Several of Sylvia Plath¡¦s poems are associated with the term ¡§Gothic¡¨ by critics. By examining how some conventional Gothic literary devices are used and how the feeling of terror is evoked in Plath¡¦s poetry, I shall try to prove the close correspondence between the Gothic literature and Sylvia Plath¡¦s poetry in this thesis. Then, I shall proceed to assert Plath¡¦s orthodoxy in the Gothic literature and discuss her uniqueness in the Gothic tradition.

Most people consider George Eliot a great Victorian novelist but neglect her role as a poetess. In fact, it is essential to read her poetry as well in order to grasp her thoughts. Her poems come mostly from her personal feelings, her observation of society, and her love of nature. This present thesis is a study of her poems and poetics, her poetic creativity, and her achievement in writing poetry. In the thesis, the introductory chapter has an overall look on George Eliot¡¦s poetic career. Chapter One examines her creative progress of composing poetry and her poetics. Chapter Two discusses her poetic experiment on dramatic poems in her times. The final chapter probes into the poetic mottoes applied to her last three novels. Most important of all, this thesis discovers George Eliot¡¦s identification as a poetess because she is conscious of what poetry offers and stimulates. This thesis, therefore, intends to show a new dimension of George Eliot as a poetess.

After the introductory chapters dealing with problematics of living abroad including memories of writers and non-writers, the thesis presents literary (especially lyrical) work of women writers who have decided to live beyond the borders of Czechoslovakia between years 1968-1989. This requires reflection of the whole context of post-war period. The attention is primarily focused on topics, motifs and instruments of poetic language that are present or absent in the chosen collections of poetry and on their potential changeability as well. There are also discussed the causes of exile or emigration of poetesses as well as other hypothetical effects on their work that are based on socio-cultural events. The final chapter outlines the situation after the year 1989 when some of poetesses have chosen the comeback to their motherland, some of them have stayed abroad or they have decided for life that does not have to consist of decision for a single country.

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Celem wyeksponowania poetyki Franciszki Arnsztajnowej przez zarys monograficzny jest wydobycie młodopolskiej poetki i jej dorobku z „niepamięci“. Osiągnięcie tego celu jest możliwe przez wprowadzenie twórczości Franciszki Arnsztajnowej w kontekst historyczno-literacki epoki oraz scharakteryzowanie istotnych cech jej poetyki. Napisana praca składa się ze wstępu, trzech rozdziałów i zakończenia. W pierwszym rozdziale pracy pt. Zagadnienia teoretyczne przedstawiłam podstawowe informacje teoretyczne. W drugiej części rozprawy, zatytułowanej Wybrane konteksty twórczości F. Arnsztajnowej, wyeksponowałam biografię młodopolskiej poetki na tle historyczno-literackim. Starałam się doszukać w jej twórczości śladów inspiracji twórczością innych poetów. W rozdziale trzecim pt. Poezja F. Arnsztajnowej: poetyka i najważniejsze motywy przedstawiłam dorobek poetycki Arnsztajnowej na podstawie interpretacji wybranych wątków literackich. / Magistrinio darbo F. Arnštajnovos poezija. Bandymas sudaryti monografiją tikslas yra parodyti šiandien užmirštos poetės, gyvenusios ir kūrusios Jaunosios Lenkijos epochoje, poetiką. Pasiekti šį tikslą yra įmanoma išsprendus šias užduotis: parodyti poetės kūrybos vietą literatūros tradicijoje ir Jaunosios Lenkijos kontekste bei išryškinti jos poetikos bruožus. Darbas susideda iš įvado, trijų skyrių ir išvadų: Įvade yra pateikta bendroji informacija apie Jaunosios Lenkijos epochą, šio laikotarpio požiūrį į moterį-poetę bei jų situaciją. Pirmajame skyriuje Teorijos pagrindai yra pateikta pagrindinė informacija iš hermeneutikos ir gender literatūros disciplinų. Antrasis skyrius pavadinimu F. Arnštajnovos kūryba išrinktųjų kontekstų atžvilgiu supažindina su poetės biografija. Šioje dalyje taip pat yra parodyta poetės kūryba kitų rašytojų atžvilgiu. Trečioji magistrinio darbo dalis F. Arnštajnovos poezija: poetika ir svarbiausi motyvai yra skirta rašytojos poezijos interpretavimui ir analizei. Išryškinti pagrindiniai motyvai ir parodyti lyrikos bruožai. Išvadose yra apibendrinti tyrimo rezultatai. / Masters courses in the work of F. Arnsztajnowa's poetry. Trying to establish a monograph goal today is to show the forgotten poet, has lived and created Young Poland era, poetics. Achieving this goal is possibly resolving the following tasks: to show poetess creative literary tradition, and the location of the Young Poland and the context of highlighting the essential features of the poetics. The work consists of introduction, three sections and the conclusions: The introduction is given general information about the Young Poland era, the period of treatment of a woman-a poet, and their situation. The first section of the framework is the theory of the basic information of hermeneutics, and gender literature disciplines. The second section of the name Selected contexts of F. Arnsztajnowa's work presents poetess biography. In this part is also shown poetess work in respect of other writers. Masters courses in the third section of the work F. Arnsztajnowa's poetry: poetics and the most important motives shows interpretation and analysis of the writer poetry. Highlights the main reasons and shows lyric features. In conclusion are summarized the results of the investigation.

