Thesis (D. Min.)--San Francisco Theological Seminary, 1992. / Includes 90 original poems by the author. Includes bibliographical references (p. 218-225).

El presente trabajo se plantea como un estudio comparado entre Sonetos a Orfeo (1923) de Rainer Maria Rilke y Orfeo (1944) de Rosamel del Valle, teniendo como eje la apropicación del mito de Orfeo en ambos casos. (…) El presente trabajo tiene como uno de sus objetivos aclarar algunos problemas que surgen de esta identificación del mito de Orfeo con las creaciones de ambos autores. Dentro de la crítica existe una tendencia a dar por sobrentendido la relación entre esa figura mitológica con cada uno de estos poetas. La mayoría de las biografías o manuales sobre Rilke poseen un apartado o capítulo en el que hablan de su relación temática con este personaje en sus Sonetos a Orfeo, muchas veces junto con otra de sus grandes obras, las Elegías del Duino. Esta situación se debe a que son sus textos más influyentes, pero poco dicen para aclarar el por qué Orfeo y no otro personaje mítico es el que se utiliza para trabajar sus poemas. Se detienen en lo más obvio, como el hecho de que Orfeo er auna figura con la cual se identificó desde antiguo el oficio poético. Lo mismo ocurre con Rosamel del Valle, debido a la aparición recurrente de este personaje en gran parte de su producción. Esta identificación profunda conlleva el cuestionamiento sobre los alcances de la apropiación que ambos autores han hecho del mito de Orfeo: si se trata de una apropiación solamente temática o está asociada a algún aspecto central de la visión poética de ambos autores. Por el mismo motivo, si tal apropiación implica un nivel mayor, será necesario indagar en las razones por las que he adoptado al mito de Orfeo y no a otro como un elemento representativo de una determinada estética. Para ello, sería necesario analizar algunos elementos extratextuales, en especial los contextos de producción.

[pt] Essa tese investiga a relação entre o espectador e a cena a partir de algumas experiências de dança contemporânea. Procura-se entender como os artistas trabalhados criam, cenicamente, novos modos de fazer circular afetos e sentidos convidando o espectador a se despir das posições a que tradicionalmente está atrelado, seja como alienado, seja como hermeneuta. A trajetória da coreógrafa e cineasta Yvonne Rainer é o ponto de partida para a reflexão sobre a complexa relação entre a cena e o espectador, na qual as dimensões política, afetiva e imaginária da experiência artítica se tensionam. Rainer pesquisa, desde os anos 60, formas do corpo em cena resistir à captura do olhar do espectador, através da valorização de sua materialidade. A tese procura pensar, portanto, a partir da trilha aberta pela coreógrafa, como essa noção de materialidade não se entende como uma forma que possa ser significada, mas como uma força que desestabiliza a ordem das representações e impele a novos modos de produzir e refletir acerca do sentido do mundo. A partir dos trabalhos de Rainer, Jérôme Bel e Ann Teresa de Keersmaeker, Lia Rodrigues e Israel Galván, em diálogo com o pensamento contemporâneo a respeito da relação entre arte, corpo e política, a tese se propõe a pensar, por fim, como a exposição cênica da vulnerabilidade pode ser concebida como uma estratégia de criação potente. / [en] The present thesis investigates the connections between the spectator and the scene through some experiences of contemporary dance, trying to understand how the artists here studied create, scenically, new modes of circulation of affects and senses. Thus, the spectator is invited to abandon its traditional positions in which he appears either as an alienated participant either as hermeneutist interpreting the codes of the scene. The trajectory of the choreograph and film maker Yvonne Rainer is the starting point to question the complex relationship between the scene and the spectator in wich the political, affective and imaginary aspects of the artistic experience are in permanent tension. Rainer searches since de 60 s ways to make the body resist to the capture of the spectator s gaze, by valuing it s intrinsic materiality. Trough the path opened by Rainer, the thesis wishes to understand materiality not as a form that can be signified but as a force that destabilizes the logic of representation and impele in the direction of new forms of producing and thinking about the sense of the world. Through the works of the performers Yvonne Rainer, Jérôme Bel, Ann Teresa de Keersmaeker, Lia Rodrigues and Israel Galván in dialogue with contemporary thinking about the connections between arts, politics and body the thesis intends, finally, to think of how the scenic exposure of vulnerability can be conceived as a powerful strategy of artistic creation.

