesthetic status of these poetic drafts, which were never finished by Bachmann, is related to an inability to establish structural distance from crisis in lyric form. Building on its readings of the poetic drafts, the thesis traces Bachmann's prose experimentation with the same motifs. It identifies how, ultimately, the prose medium enabled the author to resolve problems of aesthetic form raised in the verse. Parallels with the work of other writers and thinkers illuminate the development of a reflexive mode where sophisticated aesthetic strategies enable the oblique expression of cultural critique.

<p>У раду је представљен целокупни књижевни опус заборављеног писца Павла Марковића Адамова, једног од зачетника српске реалистичке приповетке и оснивача и првог уредника Бранковог кола &ndash; листа за забаву, поуку и књижевност, у циљу превредновања његовог књижевног дела, како би Адамов, коначно, добио место које му припада у историји српске књижевности.</p> / <p>U radu je predstavljen celokupni književni opus zaboravljenog pisca Pavla Markovića Adamova, jednog od začetnika srpske realističke pripovetke i osnivača i prvog urednika Brankovog kola &ndash; lista za zabavu, pouku i književnost, u cilju prevrednovanja njegovog književnog dela, kako bi Adamov, konačno, dobio mesto koje mu pripada u istoriji srpske književnosti.</p> / <p>The thesis represents the complete literary corpus of the forgotten author Pavle Marković Adamov, one of the pioneers of the Serbian realism short stories and the founder and first editor of ᾽Brankovo kolo᾿ - a paper for fun, learning and literature. The aim of the thesis is to bring his literary works back to light and give them proper appreciation, so that Adamov will finally be given the spot that he deserves in the history of Serbian literature.</p>

TURNING PAGES is an annual journal of bright voices from all over the world in creative and original writing in English in short fiction, creative nonfiction, poetry, and drama, as well as in drawings, art projects and many other related genres by students, academics, and writers. It is a production of the Chair of English Literatures at the English Department at Chemnitz University of Technology, Germany, and the first journal of its kind at the university. TURNING PAGES can be read in both ways, literally and metaphorically, implying that we need to turn the pages, that we need to demonstrate that literature has something to say and that it can also be interventionist as it shows how we can use our own imagination for the better. Therefore, TURNING PAGES will make readers not only literally browse through a variety of texts and turn pages, but it also seeks to reflect situations, events, experiences, or emotions that turn the page for individuals, or groups of people. The first issue of TURNING PAGES features a range of texts and artworks, including first-time writers as well as professional writers, such as Michael Augustin, Sujata Bhatt, Stephen Collis, Ian Watson and the renowned Belfast theatre company Play It By Ear.

TURNING PAGES is an annual journal of bright voices from all over the world in creative and original writing in English in short fiction, creative nonfiction, poetry, and drama, as well as in drawings, art projects and many other related genres by students, academics, and writers. It is a production of the Chair of English Literatures at the English Department at Chemnitz University of Technology, Germany, and the first journal of its kind at the university. TURNING PAGES can be read in both ways, literally and metaphorically, implying that we need to turn the pages, that we need to demonstrate that literature has something to say and that it can also be interventionist as it shows how we can use our own imagination for the better. Therefore, TURNING PAGES will make readers not only literally browse through a variety of texts and turn pages, but it also seeks to reflect situations, events, experiences, or emotions that turn the page for individuals, or groups of people. The second issue of TURNING PAGES includes a variety of foci, ranging from meta-poetic texts and stories, to graphic artworks and illustrations via themes of belonging in an ever-changing world, tracing one’s origins, conquering personal struggles, or dealing with current incidents like COVID-19 and self-isolation. This issue combines students from diverse fields and backgrounds with professional writers from all over the world, such as Srishti Chaudhary, Andreas Gloge, Ogaga Ifowodo, Harald Linke, and Ian Watson.