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1
Bork, Debora J. „History and criticism of photographically illustrated children's books /“. Online version of thesis, 1988. http://hdl.handle.net/1850/11490.
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Riding, Christopher John Livsey. „The art criticism and history of Michael Fried“. Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272737.
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3
zur, Loye Tobias Percival 1985. „History of a Natural History: Max Ernst's Histoire Naturelle, Frottage, and Surrealist Automatism“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10700.
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x, 144 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.When André Breton released his Manifesto of Surrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection of thirty-four frottages was published under the title Histoire Naturelle. This thesis provides a comprehensive analysis of Histoire Naturelle by situating it in the theoretical context of Surrealist automatism and addresses the means by which Ernst incorporated found objects from the natural world into the semi-automatic production of his frottages. All previous scholarship on the subject is consolidated and critically examined, and the development of frottage is traced from its earliest manifestations to its long-lasting influences.
Committee in Charge: Dr. Sherwin Simmons, Chair; Dr. Joyce Cheng; Dr. Charles Lachman
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Amley, Hollis Marie. „The Evolution of Criticism on Jean-François Millet“. NCSU, 2005. http://www.lib.ncsu.edu/theses/available/etd-03282005-154529/.
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AMLEY, HOLLIS MARIE. The Evolution of Criticism on Jean-François Millet. (Under the direction of Keith Luria.) The nineteenth-century French painter Jean-François Millet?s social context, compositional style, and rustic subject matter invite a wide variety of interpretations of his art. To his biographer and contemporary Alfred Sensier, the rustic canvases were the work of a stoic ?peasant painter,? removed from the political controversies of his day. To the Marxist art historian T. J. Clark, on the other hand, Millet?s paintings interacted with and challenged the dominant values and institutions of the Second Republic. To the social art historian Robert Herbert, the paintings reveal the artist?s response to urban-industrial change and his Parisian exodus. In presenting these three formative readings of Millet?s canvases, this thesis demonstrates how each particular writer?s vantage point in history affected both his methodology and vision of the artist?s identity. The criticism on Millet shows not merely a series of antithetical, isolated opinions, but a kind of evolution, one that has gradually come to include both the artist and the society in which he worked.
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Simpson, Nigel. „Post-structuralism and history“. Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282616.
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Fairley, Ian. „Criticism in history : the work of György Lukacs, 1902-1914“. Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333708.
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7
Neidorf, Leonard. „The Origins of Beowulf: Studies in Textual Criticism and Literary History“. Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11366.
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Beowulf is preserved in a single manuscript written out around the year 1000, but there are many reasons to believe that the poem was composed several centuries before this particular act of manual reproduction. Most significantly, the meter of Beowulf reveals that the poet regularly observed distinctions of etymological length that became phonologically indistinct before 725 in Mercia. This dissertation gauges the explanatory power of the hypothesis that Beowulf was composed about three centuries before the production of the extant manuscript. The following studies test the hypothesis of archaic composition by determining whether it is able to accommodate independent forms of evidence drawn from the fields of linguistics, textual criticism, and literary history.
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Seymour, G. S. „History and aesthetics and in the development of English literary criticism“. Thesis, University of Essex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381257.
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Paris, Lisa. „Visual arts history and visual arts criticism : Applications in middle schooling“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Charlesworth, J. J. „Art criticism : the mediation of art in Britain 1968-76“. Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1803/.
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This thesis studies the changes in the nature of critical writing on contemporary art, in the context of the British art world across a period from 1968 to around 1976. It examines the major shifts in the relationship between the artistic production of the period and the forms of writing that addressed it, through those publications that sought to articulate a public discourse on art in a period where divergent accounts regarding the criteria of artistic value, and the terms of critical discourse, came increasingly into conflict. This thesis takes as its main subject a number of publication venues for art-critical writing of the time, and their responses to the rapidly changing scene of artistic production. It examines the forms of writing that attended emerging artistic practice and the theoretical and critical assumptions on which that writing depended, highlighting those moments where critical discourse was provoked to reflect self-consciously of the relation between discourse and artistic practice. By tracing the repercussions of the cultural and political revolts of the late 1960s, it examines how the orthodoxies of art criticism came to be challenged, in the first instance, by the growing influence of radical artistic practices which incorporated a discursive function, and by leftist social critiques of art. It explores how, in the first half of the 1970s, radical and political artistic practice was promoted by a number of young critics, and sanctioned by its presentation in public art venues. Examining the history of magazines such as Studio International and a number of smaller specialist and non-specialist magazines such as the feminist Spare Rib and the left-wing independent press, it attends to how debates over the cultural and social agency of art began to draw on continental theoretical influences that put into greater question the role of subjective experience and the nature of the human subject. It examines how this shift in the relation between practice and discourse manifested itself in the editorial and critical attitudes of publications both from within the field of artistic culture, and from a wider context of publications embedded in the radical political and social currents of the early 1970s. It gives particular attention to the careers of a number of prominent critics, while situating the later reaction against alternative artistic practices in the context of the politically conservative turn of the end of the decade.
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Haddad, Ziyad Salem. „The Jordanian contemporary art criticism : a methodological analysis of critical practices /“. The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487588939088645.
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Schillinger, Stephen. „Common representations : Jack Straw and literary history as cultural history on the early modern stage /“. Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.
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Kalbfleisch, Elizabeth. „Making history, picturing hysteria, archaeology, ficto-criticism, and the critical history of Nicole Jolicoeur's La vérite folle“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0016/MQ54347.pdf.
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14
Wallis, Lesley Ann. „History, politics and tradition : a study of the history workshop 1956-1979“. Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369414.
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Chapin, Charles Nicholas. „The turn to reading in twentieth-century literary criticism“. Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609859.
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Clark, Toby. „Representations of Russian Art in American Art History and Criticism 1917-1939“. Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522624.