The emergence of Human Rights NGOs continue to influence the practice of human rights domestically and internationally. In connection with this development, as scrutinizers of human rights and human rights violations, the Human Rights NGOs must in turn be scrutinized. Guided by a theoretical framework consisted of theories of justification by Rainer Forst, Martha Nussbaum and Michael Ignatieff, a critical analysis of how Amnesty International and Human Rights Watch reveal the state of human rights in the respective annual report of 2017 is carried out. The aim is to scrutinize how the Human Rights NGOs interpretation, prioritization and justification of human rights affect the validity of human rights. The validity of human rights in turn, argues the thesis, presupposes that we must assess whether these strategies are reasonable. The thesis finds that human rights are understood as universal claims for the respect and protection of the underpinning values of human rights: dignity, freedom and equality. Human rights, interpreted in this sense, must have an abiding effect and protect human rights, but also to hold human rights violations accountable through means of justice. Accordingly, justice has a double meaning for the purpose of human rights in the sense that it firstly set out conditions for when human rights are protected and secondly, make this task possible. / I ljuset av framväxten av icke-statliga människorättsorganisationer och deras betydande inflytande på de mänskliga rättigheterna, syftar denna uppsats till att studera deras förståelse och tolkning av dessa rättigheter. Med hjälp av ett teoretiskt ramverk bestående av teorier om rättfärdigande av mänskliga rättigheter av Rainer Forst, Martha Nussbaum och Michael Ignatieff, genomförs en kritisk analys av hur Amnesty International och Human Rights Watch årliga rapporter om de mänskliga rättigheternas status ser ut. Syftet med denna analys är att kritisk granska hur organisationernas tolkning, prioritering och rättfärdigande av mänskliga rättigheter påverkar rättigheternas validitet. Validiteten i sin tur, förutsätter att en kritisk analys av dessa strategier förhåller sig till huruvida dessa är förnuftiga och godtagbara. Uppsatsen kommer fram till att mänskliga rättigheter förstås som universella anspråk vars syfte är att respektera och skydda de underliggande normerna av mänsklig värdighet, frihet och jämlikhet. Mänskliga rättigheter måste således ha en varaktig effekt för att skydda människor, men även för att kunna ställa brott mot mänskliga rättigheter inför rättvisa. Följaktligen har rättvisa mer än ett syfte, nämligen att först staka ut de förutsättningar som krävs för att respektera och skydda mänskliga rättigheter, och för det andra att göra detta möjligt.

The scores here collected represent all the music heard in the recital of 3 April, 1995 (programme on p. iii), save "Shimmering Reflections on a Dark Carrall Street Night." This is an electroacoustic piece which does, however, appear on the accompanying recording. / Arts, Faculty of / Music, School of / Accompanied by sound cassette of recital. / Graduate

Engel definieren sich vor allem durch ihre Undefinierbarkeit, ihre Zwischenwesenhaftigkeit. Das Spannungsfeld unvereinbarer Bereiche ermöglicht den Engeln die Existenz. Um ihre Aufgaben – besonders die des Mittlers bzw. Boten – zu erfüllen, können sie fliegen. Jeder Engel, schreibt Rilke, sei schrecklich. Als besonders schrecklich mögen diejenigen Engel sein, die gefallen sind. Ausgewählte Fall-Studien zu ihnen stehen im Zentrum dieser Arbeit. Engel büßen bei ihrem Fall die Fähigkeit zu fliegen und ihre privilegierte Position ein. Auf sich gestellt, zeigen gefallene Engel zwei Reaktionsmuster: Macht und Melancholie. Mächtigen gefallenen Engel gelingt es – oder: sie beabsichtigen es –, die Beziehungsrelation zur göttlichen Autorität nach ihrem Fall aufrechtzuerhalten bzw. neu zu definieren: Durch Errichtung neuer Reiche, rebellischer und sinnlicher, führen sie die Versuchung fort. Aber sie sind keine Mittler mehr, weil sie keine Mitteilungen mehr empfangen, sondern Botschafter eigener Botschaften. Melancholische gefallene Engel lassen dagegen die nutzlos gewordenen Flügel hängen. Auch sie haben vor ihrem Fall in einem Beziehungsverhältnis existiert. Fällt das Gegenüber weg, sinkt ihre Erscheinung in sich zusammen, erlischt ihre Botenfunktion, senden und empfangen sie nicht bzw. nichts Neues mehr. Macht und Melancholie sind in aber auch Aktionsfelder. Der Künstler reflektiert in der objektiv – für sein künstlerisches Schaffen – wie subjektiv – für sein künstlerisches Selbstverständnis – genutzten Identifikationsfigur des gefallenen Engels beide Positionen. So greifen Macht und Melancholie, Rebellion und Resignation, Schöpfen und Scheitern ineinander. Gefallene Engel sind eigentlich ihres Botenstatus’ beraubt. Doch haben sie eine einzige letzte Botschaft – sie sind selbst die Botschaft vom Ursprung ihres Falls und haben darin ihr Ziel. / Angels are defined above all by their indefinability, their mutable essence. The conflict zone between irreconcilable areas makes the existence of angels possible. To fulfill their function – in particular that of medium or messenger – they can fly. Every angel, Rilke wrote, is terrifying. Most terrifying among the angels are, perhaps, those that have fallen. Selected case studies of those form the core of this dissertation. When angels are cast out of heaven, they forfeit their capacity for flight and their privileged position. Left to their own defenses, fallen angels display one of two reaction modes – might or melancholy. Mighty fallen angels are able – or they aim – to maintain their relationship with divine authority, or to redefine it, after the fall. By erecting new realms, more rebellious and sensual, they carry on with temptation. But they are no longer media, because they no longer receive communications. Rather they are the messengers of their own message. Melancholy fallen angels, on the other hand, let their now-useless wings droop. They too existed in a relationship before the fall. When their vis-à-vis disappears, their apparition caves in; their messenger function extinguished, they send and receive nothing or at least nothing new. Yet might and melancholy are not only reaction modes, but also fields of action. The artist, in using the identification figure of the fallen angel both objectively – for his or her artistic creation – and subjectively – for his or her sense of artistic self, reflects both positions. So might and melancholy, rebellion and resignation, creation and collapse mesh. Fallen angels are in fact robbed of their messenger status because, unable to fly, they are no longer a medium. But they do have just one last message – they are themselves the message of the origins of their fall, and that is their goal.

