Tōkō Sensei ibun /

Tsuketari: Ryakkei, nenpu, ryakuden.

Storia e tragedia. P. Oxy. XXIII 2382: edizione critica e commento

Il lavoro consta di un’introduzione dedicata in primis alla presentazione formale di P. Oxy. XXIII 2382, di cui sono posti in evidenza i legami strutturali e concettuali con il racconto di Hdt. I 8-12. Segue dunque la trattazione dei problemi posti da P. Oxy. 2382, quello del genere letterario di appartenenza (tragedia o novella in versi?) e quello della datazione (età classica o età ellenistica?), finalizzata ad una puntuale definizione dello status quaestionis. Le conclusioni mettono in luce gli elementi a favore dell’ipotesi tragica: la presenza di paragraphoi e il passo di Ach. Tat. I 8 4-7 (corredato da un’appendice relativa alla storia del termine δρᾶμα: se e quando tale termine assume l’accezione di ‘narrazione romanzesca’?), nonché il soggetto storico (con un excursus relativo ai drammi di argomento storico). Si evidenziano infine gli elementi di debolezza contenuti nelle ipotesi avanzate da Cantarella (1952) e Lloyd-Jones (1953), propensi a ritenere P. Oxy. 2382 rispettivamente una novella in versi (il che offre lo spunto per una breve trattazione relativa alle caratteristiche contenutistiche e formali delle novelle milesie) e un giambo archilocheo, di cui il fr. 19 W.2 conserverebbe l’incipit. Quanto alla cronologia, sono enumerati i limiti della datazione alta, nonché gli elementi di affinità di P. Oxy. 2382 con la tragedia ellenistica; infine, pensando ad una possibile attribuzione, si propone, in termini puramente ipotetici, il confronto con l’esperienza della Pleiade alessandrina. Segue dunque un’analisi (laddove le condizioni dei testi, spesso frammentarie, lo consentano) dell’opera di Licofrone di Calcide, Sositeo e Sosifane di Siracusa, esponenti della Pleiade, nonché di Moschione ed Ezechiele, volta ad individuare elementi di continuità con P. Oxy. 2382. Il lavoro si conclude con l’edizione critica e il commento verso per verso di P. Oxy. XXIII 2382, corredati da un’appendice dedicata a P. Oxy. XLIV 3161, testo con notazioni musicali apparentemente affine a P. Oxy. XXIII 2382, costituito da 4 frr. notevolmente accidentati, di cui si fornisce l’edizione critica.

Magic City Gospel

Magic City Gospel is a collection of poems that explores themes of race and identity with a special focus on racism in the American South. Many of the poems deal directly with the author’s upbringing in Birmingham, Alabama, the Magic City, and the ways in which the history of that geographical place informs the present. Magic City Gospel confronts race and identity through pop culture, history, and the author’s personal experiences as a black, Alabama-born woman. Magic City Gospel is, in part, influenced by the biting, but softly rendered truth and historical commentary of Lucille Clifton, the laid-back and inventive poetry of Terrance Hayes, the biting and unapologetically feminist poetry of Audre Lorde, and the syncopated, exact, musical poetry of Kevin Young. These and other authors like Tim Siebles, Gwendolyn Brooks, and Major Jackson influence poems as they approach the complicated racial and national identity of the author.

Asterisms

ASTERISMS is a collection of lyric poetry that seeks to express a sense of awe for the natural world by exploring themes of science, art, and the self. By combining physics and metaphysics, scientific terminology and musings on love, ASTERISMS argues that these seemingly-disparate fields of knowledge can harmonize in unexpected ways. In its style, the collection draws from the works of Dorianne Laux, Pablo Neruda, and Annie Dillard. Most of the poems are written in free-version and are tied together by images of astronomy and wilderness, both modern and prehistoric. Poems about classical music appear as interludes meant to complement others concerned with science and technology, as music too has its own invented language. Like asterisms - ancient inventions meant to personalize the expansive mystery of the night sky - this collection seeks to admire, if not completely understand, our place in the natural world and cosmos beyond.