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This dissertation examines the critical reception and historical construction of Russian art in the United States between 1917 and 1939. The study focuses on two main types of Russian art; that of the Russian avant-garde, and that of artists who emigrated to the United States and achieved a high level of critical visibility and commercial success there during the 1920s. The discussion of the Russian emigre artists concentrates on the treatment of their work in the American curatorial system and art market. It examines the critical strategies used to promote these artists, particularly in the writings of Christian Brinton, who formulated a new category termed 'Slavic art' which relied on theories of racial essentialism. The subsequent decline of the careers of the emigre artists can be explained partly by reference to the reorientation in American critical values after the early 1930s. Research on the interpretation of the Russian and Soviet avantgarde in the United States is focussed on two main Modernist institutions; the Societe Anonyme during the 1920s and the Museum of Modern Art in New York after 1929. The Societe Anonyme's management of its large collection of Russian avant-garde art is discussed in relation to the contrasting aesthetic perspectives and political alignments of Katherine Dreier and Louis Lozowick, and compared with alternative interpretations in western Europe. The study of the representation of the Russian avant-garde by the Museum of Modern Art is concentrated on the writings of Alfred Barr and his critical theory of Modernism. Barr's account of the history of Russian Constructivism and Soviet cultural policies in 1936 is seen to have performed an important function for establishing an ideological position for the ascending discourses of American Modernism in opposition to the competing positions of conservative anti-Modernism and left-wing aesthetics.
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Morozova, Ekaterina. „American art criticism and the crisis of art history writing : 1962-1967“. Thesis, Open University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413811.
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Hart, Sally. „Derrida and postmodernity : at the end(s) of history“. Thesis, University of Chichester, 2007. http://eprints.chi.ac.uk/836/.
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This thesis erects and defends the proposition that Jacques Derrida's readings of 'metaphysics in deconstruction' and his raising to theoretical consciousness of the 'differential matrix', have the capacity to inaugurate a 'brave new world' in this postmodern 'age of the aporia'. Beginning with an examination of Derrida's readings of Husserl and Saussure, it is argued that the radical historicity uncovered here qua an originary synthesis of language, time and the other, opens the possibility for greatly more democratising and emancipating self-creations and human solidarities to be thought. In terms of 'self-creations', and borrowing from the work of Elizabeth Deeds Errnarth, Chapter Two follows Derrida as modernity's sovereign subject and its 'History' are dis-placed by an absolutely affirmative postmodern subjectivity whose axiom might be 'I inherit, therefore, I am ... yes, yes ... ' Construed through his deconstructive reading of Kant, Derrida shows the way in which this postmodern subjectivity without alibi, makes of us all (like it or not, know it or not) resistance fighters, so many singularities existing in constant tension with all normalising/totalising tendencies (social, economic, techno-scientific, political, legal etc ... ) which profess to know the secret. Turning to co-extensive 'human solidarities', Chapter Three subsequently demonstrates the way in which Derrida's call for a 'New International', orientated through a 'new figure of Europe', enables us to imagine new polysemic communities (local, national, international) founded on the 'aporia of the demos', a 'foundation' that construes its hyper-relativity as a positive (ethico-political) condition of decision in terms of a radical responsibility (on an individual and communal level) for the moral/aesthetic decisions we make. It is thus that I will argue that Derrida's vision for a 'new world order' is born out of an aporetic condition which is both a risk and a chance of both the best - and the worst - happening; as someone who shares Derrida's desire for a fairer, freer, more peaceful world, one respectful of difference and otherness, I believe this to be a 'poker like gamble' well worth taking. Chapter Four offers a comparative analysis between the work of Jacques Derrida and Jean Baudrillard, two theorists counter-signing differently many of the 'same' discourses/ traditions/cultures/languages, etc ... to which they are both heirs. The chapter examines their respective 'quasi-philosophies of the limit', together with their differing conceptions of the issues surrounding globalisation and universalisation, as well as Baudrillard' s elevation of America (as opposed to Europe) as the exemplary site of resistance against the dangers of totalisation in 'postmodem' societies. The central argument here, in line with my previous remarks, is that Derrida's thought arguably remains 'the best' way to navigate the postmodem condition and the challenges it produces. The originality of this thesis lies in two main areas, the first having to do with my presentation and conception of Derrida's oeuvre and the second having to do with the comparisons made in this study between Derrida and Ermarth and Derrida and Baudrillard. In terms of the former, I offer what I consider to be a unique, sustained, in-depth analysis of the 'development' (on a theoretical and practical level) of the thematics of 'radical historicity' and of 'post-historical man' - effectively the development of Derrida's quasi-philosophy of history- from his earliest works so that they can be seen to inform his later intervention(s) in what are conventionally understood as ethical and political matters; transforming this understanding in the process and, after the end of history's ends (upper case, lower case and the totalising 'history of meaning' per se), quite literally and radically changing the way we see what we call 'the world'. For while in the conventional literature Derrida's politics come late, I argue here that his indeed later political work is but an emphasis of constant political thematics acting as a leitmotif from beginning to end. Turning to the latter, in terms of the comparisons I make - first between Derrida and Ermarth in Chapter Two and more especially between Derrida and Baudrillard in Chapter Four - the claim to originality lies in the fact that there is no comparison of any note or depth in the literature between these thinkers; nothing that compares Derrida's 'affirmative postmodem subjectivity' and its 'inheritance' with Ermarth's 'rhythmic time' and 'muIti-level consciousness', and nothing comparing Derrida's corpus - specifically his optimistic emancipating and democratizing hopes for the future - with Baudrillard's more pessimistic conceptualization of 'simulation society' and the loss of our European universal values under the hegemonic, globalising movement of the 'American model'. The aim of these two comparisons is to support my claim that Derrida's historico-political position is the 'best' way of essaying the quasi-ground of an in(different) politics in such a way that it keeps the future open to what he calls a 'better world' to come, a world without ends.
