手稿本. / Thesis (M.A.)--香港中文大學. / Shou gao ben. / Includes bibliographical references (leaves 505-506). / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 資料──唐代詩評作品概述 --- p.6 / Chapter 第二節 --- 唐詩之分期 --- p.23 / Chapter 第二章 --- 太宗貞觀至中宗景龍 --- p.32 / Chapter 第一節 --- 上官儀 --- p.36 / Chapter 第二節 --- 四傑──王勃、楊炯、盧照鄰、駱賓王 --- p.39 / Chapter 第三節 --- 沈佺期、宗之問 --- p.46 / Chapter 第四節 --- 蘇味道、李嶠、崔融、杜審言 --- p.53 / Chapter 第五節 --- 陳子昂 --- p.59 / Chapter 第六節 --- 其他 --- p.65 / Chapter 第七節 --- 結論 --- p.71 / Chapter 第三章 --- 宗玄開元天寶 --- p.73 / Chapter 第一節 --- 張說、張九齡 --- p.77 / Chapter 第二節 --- 王昌齡、王之渙、李頎 --- p.84 / Chapter 第三節 --- 王維、孟浩然、劉長卿 --- p.95 / Chapter 第四節 --- 高適、岑參 --- p.114 / Chapter 第五節 --- 李白 --- p.122 / Chapter 第六節 --- 杜甫、鄭虔、蘇源明、薛據、嚴武 --- p.141 / Chapter 第七節 --- 錢起、郎士元 --- p.169 / Chapter 第八節 --- 其他 --- p.173 / Chapter 第九節 --- 結論 --- p.182 / Chapter 第四章 --- 肅宗至德至代宗大曆 --- p.188 / Chapter 第一節 --- 元結、孟雲卿 --- p.190 / Chapter 第二節 --- 韋應物、皎然 --- p.202 / Chapter 第三節 --- 大曆十子及李益 --- p.213 / Chapter 第四節 --- 王建 --- p.234 / Chapter 第五節 --- 其他 --- p.237 / Chapter 第六節 --- 結論 --- p.243 / Chapter 第五章 --- 德宗建中至憲宗元和 --- p.245 / Chapter 第一節 --- 白居易、劉禹鍚、元稹、李紳 --- p.249 / Chapter 第二節 --- 韓愈、孟郊、盧仝、賈島 --- p.296 / Chapter 第三節 --- 張籍、李賀 --- p.331 / Chapter 第四節 --- 柳宗元 --- p.349 / Chapter 第五節 --- 姚合 --- p.355 / Chapter 第六節 --- 其他 --- p.359 / Chapter 第七節 --- 結論 --- p.370 / Chapter 第六章 --- 穆宗長塵至文宗開成 --- p.372 / Chapter 第一節 --- 杜牧 --- p.374 / Chapter 第二節 --- 張祐 --- p.381 / Chapter 第三節 --- 許渾 --- p.388 / Chapter 第四節 --- 劉得仁 --- p.392 / Chapter 第五節 --- 李商隱、段成式、溫庭筠 --- p.396 / Chapter 第六節 --- 其他 --- p.410 / Chapter 第七節 --- 結論 --- p.415 / Chapter 第七章 --- 武宗會昌至昭宗天祐 --- p.418 / Chapter 第一節 --- 薛能 --- p.420 / Chapter 第二節 --- 皮日休、陸龜蒙 --- p.427 / Chapter 第三節 --- 司空圖 --- p.448 / Chapter 第四節 --- 方干 --- p.454 / Chapter 第五節 --- 鄭谷 --- p.462 / Chapter 第六節 --- 韋莊 --- p.467 / Chapter 第七節 --- 其他 --- p.472 / Chapter 第八節 --- 結論 --- p.488 / Chapter 第八章 --- 總結 --- p.490 / Chapter 第一節 --- 唐人評唐詩之標準 --- p.490 / Chapter 第二節 --- 唐詩之影響 --- p.502 / Chapter 附錄 --- 參考書目 --- p.505

Inaug.-diss.--Berlin. / Lebenslauf.

