T’ao Yüan-ming (365-427 A.D.) remains China's greatest medieval poet. While no adequate biographical sources exist, the poet’s own work presents the most intimate picture of T’ao Yüan-ming himself, in addition to reflecting various aspects of his historical and cultural era. This essay explores T’ao Yüan-ming’s character as reflected in his verse. When poised against a broader historical and cultural background, T’ao Yüan-ming’s poetry goes furthest in revealing the poet as an individual as well as a product of his times. / Master of Arts

Ming Dynasty women¡¦s literature vigorous growth , emerges many famous family talented women , their poetic composition mostly reflects inner chamber female¡¦s life spirit in the feudal society , the work style many to chant the bosom to mourn perhaps to describe the scenery chants the thing , lacks the profound social surface . Until the end of the Ming and beginning of the Qing dynasty , in national hurriedly turmoil time , after the inner chamber poet degenerates into loses the people , woman¡¦s transfers the reflection chaos caused by war¡¦s reality and nationality¡¦s contradiction in literary production style , in the work presents the strong wandering feeling , sorrow of the exileing home and goes to pain of the country . In the Chinese history . During the end of the Ming and beginning of the Qing dynasty , the female poets have not been neglected in the historical mighty current , they and the masculine writer are the same , they experience are destitute and homeless because of war , and comes the testimony time by feminine sound and the angle of view . They expresses feeling , sadness family country the life experience by writing . This study is the discussion female poets of Ming adherents during the end of the Ming and beginning of the Qing dynasty . They narrate personal experience of politics turmoil by own sound and the angle of view . They are not only event¡¦s relators, is also the party concerned . Facing being destitute and homeless because of war, they reveal individual will, the sentiment and the choice in the poetic composition . Female poets¡¦ narration is always neglected outside the literature of Ming adherents writing . Is ¡§ the small narration ¡¨ not under a historical ¡§ big narration ¡¨ link ? Whether it can be regarded as supplement of history , waits for continuing to explore deeply. This study collects poets from the Ming and Qing Dynasties poetry anthology and selects achiever of female poets to discuss about their biography , their poetic composition and their spirit of Ming adherents . The research of literature of Ming adherents writing always focuses in the male poets , female poets actually little to obtain scholar's favor . Therefore this study attempts to seeks female poets¡¦ position and value in the literature of Ming adherents writing .

Thesis (Ph. D.)--University of Cambridge. / Includes bibliographical references (p. 197-211).

No description available.

Thesis (Ph. D.)--University of Cambridge. / Includes bibliographical references (p. 197-211).

No description available.

Thesis (M. A. (African Languages)) -- University of Limpopo, 2022 / Ndzavisiso wa “Mivilelo ya vatlhokovetseri va Xitsonga hi ku kongomisa eka swin’wana swa switlhokovetselo swa Xitsonga swa vantshwa” wu kombisa ku vilela loku nga kona ka vatlhokovetseri hi mahanyelo ya vantshwa va tiko ra hina. Vatlhokovetseri va ringeta ku kombisa kumbe ku lemukisa vantshwa hi khombo leri va langutaneke na rona ra ku tsan’wa milawu ya khale. Eka ndzavisiso lowu ku ta kaneriwa swihlawulekisi na swivangelo swa mikhuva leyi nga amukelekiki etikweni leswi vavisaka vatlhokovetseri emoyeni. Leswi swi xopaxopiwa eka matsalwa yo hambanahambana lama nga na minkongomelo yo vilela hi vutomi bya vantshwa. Ndzavisiso lowu wu avanyisiwile hi tindzima ta ntlhanu hi mukhuva lowu: Ndzima ya 1 yi kongomisiwile eka ku hlamusela manghenelo yo angarhela ya ndzavisiso, xitatimende xa xiphiqo, xikongomelo xa ndzavisiso, nkoka wa ndzavisiso, swivutiso swa ndzavisiso, nsusumeto na nhlamuselo ya matheme. Ndzima ya 2 yi kambisisa mitirho leyi endliweke hi valavisisi eka nkarhi lowu nga hundza leyi vulavulaka hi ku vilela hi karhi hi langutile ngopfu eka ku vilela ka vatlhokovetseri hi vantshwa na swihlawulekisi ku katsa na swivangelo swa vutlhokovetseri byo vilela. Ndzima leyi yi ta kanela na mitirho ya vutlhokovetseri byo vilela eka vanhu. Ndzima ya 3 yi hlamusela maendlelo lawa ya tirhisiweke ku hlengeleta vuxokoxoko bya ndzavisiso lowu. Vuxokoxoko lebyi katsaka maendlelo ya ndzavisiso wa nkoka, makunguhatelo ya ndzavisiso, sampulu ya ndzavisiso na mahlengeletelo ya mahungu. Ndzima ya vumune yi xopaxopa switlhokovetselo swa khumekaye swa mikongomelo yo vilela hi vantshwa ku huma eka tibuku to hambanahambana ta vutlhokovetseri. Yi ta kombisa ku vilela loku nga kona eka switlhokovetselo leswi hlawuriweke. (iii) Ndzima ya vuntlhanu (5) yi ta kombisa nkatsakanyo wa ndzavisiso, leswi kumiweke eka ndzavisiso, swibumabumelo, switsundzuxo eka vantshwa na vahlayi va ntirho lowu.

The main purpose of this work is to present short biographical accounts of the lives of the scholars who were either natives of or visitors to Nishapur from the beginning of the eighth century to the first quarter of the thirteenth century.

This thesis studies three of the most significant themes in the poetry of the Cuban Modernist, Julian del Casal. The poet's morbid fascination with death is characterized by an inability to adapt to his life environment, boredom, a strong self-destructive drive, and the concept of death as the ultimate joy and refuge. He reflects the Modernist aesthetic code in his cult of plastic and lyric beauty. An escapist, he sought refuge in an ideal world of perfection and elegance. This unobtainable goal resulted in deep melancholia and despair. The theme of love reflects a complete absence of passion and eroticism. The poet's categorical rejection of woman as a sensual object is accompanied by subtle insinuations concerning his own physical impotence and inability to love.

Women Poets and Place in Eighteenth-Century Poetry considers how four women poets of the long eighteenth century--Lady Mary Wortley Montagu, Mary Leapor, Anna Letitia Barbauld, and Mary Robinson--construct various places in their poetry, whether the London social milieu or provincial England. I argue that the act of place making, or investing a location with meaning, through poetry is also a way of writing a place for themselves in the literary public sphere and in literary history. Despite the fact that more women wrote poetry than in any other genre in the period, women poets remain a relatively understudied area in eighteenth-century scholarship. My research is informed by place theory as defined by the fields of Human Geography and Ecocriticism; I consider how the poem reproduces material space and the nonhuman environment, as well as how place effectively shapes the individual. These four poets represent the gamut of career choices in this era, participating in manuscript and print culture, writing for hire and for leisure, publishing by subscription and through metropolitan booksellers. Each of these textual spaces serves as an illustration of how the poet's place, both geographically and socially speaking, influences the medium of circulation for the poetic text and the authorial persona she constructs in the process. By charting how each of these four poets approaches place--whether as the subject of their poetry or the poetic space itself--I argue that they offer us a way to destabilize and diversify the literary landscape of eighteenth-century poetry.