Cette thèse interroge le sens du mythe orphique dans la poésie de six auteurs européens du début du XXe siècle (Valéry, Rilke, Trakl, Apollinaire, Campana, Goll), et le sens de la poésie orphique dans la modernité. En partant du double constat d’une crise de la Weltanschauung signant la désertion de la transcendance et du sens, et d’une crise du langage héritée de Mallarmé, cette thèse définit la poésie orphique comme une tentative de ré-enchantement visant à refonder la place de l’être dans le monde, le sens de la mort et la profondeur ontologique de la poésie. La thèse pose la question de l’unité ou de l’éclatement d’un lyrisme orphique moderne. Elle propose une mise au point historique sur les sources de l’orphisme jusqu’au début du XXe siècle, puis un parcours analysant le passage de la mythologie à des poétiques orphiques parfois opposées dans leur aboutissement (réharmonisation de soi et du monde, catabase sans fin, démembrement du sujet, incarnation par l’orphisme de l’idée d’une poésie parfaitement composée). Cette thèse s’attache aussi à définir l’orphisme dans ses dimensions musicales et picturales, interroge les liens entre orphisme et union des arts, et étudie la langue musicalisée et picturalisée des poètes, ainsi que plusieurs œuvres vocales et plastiques (Honegger, Poulenc, Webern, Weill, Delaunay, Dufy, Klee, De Chirico). Enfin, considérant le mythe selon sa dimension fondatrice d’une manière d’être au monde, cette thèse envisage la poésie orphique du début du XXe siècle comme le signe et le moyen d’un désir de retour à une forme de rapport mythique au monde où l’être, dans le chant, coïnciderait avec le sacré et avec le dicible. / This thesis examines the meaning of the myth of Orpheus in the poetical works of six early twentieth century European poets, and the meaning of Orphic poetry within a context of modernity. Having taken into account a twofold crisis, both of the Weltanschauung – revealing that any sense, or transcendent reference, is missing – and of language (Mallarmé’s legacy), this thesis defines Orphic poetry as an attempt to re-enchant the world, in order to give new roots to the being, a new meaning to death, and a new ground to settle poetry’s ontological depth. The thesis tries to determine if such a lyricism is unique or manifold. It makes a historical mise au point from the sources of Orphism up to the twentieth century; then, it tries to describe the transformation of mythological elements into poetical principles – from which may even have issued contradictory achievements (setting back harmonious links between the world and the self; endless katabasis; dismemberment of the I; Orphic embodiment of a perfect poetry). Our thesis also tries to describe how Orphism is conveyed through music and painting: it questions the link between Orphism and the union of the arts, and studies the poet’s music-like and picture-like language, as well as some vocal or painted works (Honegger, Poulenc, Webern, Weill, Delaunay, Dufy, Klee, De Chirico). At last, as it considers myth as the settling of a new way of being-in-the-world, this thesis pictures early 20th century Orphic poetry both as the symptom and the way of a desire to get back some kind of mythical relationship to the world, in which the being, the sacred and the sayable, through the poetical song, would prove coextensive.