Diss.--Giessen. / Lebenslauf. Reviews especially the work of Engelke, Lersch, Bröger, Barthel. "Die Bekanntesten deutschen Arbeiterdichter ... von 1895 bis [1932]": p. 10-12. eContent provider-neutral record in process. Description based on print version record. "Literatur": 2 p. at end.

Thesis (M.A.)--York University, 2002. Graduate Programme in Interdisciplinary Studies. / Typescript. Includes bibliographical references (leaves 167-171). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ71618.

No description available.

published_or_final_version / Chinese / Master / Master of Philosophy

Women's poetic writing in modern China, its context and position in literary history as well as its ideological and social constitution are at the root of this thesis' subject. Having stated my intellectual and personal limitations regarding its writing as an introduction, examples of contemporary women's poetic text will serve to broaden its conclusion. My analysis begins with a reflection on its own terminology in philosophical debate, followed by a study of the modernist background that from 1977 leads to what is termed as neo-modernity in literature. A paradox in the women's avant-garde of antipatriarchal antagonism against the literary institution will be illustrated by examples of critical text on women's poetic production. My point is to address this paradox with the identification of false values placed from the very beginnings of poetic modernity on women's poetry within the avant-garde.

Although many in the contemporary academic world would avoid themes such as solitude, love, and, in the context of “francophone” literature, exile, I have decided to give these all the attention they deserve based on the importance they hold in the works themselves, and based on the depth they possess. It is thus from the perspective of the renewed light they bring on these topics that the following three works will be analysed: À vol d’ombre (1966) by Jacqueline Beaugé, Transparence en bleu d’oubli (1979) by Renée Marie-Ange Jolicœur, and La Fidélité non plus… (1986) by Yanick Jean. In order to contextualize these three works, I first provide a brief history of Haitian poetry in which particular attention is given to the contributions of women writers. This overview illustrates how Jean, Jolicœur and Beaugé use very general themes such as love and solitude, but also how they manage to set themselves apart. Indeed, their works are unparalleled in Haitian literature because they constantly play with the conventions of love poetry and redefine the notion of absence. In order to establish how every absence contains traces of presence, my analysis bases itself in part on the theories of Derrida. I also explore how, in each of the collections of poems under consideration (although for different reasons), absence stifles any possibility of contact with the other. In order to understand this problem and underscore its importance, I refer to Hegel’s conception of the relationship to the other. Based on these premises, I conclude by showing how exile is a space that is at once filled with absence and with presence, and how the staging of the act of writing, in all three works, makes poetry and absence inseparable. / Thesis (Master, French) -- Queen's University, 2008-09-26 15:50:00.063

This study analyses the poetry which Sutzkever wrote between 1935 and 1954, emphasising the themes of the poetic word and the poet's role. During this formative period Sutzkever established his complex of images, and laid the foundation for the often hermetic later poetry. The earlier work is characterised by tension between the aesthetic and the ethical, the ikh and the world. The earliest manifests both strands, combining Romantic individualism with awareness of the social nature of poetry. In 'Valdiks' (1940), nature imagery develops into an inner language expressing an aesthetic vision, giving way in the war years to doubts, but also to a conviction of the poet's ethical task ('Di festung', 1945). In Israel Sutzkever achieved new confidence in his poetic identity, which he expressed through Jewish and biblical imagery ('In fayer-vogn', 1952). The African environment gave him a sense of freedom and renewed nature inspiration, and he explored new imagery of paganism, sensuality and myth ('Helfandn bay nakht', 1950-1954). The poeme 'Ode tsu der toyb' (1954) is the climax of the first period, resolving the conflict between aesthetic and ethical, past and present, and pointing the way towards the mature aestheticism of the later work. The study focusses on significant aspects of this process. Sutzkever's constant underlying theme is the nature of poetry itself. He investigates this through permanent images which develop specific symbolic connotations and become a metapoetic language. The resolution of the conflict between the aesthetic and the ethical lies in Sutzkever's belief in the equivalence of the spiritual and the corporeal, in the power of the word, and in the unbreakable goldene keyt of birth, death and renewal. The later aestheticism is foreshadowed in this period by the idea of the essence of poetry as the ineffable silence which the poet struggles to reach through the word.

Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2003? / "August 2003." Includes bibliographical references (leaves 166-177).