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Siviter, Clare. „Rewriting history through the performance of tragedy, 1799-1815“. Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87637/.
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This thesis constitutes the first extensive study of tragedy during the Napoleonic era. The new tragic productions of this period have been sidelined by French theatre history, allegedly because they were tired copies of seventeenth-century classical models, conduits for propaganda, and suffocated by censorship. I challenge this judgement by excavating this period’s theatre and by applying renewed critical approaches, notably André Lefevere’s notion of rewriting which posits that all productions are subject to poetics and ideology. This thesis is comprised of two principal axes. The first focuses on poetics to contend that new productions were not simply copies of classical plays. Although tragedy was based on the imitation of seventeenth-century models, which scholars refer to as classiques, these examples were rewritten during the eighteenth century, an activity which continued under Napoleon. Therefore, there was no stable example to imitate, rather there was a particular contemporary understanding, which I label the ‘classique’ model to underline its specificity. Using contemporary treatises to form a generic framework, I examine how new tragedies performed at the Comédie-Française depart from this inheritance, reconsidering the passage from theatrical Classicism to Romanticism. The second axis engages with Napoleonic cultural politics by rethinking the terms ‘propaganda’ and ‘censorship’. Although tragedy was used for its propagandistic properties, this policy was not always successful. Moreover, the works’ reception reveals that playwrights and the public appropriated tragedy’s rewriting of historical narratives as a means of mediating the Revolution. Finally, I examine censorship, investigating how the State’s bureaucratic and the Comédie-Française’s lateral systems combined to control and tailor tragedies in performance and print for contemporary audiences. Consequently, this thesis sheds light both on the transition from Classicism to Romanticism in the theatre, and the public and the regime’s use of tragedy as a means of reconstructing the French nation after the Revolution.
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Turner, Seth. „Revelation 11:1-13 : history of interpretation“. Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:57efe3b3-7c61-412f-9001-5269860a896d.
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The thesis provides a descriptive survey of the history of interpretation of Revelation 11:1-13. Prior to 1000 AD it aims to be comprehensive, but after this date concentrates on Western interpretation. Ch. 1 - Prior to 1000 AD. Rev 11:1-13 is examined in relation to the wider complex of traditions concerning Antichrist and the return of Enoch and Elijah. The commentary tradition on Revelation is examined, including an extensive reconstruction of Tyconius. The passage is applied in two ways: 1. to two eschatological figures, usually Enoch and Elijah. 2. to the Church from the time of Christ's first advent until his return. Ch. 2 -1000-1516 Exegesis similar to that of chapter 1 is found. There is new exegesis from Joachim of Fiore, who believes that the two witnesses will be two religious orders, and Alexander Minorita, who reads the entirety of the Apocalypse as a sequential narrative of Church history, arriving at the sixth century for 11:1-13. Ch. 3 -1516-1700 Protestants interpret the beast as the papacy/Roman Church, and the two witnesses as proto-Protestants prior to the Reformation, often interpreting their 1260 day ministry as 1260 years. Catholics respond by applying the passage either to the eschatological future or the distant past. Ch. 4 -1701-2004 Protestants continue to see the 1260 days as 1260 years, although this interpretation declines markedly in the nineteenth century. Both Catholics and Protestants apply the passage to the distant past of the early Church. Historical critical exegesis introduces a new exegesis, where John is regarded as having incorrectly predicted the return of two individuals shortly after his time of writing. Applications to the entirety of the time of the time of the Church increase in popularity in the twentieth century.
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Ryan, Matthew. „Self, nation and novel in contemporary Irish writing“. Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5421.
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Kling, Mattias. „Developing a Source Criticism Learning Activity for a Digital Learning Environment in History“. Thesis, Linköpings universitet, Interaktiva och kognitiva system, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-118311.
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Source criticism is an important part of the national curriculum in the history subject in middle grade schools. This master thesis presents the development of a digital learning activity for teaching students about source criticism concepts. The learning activity was developed by first researching the history curriculum and how source criticism is taught within the subject. A conceptual design was drafted based on these findings and the design of an existing framework for teaching students within the history subject. The existing framework, and the developed learning activity, is based on learning-by-teaching implemented in the form of a teachable agent. The teachable agent act as a tutee that students have to teach themselves, increasing students' motivation and learning. By teaching the agent, students improve their own learning. The final implementation of the activity is integrated into both the technical framework and the narrative of the existing environment.
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Cusack, Andrew. „The wanderer in nineteeth-century [sic] German literature : intellectual history and cultural criticism /“. Rochester (N.Y.) : Camden House, 2008. http://catalogue.bnf.fr/ark:/12148/cb41331975c.
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Buzzanco, Robert. „Masters of war? : military criticism, strategy, and civil- military relations during the Vietnam war /“. The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487844485899365.
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Osinkina, Lyubov. „The textual history of Ecclesiastes in Church Slavonic“. Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:105639ae-dbd0-49bb-a7aa-f36bac2ee221.