Okay Cool No Smoking Love Pony

This poetry collection moves from the narrator’s childhood in the marshes of Canada to her coming of age in a new, southern swamp in South Florida. Many of the poems use free verse as well as fairly recent poetic forms like the Golden Shovel and the Pecha Kucha. Others rely on wordplay and nonce forms. Influenced by Hector Veil Temperly, Matthew Zapruder, Dorothea Lasky, Laura Kasischke and Anne Carson, the poems often employ simple language in stream of consciousness, and oscillate between lyric and narrative. These poems are feverish creations inspired by the oracular tradition and induced by the psychic crush of modern life: depression of the body and mind, cultural paranoia, and the decline of nature. The reader is privy not only to the personal biography of the narrator, but also to the inner workings of the narrator’s mind as it encounters and interprets the world.

Hallelujah Shoes

HALLELUJAH SHOES is a collection of poems, many grounded in the landscape and vernacular of rural and coastal North Florida, and steeped in a sense of place, loss, and the difficulties and mysteries of the human condition. Written mainly in free verse, the collection also contains poems written in traditional and nontraditional forms: abecedarian, haiku, sonnet, noun, and theatrical play. Section one is dominated by the narrator’s relationships with family and culture—their demands, dramas, and allures—and the conflict they create with the narrator’s desire for autonomy. Section two focuses on the narrator as she makes her own way in the world, exercising independence yet still subject to the emotional undertow of childhood experiences. Section three locates the narrator in the present, back in Florida after many years away, with knowledge of the transience of life, but taking joy where she can find it.

Annotated bibliography of Salomon de la Selva's collected poems

The purpose of my project is to provide a compilation of the work of Nicaraguan born poet, Salomon De la Selva, who incidentally was nominated for a Nobel Prize in 1919, and was the first Latin-American poet to publish extensively in English. In order to achieve this goal, my research methods included the substantial use of the Internet, as well as two investigative trips to Mexico and one to Nicaragua, which ultimately led me to uncover a total of 135 unaccounted English-language poems. In addition, De la Selva's uniqueness lies in the fact that he was a truly bilingual writer, who was equally able to create both in English and Spanish, simultaneously. Therefore, my project not only represents an act of reclamation, but the new material also provides new exciting possibilities for his work by facilitating an intertextual analysis of his poems, which will aid in understanding the complexities of bilingualism.

Expérience précaire du monde et représentation de la poésie dans La fissure de la fiction et Désâmé de Patrice Desbiens

Diverses œuvres de poésie moderne et contemporaine mettent en scène le rapport à l’écriture d’un sujet lyrique. Une telle problématique trouve une incarnation particulièrement intéressante dans l’œuvre de Patrice Desbiens, notamment dans certains de ses textes des années 1990 et 2000, où elle apparaît avec plus d’acuité. Pourtant, sa pratique auto-réflexive a fait l’objet de très peu de recherches. Afin d’éclairer le rapport qu’entretient Patrice Desbiens avec l’écriture et avec la poésie, ce mémoire s’intéresse à deux de ses textes, soit La fissure de la fiction (1997) et Désâmé, (2005) en accordant davantage d’espace au premier, que je considère comme un texte-charnière dans la production poétique de Desbiens. Dans un premier temps, mon travail présente ainsi la précarité qui caractérise le protagoniste de La fissure de la fiction et, sous un autre angle, le sujet lyrique de Désâmé. Dans cette optique, la figure du poète est étudiée dans La fissure de la fiction à la lumière de la reprise ironique du mythe de la malédiction littéraire et du sens que la réactualisation de ce mythe confère au personnage dans ce récit poétique. Dans un second temps, ce mémoire s’attache à montrer que la cohérence et la vraisemblance des univers mis en scène dans La fissure de la fiction et Désâmé sont minées. C’est à l’aune de ces analyses que peut ensuite être envisagé le rôle d’une poésie qui, en dernière instance, comporte malgré tout un caractère consolateur, en dépit ou en raison de l’esthétique du grotesque, tantôt comique, tantôt tragique, dans laquelle elle s’inscrit et que nous tâcherons de mettre en lumière.

