1,721,043 research outputs found
Rhythm, Composition, Syntax and Semantics in R.S. Thomas’ “No”, “Kneeling” and “Via Negativa”
No full textL’objectif premier de cet article est de proposer une analyse sémiotique de trois poèmes de R.S. Thomas. Ce matériau de recherche permet de 1— mettre au jour l’utilisation idiosyncratique de procédés poétiques, 2— d’illustrer la juxtaposition fonctionnelle de plusieurs unités de composition (comme le pied, l’hémistiche, le vers, la strophe, la phrase, le texte dans son intégralité), et 3— de souligner les tensions paradigmatiques et syntagmatiques à l’œuvre entre les divers niveaux textuels particuliers, et à l’intérieur de ces mêmes niveaux. Plutôt que de se concentrer sur l’interprétation unifiée de poèmes particuliers, cet article se concentre sur la complexité de fonctions attribuées à des unités de composition individuelles. L’analyse fonctionnelle des relations qu’entretiennent rythme, composition, syntaxe et sémantique dans les poèmes de R.S. Thomas y est traitée comme la base d’interprétation de ces mêmes poèmes. L’arrière-plan méthodologique de cet article se fonde sur des écoles de critique littéraire d’Europe Centrale et d’Europe de l’Est, telles que le formalisme russe, l’école de Prague et la tradition structurale polonaise, et la sémiotique de Tartu.The main objective of this article is to present a semiotic analysis of three poems by R.S. Thomas. The research material enables me: 1—to exemplify idiosyncratic employment of poetic devices; 2—to illustrate functional juxtaposition of various compositional units (such as a metrical foot, a hemistich, a line, a stanza, a sentence, an entire text); and 3—to underline paradigmatic and syntagmatic tensions between/within particular textual levels. Rather than focus on a unified interpretation of particular poems, I concentrate on the complexity of functions that are ascribed to individual compositional units. The functional analysis of the relations between rhythm, composition, syntax and semantics in the selected poems of R.S. Thomas is treated as the groundwork for their interpretation. The methodological background for this paper encompasses Central and Eastern European schools of literary studies such as Russian formalism, the Prague and Polish structural schools, and Tartu semiotics
Rhythm, Composition, Syntax and Semantics in R.S. Thomas’ “No”, “Kneeling” and “Via Negativa”
No full textThe main objective of this article is to present a semiotic analysis of three poems by R.S. Thomas. The research material enables me: 1—to exemplify idiosyncratic employment of poetic devices; 2—to illustrate functional juxtaposition of various compositional units (such as a metrical foot, a hemistich, a line, a stanza, a sentence, an entire text); and 3—to underline paradigmatic and syntagmatic tensions between/within particular textual levels. Rather than focus on a unified interpretation of particular poems, I concentrate on the complexity of functions that are ascribed to individual compositional units. The functional analysis of the relations between rhythm, composition, syntax and semantics in the selected poems of R.S. Thomas is treated as the groundwork for their interpretation. The methodological background for this paper encompasses Central and Eastern European schools of literary studies such as Russian formalism, the Prague and Polish structural schools, and Tartu semiotics
R.S. Thomas: poetic horizons
Full text link© 2014 Dr. Karolina Alicja TrappThis thesis engages with the poetry of R.S. Thomas. Surprisingly enough, although acclaim for Thomas as a major figure on the twentieth century’s literary scene has been growing perceptibly, academic scholarship has not as yet produced a full-scale study devoted specifically to the poetic character of Thomas’s writings. This thesis aims to fill that gap. Instead of mining the poetry for psychological, social, or political insights into Thomas himself, I take the verse itself as the main object of investigation.
My concern is with the poetic text as an artefact. The main assumption here is that a literary work conveys its meaning not only via particular words and sentences, governed by the grammar of a given language, but also through additional artistic patterning. Creating a new set of multi-sided relations within the text, this “supercode” leads to semantic enrichment. Accordingly, my goal is to scrutinize a given poem’s artistic organization by analysing its component elements as they come together and function in a whole text.