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So far only a limited number of biblical books in Church Slavonic has been studied and edited, and the book of Ecclesiastes does not feature among these. Ecclesiastes is not a mainstream book such as the Gospels and the Psalter but rather a peripheral biblical text never used in Eastern Orthodox liturgical services. Its late date and small number of witnesses, which also reflect its marginal status, are additional reasons why this particular book has not attracted much scholarly attention in the past. This thesis is intended to contribute to studies in the history of the Church Slavonic Bible by editing the unpublished text of Ecclesiastes including its catenary versions and discussing its textual tradition. Ecclesiastes surfaces as a complete text relatively late: the earliest extant Cyrillic manuscripts are from the 15th century. Such a late date may be an indication that there was no pressing need for translating the non-liturgical book of Ecclesiastes. Two Church Slavonic translations of Ecclesiastes are extant: one, attested in Cyrillic manuscripts, survives in three distinct types: a continuous version of the text (32 manuscripts of the 15th-17th centuries), a fragmentary commentated version (1 manuscript of the 16th century), a fragmentary commentated insertion (8 manuscripts of the 15th-16th centuries). The other translation is a Croatian Church Slavonic version in Glagolitic breviaries (17 manuscripts of the 13th-16th centuries). The structure of the thesis is determined by the nature of the subject, which deals with textual criticism. The chapters are organised into a series of sections which all have headings. This somewhat 'atomistic' approach is necessitated by the fact that we are faced with fragmentary and incomplete evidence of manuscript sources, and therefore only detailed examination and comparison of various manuscripts and versions of the text will enable us to solve, at least in part, the textual history of the book in question. The limitations of the present study are the scarcity of manuscripts and the lateness of the tradition. These, however, are familiar 'obstacles' recognised by Slavists working on similar subjects. The thesis consists of an introduction, which presents a brief historical outline of the Church Slavonic biblical translations, 4 chapters, conclusion, bibliography and 2 appendices: the first of these contains a variorum edition of the continuous text of Ecclesiastes; the second, the parallel texts from continuous, commentated and interpolated versions. Chapter 1 gives a list of all the extant manuscripts of Ecclesiastes with short descriptions including dating (on palaeographical grounds), and investigates the textual relationships between various groups of manuscripts using the classical method of textual criticism and stemmatics. This leads on to a discussion of the type of edition to be used. At the end of the chapter a stemma codicum is constructed. Analysis of the language is carried out in an attempt to date the translation on linguistic grounds. Chapter 2 provides an overview of the Greek and Slavonic catena and explores some of the key issues arising out of the existence of several versions and early fragments of Ecclesiastes. It deals with problems concerning the date and place of the translation of Ecclesiastes. Detailed analysis sheds some light on the textual peculiarities of the three versions: commentated, interpolated and continuous. The complex interrelationship between these three versions is investigated further and a comparison with the earlier extant fragments of the catena is also carried out. Chapter 3 deals with the quotations from Ecclesiastes in early translated texts and in original Old Russian literature. Quotations found in medieval Slavonic texts, both translated and original, appear to be independent of the translation of continuous Ecclesiastes known from manuscripts of around the 15th century. However, the quotations prove that parts of Ecclesiastes were known in some form of exegetical compilations. Chapter 4 investigates the translation of Ecclesiastes in the Croatian Church Slavonic breviary tradition. It examines claims made by scholars in the past and present with regards to its authorship and to the language of the source from which this text was translated. The conclusion is drawn that the text was translated purely from Latin. This conclusion is based on a number of findings: errors of translation, divergences in wording and grammatical forms between the Croat Glagolitic and Cyrillic Church Slavonic texts, and certain syntactical constructions such as periphrastic expressions for the future, which point unambiguously to a Latin original. In addition the date of the translation is placed roughly between the 12th and the 13th centuries. The conclusions summarize the findings of the study: textual analysis of the continuous text of Ecclesiastes indicates that all the extant Cyrillic manuscripts come from a single translation; this translation was made at some time between the 10th century and the beginning of the 15th century. Commmentated and interpolated versions should be treated as redactions deriving from a fuller catena. This fuller catena may have given rise to the continuous text through the removal of the commentary. Alternatively, the orginal plain text may have been added to the newly translated commentary to produce a commentated version. Bearing in mind that it is hard to decide conclusively between these possibilities, the difficulties of reconstructing archetypes of the plain text and the commentary are shown. The investigation of the text in the Croatian tradition demonstrates that the translation in the breviaries was made from Latin, and thereby eliminates the hypothesis that Methodius was the translator of this version. GB is chosen as a base text for the edition in Appendix 1. The main reason for doing so is pragmatic, for it offers as complete a text as is available to us. Besides, the availability of information on the cultural and historical circumstances surrounding the production of GB, in addition to its importance for the history of the East Slavonic biblical tradition makes it more worthwhile. By publishing the text from manuscript Sinodal'nyj 915 (GB) with a critical apparatus, supplying variants from other manuscripts, the editorial 'control' which the compilers of GB exercised while working with the text translated from Greek is illustrated. They appear to have compared their exemplar with another Slavonic witness to fill a lacuna in the middle of the text, and they shortened the interpolation by removing the commentary. It seems that they deliberately left the biblical verses in the interpolation intact. The textual evidence does not support the supposition that the compilers of GB collated their text of Ecclesiastes with any Greek or Latin sources. The choice of GB for the edition constitutes a significant step towards wider research into and eventual publication of the Gennadian Bible, which has received little attention hitherto, despite its significance as the first complete Church Slavonic Bible. In appendix 2 three versions of Ecclesiastes are presented in a tabular form: the continuous version is taken from the manuscript Sinodal'nyj 915 (GB), the commentated version from the manuscript Undol'skij 13, and the interpolated version from the manuscript Pogodinskij 1 with variant readings from the manuscripts of group 1. In the thesis several new findings are presented. These are: the absence of any link between the versions of Ecclesiastes in the Cyrillic and in the Glagolitic manuscripts, and the implausibility of a Methodian origin for the Croatian Church Slavonic text.
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Ram, Deepak. „A portfolio of original compositions exploring syncretism between Indian and western music“. Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.
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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Kokotailo, Philip 1955. „Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry“. Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.
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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
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DeWitt, Helen Marsh. „Quo virtus? : the concept of propriety in ancient literary criticism“. Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:8001826b-03c5-4a37-a2e2-8f7966f5f375.