Submitted by Rejane Coelho (rejanecoelho@ufpa.br) on 2019-01-03T17:12:33Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AbertoObraPaulo.pdf: 944323 bytes, checksum: 12a3b6706267e869b3e42844cde8c26f (MD5) / Approved for entry into archive by Rejane Coelho (rejanecoelho@ufpa.br) on 2019-01-03T17:12:56Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AbertoObraPaulo.pdf: 944323 bytes, checksum: 12a3b6706267e869b3e42844cde8c26f (MD5) / Made available in DSpace on 2019-01-03T17:12:56Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_AbertoObraPaulo.pdf: 944323 bytes, checksum: 12a3b6706267e869b3e42844cde8c26f (MD5) Previous issue date: 2018-07-05 / Esta dissertação apresenta um estudo sobre a questão do aberto na obra do poeta paraense Paulo Plínio Abreu. Tal questão aparece explicitamente tematizada no poema “Oitava Elegia” de Rainer Maria Rilke e trouxe frutos para a filosofia de Martin Heidegger. O filósofo alemão apresenta, em sua obra Parmênides, o modo como os gregos compreendem o aberto, como a essência da verdade e, com isso, faz um paralelo com a citada elegia de Rilke. Tendo Paulo Plínio traduzido Rilke, também incorporou o tema do aberto em sua obra poética, como o pôr em obra da verdade, porém de maneira singular. Fazemos aqui um estudo de como cada um destes autores apresenta tal questão, detendo-nos, em especial, no modo como Paulo Plínio a inscreve em seus poemas, empreendendo, para este fim, a escuta das imagens da noite, da viagem, do anjo e da morte, presentes em sua obra Poesia. / This dissertation presents a study about the opening issue on the Works of the paraense poet, Paulo Plínio Abreu. Such issue is very marked in the poem “Oitava Elegia” by Rainer Maria Rilke and brought many ideas to Martin Heidegger’s philosophy. In his work Parmenides, the german philosopher shows how the Greeks understand the opening as the essence of truth and with this insight he makes a parallel with Rilke’s poem. Paulo Plínio was a translator of Rilke’s works and incorporated the opening in his own poems, in the work of truth, however in a singular way. This presented study concerns about how each of the authors cited above show the opening issue, focusing in Paulo Plínio’s works. He uses the opening issue by the hearing of night images, the travel, the angel and the death present in his work Poesia.

My D.Phil, dissertation sheds new light on German literary decadence around 1900, its universal concepts, plurality of discourses and poetic transformations. The heuristic value of my dissertation is a refined differentiation of Dekadenz which reconstructs the literary history of the concept and for the first time proposes specific poetic constellations. In chapter 1, decadence is reviewed with its rich research heritage and introduced as a decisive concept and discourse of aesthetic modernism. Although much has been written on decadence, the concept is clearly in need of scholarly reconsideration. I argue that decadence is not only a vague epochal construct and an ensemble of motifs, but also encompasses discourses, universal concepts and a versatile literary style. In view of the stylistic eclecticism around 1900, I argue that decadence is a dynamic and malleable concept which can be combined with other aesthetic styles, movements and philosophical contexts depending on the specific author. Chapter 2 contextualizes Dekadenz from its etymology and central discourses to its universal concepts. Etymologically derived from the Latin verb de-cadere decadence signifies a downward movement and a figure of fragmentation. It evokes cultural and political decline especially that of the Roman Empire (décadence romaine) and undergoes various aesthetic transformations (1857-1894). After touching upon the precursors Baudelaire (1857), Bourget (1883) and Bahr (1889-1894), I dwell on Nietzsche to demonstrate the philosophically complex German double evaluation of decadence. I derive three universal concepts from Nietzsche (health vs. sickness, endings vs. new beginnings, fragmentation vs. wholeness) which are crucial to my literary analysis. My comprehensive literary analysis centers on three specific poetic constellations of decadence between late realism and aesthetic modernism. Chapter 3 illuminates Mann's spätrealistische Dekadenz (1894-1924) with his (Nietzschean) double evaluations. Transformations of decadence are shown in his early novellas, Buddenbrooks, Der Tod in Venedig and Der Zauberberg. Chapter 4 illustrates Hofmannsthal's ästhetizistische Dekadenz (1891-1902) in his early essays, his prose fragment Age of Innocence and Das Märchen der 672. Nacht. A significant transformation of decadence is illuminated in Ein Brief (1902), where Nietzschean decadence is concentrated and tentatively overturned. In chapter 5, Rilke's modernistische Dekadenz (1898-1910) is shown from his early fragment Ewald Tragy to his only novel Die Aufzeichnungen des Malte Laurids Brigge. His novel attempts a poetic 'revaluation of all values' and culminates in the emergence of a genuinely modernist decadence.

Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'.