Metáforas del amor en la poesía de la Grecia antigua (I): la épica y la lírica arcaicas

Partiendo del concepto de metáfora cognitiva, que complementa al más conocido de metáfora literaria, y analizando la base conceptual que a ambas subyace, pretendemos un cuidadoso análisis de los textos de poesía épica y lírica arcaicas, sin olvidar la importancia fundamental del contexto cultural en que estos surgen, para obtener una mejor comprensión de la forma en que los griegos conceptualizaban el sentimiento amoroso.

El oráculo griego en la época de la producibilidad escrita: la crisis de la autoridad mántica en "Aves" (960-996) de Aristófanes

Este artículo se propone analizar la escena del cresmólogo intruso en Aves, revalorizando la comedia aristofánica como fuente de conocimiento histórico. Este análisis se centra en la práctica oracular como una técnica de producción escrita vinculada a la autoridad religiosa. De esta manera, se exploran dos campos de estudios, como la comedia antigua y la adivinación griega, cuyo vínculo no ha sido explorado en profundidad. Para dar cuenta del momento crítico de la institución oracular durante la Guerra del Peloponeso, se reconstruyen perspectivas sobre dicho fenómeno en otras fuentes como Tucídides o Demóstenes. Esto no solo ofrece una mirada «cómica» sobre la adivinación, sino que también permite comprender la práctica oracular como técnica y, en consecuencia, qué elementos de su funcionamiento podían ser manipulados.

De Irlanda a Iberia: notas para a tradución de Eiléan Ní Chuilleanáin do inglés ao galego

La cuestión del género fue trabajada dentro de los estudios de traducción de diversas formas, incluyendo la asignación de género en la lengua meta, la traducción de lenguaje marcado de género y la traducción feminista. En este trabajo se estudia el uso o ausencia de marcas de género y de la praeterio a la hora de afrontar una traducción al gallego de la autora irlandesa Eiléan Ní Chuillanáin, feminista y nacionalista. Ambas situaciones se reflejan conscientemente en sus poemas de manera significativa. A través de ejemplos prácticos seleccionados, se reflexiona sobre la necesidad de tener en cuenta que la traslación de sus textos a una lengua que obligatoriamente establece elecciones lingüísticas entre el femenino y el masculino, debe hacerse respetando el sentido de la autora. Esto supone, para quien traduzca, compartir la perspectiva feminista y nacional de la autora familiarizándose con el marco y condicionantes de su obra poética.

A poesia promovendo o trabalho integrado e colaborativo na escola: uma contribuição à formação de professores na educação básica

Este estudo, desenvolvido através de uma investigação-ação, busca aprofundar a compreensão sobre o papel da poesia e de sua abordagem associado à integração curricular e ao trabalho colaborativo, em programas de formação de professores, inicial e continuada, visando à mudança de uma prática docente solitária para uma prática mais reflexiva e solidária. Esta investigação desenvolveu-se em uma escola pública de São Paulo - Brasil, com professores de diferentes disciplinas, coordenação pedagógica e estagiários do curso de Letras de duas universidades privadas. Com o propósito de contribuir para o debate, associamos o estudo teórico à investigação empírica, numa investigação-ação, recorrendo à observação participante e às entrevistas semiestruturadas. Elegemos para este trabalho três grandes eixos e suas respectivas referências teóricas: i) formação de professores; ii) currículo e desenvolvimento curricular; e iii) poesia e abordadem da poesia. Com base nesses eixos, elaboramos e desenvolvemos o estudo empírico que nos mostrou sua relevância através dos resultados obtidos: viabilidade de construção e implementação de projetos interdisciplinares nas escolas da rede pública; importância da interação entre professores e restante comunidade escolar; humanização do ambiente escolar; protagonismo de professores e alunos. Mostrou-nos também algumas limitações, especialmente o pouco investimento e apoio das equipes de gestão ao desenvolvimento de projetos integrados, assim como a falta de tempo necessário à construção de ambiente propício à criação da cultura de colaboração docente. Esperamos ter contribuído, através deste projeto, para que um novo olhar seja lançado aos programas de formação, inicial e continuada, de professores, menos tecnicista, mais crítico e reflexivo, mais solidário e integrado, mais humanizado e democrático, bem como à potencialidade da poesia/abordagem da poesia nesses contextos.