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The standard of propriety is frequently appealed to in ancient literary discourse, most notably in discussions of poetics, criticism of literary works and precepts for composition. Its importance derives from the audience orientation of most ancient discussions of literature: writers were interested in the ways various forms of speech and writing had to be accommodated to their audience in order to achieve particular effects. Discussion of the representation of character, for instance, explored the ways that fictional persons or oratorical speakers could be made moving and convincing: they must conform to common preconceptions about the behviour and language suitable to their rank, sex, age, nationality, education. This raises important questions about the concept of propriety. First, is it coherent? It seems to depend heavily on the assumption that audiences are homogeneous; in practice, however, ancient writers recognise wide disparities in readers and spectators, and are often ready to accuse certain types of audience of bad taste. The concept is thus embroiled in the general aesthetic problem of the nature of taste: can criteria for artistic excellence be found which are independent of what people happen to like, and which can therefore justify claims about what they should like? Second, where does use of the concept place ancient literary discussion in relation to various forms of modern literary theory and criticism? A large number of modern movements have held it as axiomatic that the excellence of art lies in defeating the preconceptions of the audience; does ancient criticism have any defence against such a position? Both of these points touch on further issues: the place of literature and oratory in Greek and Roman societies, and the connection between literary discourse and other types of intellectual activity, most notably philosophy (propriety is equally important in most ancient moral philosophy). I consider these points in connection with major poetic genres, rhetoric, and the question of linguistic purity.
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HSIAO, CHING-SONG GENE. „SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)“. Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.
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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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何倬榮 und Cheuk-wing Ho. „Engendering children: from folk tales to fairy tales“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227363.
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Wylde, Nanette. „A brief history... interactive multimedia art installation: discussion of process, media, content, and response“. The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384359452.
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Samalavičius, Almantas Liudas. „Ideas and structures in architectural history“. Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060210_113316-20103.
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The history of architecture in Western countries and Lithuania is researched from various points of view. Such significant elements of architecture as light, color, sound, and water so far have been studied as far as their relation to the architecture of certain specific historical periods is concerned. However, up till now research of this kind was limited to deep, yet narrow, fragmented and specialized views of certain historical periods, or research projects were concerned with certain specific aspects of connections between works of architecture and metaphysical beliefs. Because of this, research of architectural history still lacks a thorough account of how metaphysical, religious, and philosophical worldviews affected the artistic expression of architecture of different periods. Without a sufficient amount of research of this kind, it is impossible to reconstruct a thoroughly consistent and more or less total view of the historical development of architecture. On the other hand, it strikes one as obvious that while the history and theory of architecture is being studied in Lithuania, we witness a lack of research work on the concepts of light, color, sound, and water that dominated during certain historic periods. Their impact upon the development of architecture needs to be analyzed and evaluated synthetically in a way that is consistent with a generalized approach, and with the help of research methods applied in the history of ideas and principles of analysis... [to full text]Architektūros istorija Vakaruose ir Lietuvoje yra tyrinėjama įvairiais aspektais. Apie tokius reikšmingus architektūros elementus kaip šviesa, spalva, garsas ir vanduo yra buvę reikšmingų specializuotų studijų šių reiškinių sąveikos su vieno ar kito istorinio laikotarpio architektūros kūriniais aptarti. Tačiau iki šiol tokio pobūdžio tyrimai apsiribodavo siaurais, fragmentiškais, griežtai specializuotais žvilgsniais į atskirų kultūros istorijos tarpsnių architektūrą arba tokio buvo pabrėžiami tik tam tikri, labai specifiniai sąveikos tarp architektūros kūrinių ir to meto pasaulėžiūros aspektai. Todėl nėra pakankamai ištyrinėta atskirais istorijos tarpsniais vyravusių metafizinių, religinių ir filosofinių pažiūrų įtaka meninei architektūros raiškai. Nesant tokių tyrimų, neįmanoma adekvačiai rekonstruoti architektūros istorinės raidos vaizdo. Nagrinėjant architektūros istorijos ir teorijos problematiką Lietuvoje, akivaizdu, kad labiausiai trūksta darbų, kuriuose atskirais kultūros istorijos tarpsniais vyravusių šviesos, spalvos, garso ir vandens sampratų įtaka architektūros meno raidai būtų įvertinta sintetiškai, apibendrintai ir nuosekliai, pasitelkus idėjų istorijos tyrimo metodologiją bei tarpdisciplinių kultūrologinių tyrimų analizės principus. Tai paskatino gilintis į minėtų elementus santykius ir sąveikas su architektūra nuo seniausių iki moderniųjų laikų, pasitelkiant idėjų istorijos atveriamas tyrimo galimybes. Tokios problematikos ir tyrimo perspektyvos pasirinkimas... [to full text]
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Huang, Ching-Sheng 1952. „Jokes on the Four Books: Cultural criticism in early modern China“. Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/288885.
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Jokes were considered low and insignificant in traditional Chinese literature. Ssu-shu hsiao is witty and provocative, different from other conventional and contemporary jestbooks for its parodic relationship with the Four Books, which were the core-texts of Neo-Confucianism and civil service examinations. The purpose of this study is to examine the late Ming jestbook, Ssu-shu hsiao, and analyze its cultural value, sociopolitical implications, and psychological concepts. This dissertation is divided into four chapters. Chapter one contains two important parts: It establishes the ground of historical studies relevant to the significance of the Four Books and Five Classics as well as the tradition of humor and jest. Part two provides an introduction of the text Ssu-shu hsiao and a description of my interpretive strategy. In order to help the reader understand the Chinese and Western theories of humor and literary tropes related to Ssu-shu hsiao, I direct my discussion to the following issues: imitation, allusion, quotation, parody, intertextuality, and paradox. Through the comparison between Ssu-shu hsiao and two other contemporary jestbooks, Hsien-hsien p'ien and Hsiao-fu, we can understand that the jokes of the late Ming were considered as public property used by people regardless of authorship. Chapter two investigates jokes in relation to the civil service examinations. Through examination books in the bookmarkets, we know the commercialized texts available for the prospective examinees; such a cultural phenomenon sheds light on the derailing of educational function from the level of self-cultivation to that of profit-making. The downward transformation of intellectual status from the Sung dynasty to the Ming resulted from defects in various factors. Jokes concerning the examination consisted of those making fun of the forms and contents of the eight-legged essays. The methods that enable one to become an expert of this type of prose include the memorization of the Four Books, Five Classics, and their commentaries, imitating the words and teachings of ancient sage-kings. Chapter three deals with the Sung-Ming pedagogical authority, Neo-Confucianism or the so-called "True Way Learning," and its activity of "learning by discussion" (chiang-hs Ueh). The factional disputes, philosophical debates, and the problem of legitimacy are signaled by the jokes targeting the Ch'eng Brothers and Chu Hsi. The equalization of the scholars of "True Way Learning" and "mountain-recluse" ("shan-jen") was an indication of the decline of intellectual status in the late Ming. Chapter four discusses gender and sexuality in the bawdy jokes of Ssu-shu hsiao. Dirty jokes expose the conflict of moral principle and pleasure-pursuit. The male jokesters manipulated gender stereotypes humorously by which we can probe into the problems such as the practice of concubinage, the remarriage of widows, and female same-sex relationship and adultery. Joking on male same-sex sexuality is also discussed. A conclusion recapitulates the key issues of the previous chapters.