Interpretations of particular poems form the basis for conclusions about Thomas’s poetics more generally. Strategies governing his poetic expression are explored in relation to four types of experience which are prominent in his verse: the experience of faith, of the natural world, of another human being, and of art. In the process, the horizons of Thomas’s poetic style are sketched, encompassing a lyrical verse which is also a verse given over to reflection. In this study, his poetry emerges as personal and based on individual experience; however, that experience is at the same time accorded a more universal dimension.
By way of conclusion, the present thesis sets Thomas’s writing within the context of literary tradition, highlighting his connections with Romanticism, seventeenth-century poetry, Modernist verse, and other literary movements. This study highlights the fact that Thomas’s literary models are still poorly understood. Examinations of his poetics are important for a fuller understanding of the poet’s achievement in literary history. In offering the first overview of Thomas’s poetic strategies, this thesis lays the groundwork for such future explorations
Poetry as Quest and Pilgrimage: La poesia di R.S. Thomas come ricerca di sé e di Dio
No full textAnalisi della figura del poeta gallese contemporaneo R.S. Thomas (1913-2000) con particolare riferimento all'uso che il poeta fa della metafora all'interno della sua prima produzione e al forte disagio causato dal suo essere diviso fra due culture, quella gallese e quella inglese
Deus ex machina e o Deus absonditus na poética de R.S. Thomas
Full text linkO presente artigo busca analisar a forma como o poeta galês R.S. Thomas interpreta e harmoniza algumas tensões históricas, por meio de sua unidade poética. Desse modo, no entendimento de Thomas, o sagrado, o secularismo, a tecnocracia e a dessacralização ocasionam rupturas no continuum histórico, e somente são alinhavadas mediante a poesia. Além disso, explora-se o modo como, ao longo da obra do poeta, as questões relativas à transcendência se relacionam com o circunstancial e o imanente, assim como os paralelos recorrentes entre eternidade e história.DOI: https://doi.org/10.28998/rl.v2i57.334
Deus ex machina e o Deus absonditus na poética de R.S. Thomas
No full textO presente artigo busca analisar a forma como o poeta galês R.S. Thomas interpreta e harmoniza algumas tensões históricas, por meio de sua unidade poética. Desse modo, no entendimento de Thomas, o sagrado, o secularismo, a tecnocracia e a dessacralização ocasionam rupturas no continuum histórico, e somente são alinhavadas mediante a poesia. Além disso, explora-se o modo como, ao longo da obra do poeta, as questões relativas à transcendência se relacionam com o circunstancial e o imanente, assim como os paralelos recorrentes entre eternidade e história.</jats:p
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Chameleon poet: R.S. Thomas and the literary tradition
Full text linkFor many decades, R.S. Thomas has been portrayed according to terms that he himself helped to define. Drawing on the poet's status as a passionate defender of the Welsh nation, scholars have followed his lead in emphasising the Welsh credentials and dimensions of his work, tacitly affirming his chosen cultural identity. Chameleon Poet, however, goes against the grain of previous studies by revealing Thomas as profoundly indebted to the English literary canon. Ultimately, Thomas emerges as a classic example of what Keats famously described as the 'chameleon poet', and through this prism S.J. Perry illuminates the various dimensions of his relationship with the literary tradition. Through detailed consideration of Thomas's life and writing and extensive archival research into his reading and correspondence, Perry examines Thomas's early immersion in the work of the English Romantics, through to his discovery of Irish and Scottish writing, his response to key poetic figures, such as Herbert, Tennyson, Edward Thomas and T.S. Eliot, his involvement with the influential journal Critical Quarterly, which inspired a creative dialogue with esteemed contemporaries like Ted Hughes and Philip Larkin, and his late engagement with the traditions of the elegy as conceived within Thomas Hardy's Poems of 1912-13. As well as suggesting new readings and associations, this groundbreaking exposition of R.S. Thomas's art forms part of a wider investigation into the nature of the British poetic tradition and archipelagic identity, showing how Thomas's Welshness was in fact a hybrid construct, emerging from his imaginative interaction with the literary cultures of England, Scotland and Ireland as much as those of his homeland
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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