À partir des années soixante-dix les femmes poètes s'affirment avec énergie dans le panorama littéraire italien. Bien que leur présence dans les anthologies les plus reconnues soit encore assez réduite, leurs écritures poétiques se caractérisent par une puissante originalité. L'objectif de cette thèse est d'étudier ces productions poétiques tout en s'interrogeant sur la possibilité d'identifier des éléments communs. Il ne s'agit pas de définir une spécificité féminine dans une perspective essentialiste, mais d'interpréter certaines données textuelles en se référant à un contexte historique et culturel bien défini. Le corpus de travail comprends les œuvres des femmes poètes suivantes: Amelia Rosselli (1930-1996), Alda Merini (1931), Jolanda Insana (1937), Patrizia Cavalli (1947) et Patrizia Valduga (1953). Afin de respecter les singularités de chaque écriture poétique et d’éviter des simplifications réductrices, nous avons accordé la priorité à l'analyse textuelle et organisé les chapitres selon une approche monographique plutôt que thématique. L'analyse révèle que ces femmes poètes abordent avec obstination trois nœuds problématiques: elles développent une réflexion sur la valeur de la langue poétique, ont tendance à structurer leur poésie autour d'oppositions fortes et irréductibles, et, enfin, font souvent appel à des éléments de type théâtral. Ces caractéristiques sont interprétées en considérant le rapport ambigu et contradictoire que le sujet féminin entretient avec le code poétique: il ressent un fort besoin d'inscription dans la langue poétique, mais aussi un sens d'extranéité. Cette tradition qui lui est chère ne lui appartient pas complètement car il a été exclu de son élaboration. / As from the seventies women poets assert themselves with energy in the Italian literary survey. Even if their presence in the most famous anthologies is curtailed, their poetic writings are characterized by a powerful originality. The aim of this thesis is to study their poetic production inquiring into the possibility of common elements. It’s not about defining a female specificity from an essentialist point of view, the purpose is rather to interpret some textual data with reference to a well-defined historical and cultural context. The study corpus includes works of the following Italian woman poets: Amelia Rosselli (1930-1996), Alda Merini (1931), Jolanda Insana (1937), Patrizia Cavalli (1947) and Patrizia Valduga (1953). In order to respect the particularities of every writing and to avoid hasty and restrictive simplifications, a great importance has been conferred to the textual analysis and the chapters have been arranged according to a monographic approach rather than a thematic structure. The result of the research demonstrates that contemporary Italian women poets attend insistently three knotty problems: they develop a reflection about the power of poetic language, they display a tendency to structure their verse on strong oppositions without appeasing synthesis and they often resort to dramatic elements. These characteristics can be interpreted referring to the double and conflicting position of the female subject towards poetic code: this new subject needs to inscribe himself in the poetic language, but he also feels a sense of extraneousness. The tradition he loves doesn’t belong completely to him as he was left out of its elaboration.

The thesis focuses on the rendering of the poetics of Anna Akhmatova and Marina Tsvetaeva in Czech translations. The first part deals with the phenomenon of poetesses in the Russian literature and subsequently with Akhmatova's and Tsvetaeva's life, works, style and reception. The second part is focused on contrastive translatological analysis of different approaches to their poetry and detailed analysis of existing Czech translations of Akhmatova's poem Rekviem and Tsvetaeva's work Popytka revnosti. It defines the approach of all translators to translation and evaluates the quality and adequacy of individual translation solutions in relation to the author's style and intention.

Gu Taiqing (1799-1876) also known as Gu Chun was poetess of Manchu origin, author of shi poems, ci lyrics and the first Chinese novel written by woman. Research of the diploma thesis is based on ci lyrics collection Fisherman`s songs from Eastern Sea and partly on shi poems Collection from the Tower of Celestial Wandering. Gu Taiqing`s poetry, of which some translations are included, is strongly autobiographical and it almost represents chronicle of her life. Poems give opportunity to explore her curriculum vitae, lyrics on the other hand create space for Gu Taiqing`s unique poetry language. Gu Taiqing expresses herself in many ways - as devoted wife, loving mother, faithful friend, art enthusiast, traveller and flower fancier. The main directions of her poetry was poetic interview or exchange with her husband Yihui and poems addressed to her friends - poetesses, members of The Autumn Red poetess circle. Gu Taiqing was inspired by each of the following Song poets: Zhou Bangyan, Jiang Baishi, Li Qingzhao, and their specific influence on Gu Taiqing`s poetry will be shown with examples in the diploma thesis. Gu Taiqing's poetry connects traditional literature with the first diffident exploration of the new territory. Gu Taiqing`s unique poetic expression completes woman chambers poetry and shows the...