Expérience précaire du monde et représentation de la poésie dans La fissure de la fiction et Désâmé de Patrice Desbiens

Diverses œuvres de poésie moderne et contemporaine mettent en scène le rapport à l’écriture d’un sujet lyrique. Une telle problématique trouve une incarnation particulièrement intéressante dans l’œuvre de Patrice Desbiens, notamment dans certains de ses textes des années 1990 et 2000, où elle apparaît avec plus d’acuité. Pourtant, sa pratique auto-réflexive a fait l’objet de très peu de recherches. Afin d’éclairer le rapport qu’entretient Patrice Desbiens avec l’écriture et avec la poésie, ce mémoire s’intéresse à deux de ses textes, soit La fissure de la fiction (1997) et Désâmé, (2005) en accordant davantage d’espace au premier, que je considère comme un texte-charnière dans la production poétique de Desbiens. Dans un premier temps, mon travail présente ainsi la précarité qui caractérise le protagoniste de La fissure de la fiction et, sous un autre angle, le sujet lyrique de Désâmé. Dans cette optique, la figure du poète est étudiée dans La fissure de la fiction à la lumière de la reprise ironique du mythe de la malédiction littéraire et du sens que la réactualisation de ce mythe confère au personnage dans ce récit poétique. Dans un second temps, ce mémoire s’attache à montrer que la cohérence et la vraisemblance des univers mis en scène dans La fissure de la fiction et Désâmé sont minées. C’est à l’aune de ces analyses que peut ensuite être envisagé le rôle d’une poésie qui, en dernière instance, comporte malgré tout un caractère consolateur, en dépit ou en raison de l’esthétique du grotesque, tantôt comique, tantôt tragique, dans laquelle elle s’inscrit et que nous tâcherons de mettre en lumière.

Ronald Reagan Rain

RONALD REAGAN RAIN is a collection of poems that explore the wildness and terror lurking beneath the surface of contemporary suburban landscapes in a largely imagined America. Images of menacing policemen, bears, fast food restaurants, and dead film stars appear as substantive figures that embody loss and a preoccupation with aging, money woes, and a failed national confidence. Influenced by Russel Edson and Georg Trakl, poets whose work is characterized by Hermeticism and Expressionism, the poems in RONALD REAGAN RAIN suggest a similar dual need for autonomy and compromise in both highly charged poetic fragments and longer prose passages that examine issues of civil and personal estrangement as the outside world calls for constant introspection and reassessments of identity.

Give Us This Day

GIVE US THIS DAY is a collection of poetry grounded in the lyrical tradition that speaks to the conflicting need for structure and the inherent desire to be free. It focuses on those moments of rupture, when the structure, whether physical, emotional, psychological or political, is broken. The title poem sets the tone for the collection, capturing the idea that today is all one can truly know. Throughout the five sections of the collection, one comes to understand a complex family story, where right and wrong is blurred in the reality of existence. The sections, representing various parts of the day, are a parallel to the individual stories, speaking to the idea that a single day contains both times of light and darkness, similar to a life. The collection takes place in several cityscapes from Moscow to Delhi, Washington, D.C. to Miami. There are correlations drawn between familial settings and political unrest and tension. Often the political atmosphere is alluded to and drawn into context through the use of intimate personal vignettes. In contrast to the urban noise, there is pervasive natural imagery of gardens and tropical locales which mimic the physical life cycle, climaxing in the blossom.