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Pelletier, Valérie. „Etude sur l'entremêlement des concepts d'histoire et de fiction dans la littérature historique et fantastique en Chine“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79969.
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The fantastic stands as an important part of Chinese culture. It is in fact through its literature that it has been made possible for us to enjoy this heritage. With the study of fantastic tales and anomaly accounts, this thesis tackles the problem of rationalism in relation with supernatural. It attempts to understand the mechanisms of the intermingling of the concepts of fiction and history, through the comparison of Chinese historical and fictional texts, as well as parallels between China and Europe. It will also deal with the concepts of nature, in both the perspectives of China and Europe, and the Enlightenment.
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McAllister, Catriona Jane. „Rewriting independence in contemporary Argentine literature : postmodernism, politics and history“. Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648742.
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Gamlin, Gordon S. (Gordon Sebastian). „Michael Ondaatje's representation of history and the oral narrative“. Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56797.
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This study examines the function of oral narratives in Michael Ondaatje's representation of history. Ondaatje employs a variety of thematic, structural and stylistic oral narrative strategies in this inquiry. In the course of this work he faces the challenge of translating the open oral quality of the "tale" to the page. Ondaatje's longer prose works counter the printed text's tendency towards stasis through oral narrative and paralinguistic devices. Gradually, the aesthetics of public storytelling inform the process of historiographic revision. Within the oral model, ostensibly verifiable historical facts are no longer subjected to the laws of linear causality; therefore, any central single voice must relinquish its conventional claim to authority. Instead, several "speakers" tell of a shared history. Whereas conventional historiography often focuses on the effect of major historic forces, Ondaatje's oral model reveals how those on the periphery shape and define a given incident. Ultimately, the various participatory agents create the central event in the telling. The study concludes that Ondaatje employs oral narrative strategies to revise monolithic notions of history and to offer an open representation which draws attention to complexities ignored by conventional accounts.
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Geoghegan, Jeffrey C. „Until whose day? : a study of the phrase "until this day" in the Deuteronomistic history /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9945687.
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Khumalo, Hlonpha Pamela Vivienne, und Linda Loretta Kwatsha. „Perspectives of the historical–biographical criticism In the creative works of J. J. R. Jolobe“. Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/21983.
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Olu phando lohlalutyo lukwaluncomo-gxeko lwemisebenzi kaJolobe, injongo yalo kukubonisa ukuba lukho uqhagamshelwano phakathi kobomi bakhe jikelele kunye noncwadi lwakhe. Ulwazi olunjalo lungathi lube luncedo kwiphulo elibalulekileyo ekuncediseni kulwazi lokubhala ibhayografi yakhe. Kubonakele kufanelekile ukuba iphulo elinjalo lenziwe ukukhumbula imisebenzi emikhulu eyenziwe ngamaqhawe abantu abaNtsundu abathe banegalelo elikhulu ekuphakanyiswni koncwadi lwemvelo kwakunye nenkuqubela phambili kwimfundo yabantu abangama-Afrika beli lizwe. Umzekelo uJolobe ulusebenzele ukuba uncwadi lwakhe ukuxwayisa abantu bakowabo abaNtsundu ngemfundo nolwazi olwakhaya. Ukwalusebenzise uncwadi lwakhe ukuvusa abantu ama-Afrika balumke kwingozi zemimoya yocinezelo lwabo ngurhulumente ocalule abantu abaNtsundu kuba bebantsundu ngebala. Nangona uncwadi lwakhe ulenze lwabasisonwabiso kodwa ikhakhulu ulusebenzise kwanokunika intuthuzelo, ithemba kwanokomelela kubantu abathe bacinezelwe zimeko zobomi ukuba bangalahli ithemba loluzuza impumelelo, kuba izinto zingatshintsha ebomini babo ngokuhamba kwamaxesha. Kwakhona ukongeza uncwadi lwakhe ulusebenzise ukuphakamisa nokuhambisela phambili ulwimi lwemveli, inkcubeko, imbali ngokusebenzisa isixhobo esiluncwadi lwakhe ukuze ezi ngongoma zikhankanyisweyo zihlale ezincwadini zakhe ezithe zazisele zolwazi, zingabi nakuze zife kuba zililifa lesizwe esiNtsundu, Uninzi loncwadi olubhalwe nguJolobe luthe lwaxoxwa kwesi sifundo, kodwa kuye kwaphonongwa ikakhulu uncwadi lwemibongo, inoveli idrama kuba kubonakele ukuba lo msebenzi ubanzi kakhulu kwaye esi sifundo kubonakele ukuba kungabanzima ukuba singagqibeka lula, kodwa ke uJolobe ubengumntu okhutheleyo. Ubhale incwadi eziliqela ngenxa yothando lwakhe lobhalo loncwadi oluqhutywe ngumbono wakhe wobuthandazwe, wokubona kubalulekile ukuba inani loncwadi olubhaliweyo esiXhoseni linyuke kwaye libe kwizinga eliphezulu, ukuze umzi wasemaXhoseni nowamanye ama-Afrika ngokubanzi ungalambathi ngoncwadi lokufunda ujongelwe phantsi ngokuba semva kwinkqubela phambili zezinye izizwe Ingokuphandle uncwadi lukaJolobe lubonakela luyinxenye yobomi bakhe. Kulunye uncwadi kwakhe kufumaniseka ukuba ukubhale endululwe zizinto ezithe azamphatha kakuhle ebomini bakhe zazaza ezo zinto zawuphazamisa umoya wakhe, nentlalo yakhe wada waqanda ukuba makabhale aphokoze okukuphuphuma kwengcinga zakhe ukuzithuthuzela kwanokuphilisa kwanabanye abantu abathe badibana neenzima ezinjalo zobomi. Umzekelo: iimeko zopolitiko zeli lizwe zithe zabuchaphazela ubomi bakhe, oko kubesisiphumo sokuba abhale incwadi yakhe yedrama apho adiza ngeemeko zokuphatheka kwabantu baseBhayi kwilokishi eyathi yabelwa bona ngurhulumnte wobandlululo, apho ebexelenga khona njengetitshala kwanoMfundisi weliZwi. Kanti noncwadi apho athe wabonisa ukuvuya khona olo luvuyo olusukela kwinto ethe yamvuyisa emalunga nobomi bakhe, izimvo zakhe kwanenkolo yakhe njengomntu, kwanendlela akhule ngayo. Umzekelo, uJolobe uye wazisa abafundi bakhe ukuba iimbalo zakhe zisukele kwizinto ezithe zamchukumisa ebomini bakhe. Ngoko ke kwabonakala ukuba olu phando luluncedo ekusungulweni kweprojekti yokubhalwa kwebhayografi kaJolobe neya kuba luncedo kwimisebenzi yophando olubalulekileyo kuncwadi kuba iincwadi ezinje zityebile ngolwazi olubalulekileyo ekungena kucingelwa ukuba lunokufunyanwa kulo.
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Bishop, Mardia Joanna. „A history of Cincinnati theatre from 1938-1969 based on the criticism of E. B. Radcliffe“. The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1400075510.
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Rushing-Raynes, Laura. „A history of the Venetian sacred solo motet (c. 1610--1720)“. Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
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Orth, Michael D. „Mirages Solidified: Myth, Beautification, and Tourism In The Creation of Santa Barbara’s El Pueblo Viejo Landmark District“. DigitalCommons@CalPoly, 2011. https://digitalcommons.calpoly.edu/theses/615.
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A number of books and articles have been written on the social movement to reimagine Southern California’s past in the nineteenth and early twentieth centuries. While many of the pageants, parades, and public displays that defined this regional movement now reside in the pages of history, some architectural examples from this period are still visible today. In many cities, these examples are scattered throughout the community; while in others like Santa Barbara, they represent the centerpiece of the city’s architectural distinctiveness.
Santa Barbara’s architecture challenges urban scholars to successfully garner an accurate sense of the past. More importantly, such historic spaces divert attention away from the social efforts that led to their inception. This thesis charts the history of Santa Barbara’s architectural reinvention and how the stylistic proliferation influenced the way various generations would think about the city’s past. The renaissance in a uniform Spanish style not only inspired local beautification efforts but also historic preservation, which ultimately resulted in the creation of the El Pueblo Viejo Landmark District in 1960. Additionally, this narrative critically examines the area’s history prior to the district’s establishment to show how economic profitability guided city planning, beautification, tourism, and preservation toward the ultimate solidification of the town’s Spanish image.
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Rockhill, Paul Hunter. „The Reception Theory of Hans Robert Jauss: Theory and Application“. PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5153.
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Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.
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Ohm, Andrew Taehang. „Two faces of Manasseh : a comparative reading of 2 Kings 21:1-18 and 2 Chronicles 33:1-20“. Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources. Online version available for University member only until Dec 1, 2013, 2008. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=25472.
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King, Edward Carlos Richard. „Mapping the control society : science fiction tropes and digital technologies in contemporary Argentine and Brazilian narrative“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610135.
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Chau, Ka-wah Anna, und 周嘉華. „Imaginary spaces in children's fantasy fiction: a psychoanalytic reading of Lewis Carroll's Alice Booksand Philip Pullman's His Dark Materials Trilogy“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364986.
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Moeketsi, Solomon Monare. „Space and characterization in Sesotho novels“. Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53060.
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Thesis (PhD)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: This study examines space and characterization in Sesotho novels focussing on three main categories such as the space of travelling characters; the space of migrating characters; and the space as an abstraction. CHAPTER 1 introduces the aims of study as well as the theoretical framework which forms the basis on which the study is analysed. The notions of space and character are discussed within the theoretical framework of structuralism, and the focus is placed on narratology. CHAPTER 2 studies the travelling characters, focus is on Mofolo's novels, Moeti wa botjhabe/a and Pitseng which depict two types of space where one space is presented as traditional, and the other as a westernized space. The traditional and westernized spaces are symbolized by means of bad and good characters respectively. The good characters are depicted as angels, and the bad characters as monsters. CHAPTER 3 examines the space of migrating characters that leave their rural spaces for the urban spaces. Their characters are shown by means of changes that they experience at different spaces. In most of the novels examined, characters are motivated by certain desires to act in a particular way, and the change in them is the result of a crucial situation in life, hence we say characterization and space in those novels are reconciled in an appropriate way. CHAPTER 4 deals with the space as an abstraction which shows how the characters' personalities are affected by the political, psychological and socio-economic factors. Characterization in these novels is good except in Makappa's novel, Thatohatsi. In CHAPTER 5 we look as to whether the novels are good or bad in terms of literary appreciation and conclusion is drawn to the effect that it is not heredity that makes up a character, but the social environment. This is achieved through the literary aspects such as the way conflict is handled, types of characters and the portrayal of the space in which the characters live.
AFRIKAANSE OPSOMMING: Die navorsing wat hierdie proefskrif gedoen is het die soeklig op ruimte en karakterisering in Sesotho novelles laat val. Klem is op drie hoof-kateqorie gele. uimte wat deur rondreisende karakters ingeneem word, die ruimte wat deur nomadiese of rondtrekkende karakters beslaan word, en ruimte as n bepaalde begrip. Hoofstuk 1 stel die leser voor aan die doelwitte van die navorsing, sowel as die teoretiese raamwerk wat die grondslag waarop die studie berus, vorm. Die begrippe 'ruimte' en 'karakter' word binne die teoretiese raamwerk van die strukturalisme bespreek en die fokus word in hierdie geval op die vertelkunde geplaas. Hoofstuk 2 Ie klem op rondreisende karakters en ondersoek Mofolo se novelles Moeti wa botjhabela en Pits eng waarin twee soorte ruimtes uitgebeeld word; naamlik, tradisionele ruimte en verwesterse ruimte. Tradisionele en verwesterse ruimtes word onderskeilik deur slegte en goeie karakters versinnebeeld. Die goeie karakters word as engele uitgebeeld, terwyl die slegte karakters as monsters voorgestel word. In Hoofstuk 3 word die ruimte van die nomadiese karakters wat hulle plattelandse ruimte vir 'n stedelike ruimte verruil, ondersoek. Hierdie karakters word deur middel van veranderinge wat in verskillende ruimtes plaasvind, voorgestel. In die meeste novelles wat ondersoek is, het die karakters op n sekere manier opgetree omdat hulle deur bepaalde begeertes daartoe gedryf is. Die verandering in die lewens van hierdie karakters as gevolg hiervan, kan dan beskou word as die direkte gevolg van sekere deurslaggewende gebeurtenisse. Karakteriseering en ruimte word dus in hierdie novelles op n geskikte wyse met mekaar verbind. Hoofstuk 4 neem die begrip 'ruimte' onder die loep om sodoende aan te dui hoe die karakters se persoonlikhede deur politieke, sielkundige en sosio-ekonomiese faktore beinvloed word. Karakterisering in hierdie novelles is geslaagd, behalwe in Makappa se novelle Thatohatsi. In Hoofstuk 5, word aandag geskenk aan die beoordeling van die novelles in terme van die hulle literere waarde en daar word tot die gevolgtrekking gekom dat dit nie oorerflike eienskappe is wat gestalte aan 'n bepaalde karakter gee nie, maar veel eercer sy omgewing. Oit word veral duidelik as gelet word op bepaalde literere aspekete soos die manier waarop konflik uitgebeeld word, asook die beskrywing van die ruimte waarin die karakters hulle bevind.
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Van, Huyssteen Konstant. „Populêre vs. literêre grensverhale : twee beelde van die Angolese oorlog (1966-1989)“. Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/19512.
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Bibliography: pages 198-207.In this dissertation, a study is made of two bodies of fiction documenting the South African soldier in Angola. The fiction was limited to Afrikaans short stories, as this genre is believed to best reflect the fragmentary, explosive experience of combat. This demarcation also served as a way of limiting the body of fiction for the study. A cut-off year of 1990 was taken. The rationale for this is that the late seventies and eighties was the golden age for the publication of border fiction, and that Southwest AfricaNamibia gained independence in 1990 with a SWAPO (South West Africa People's Organisation) government, thus largely defeating the purposes of South African military involvement in Namibia and Angola. The collections of short stories that were analyzed in this study, were divided into two categories. The stories published in popular family magazines such as Die Huisgenoot were considered to be popular fiction. These stories are overtly accepting of South Africa's involvement in Namibia and Angola, and are highly propagandistic. The collections Ses Wenverhale (1988) by Maretha Maartens and others, and Verby die wit brug (1978) by Johan Coetzee, were analyzed as examples of this category. In the category of literary short stories, Wie de hel het jou vertel? (1988) by Gawie Kellerman and 'n Wereld sonder grense (1984) by Alexander Strachan were analyzed. It is important to note that the texts were selected thematically i.e. the criterium was that they had to have the South African soldier in South West AfricaAngola as main theme. Analyses of the texts are based on the thesis formulated by H P van Coller in his article "Afrikaanse literatuur oor die gewapende konflik in Suider-Afrika sedert 1963 - 'n voorlopige verslag". In this report, Van Coller mentions that studies comparing the literary border fiction with the popular border fiction, have been left behind. The study aims at examining this unexplored territory and looks extensively at how these two bodies of fiction differ. It was found that two radically different images of the border war emerge from the two bodies of fiction: the popular fiction is uncritical, war is presented more as an exciting game in the popular fiction, whereas it is presented as deadly, yet addictive, in the literary fiction. The ideological backgrounds from which the stories are written, are fundamentally opposed: the popular fiction often sees the war as a continuation of the white man's struggle for survival on a violent continent, and God is assumed to be on the South African side. The literary fiction documents a loss of God and criticises the government, censorship and apartheid. The literary fiction also fulfills a function of reporting - that which has not been said in the media due to censorship by government. The scope of the popular fiction is much narrower than the literary fiction, ignoring issues such as homosexuality in the army, torture and atrocities. Finally, the conclusions differ, with a sentimental "all will be well" in the popular fiction, as opposed to the fundamental pessimism in the literary fiction.
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DeAngelis, Angelica Maria. „History and fiction as narrative in the novels of Salman Rushdie“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22394.
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This work examines the fiction of Salman Rushdie--Grimus, Midnight's Children, Shame and The Satanic Verses, and its complex narrative structure. Fictional narrative is discussed in terms of structuralist theory using studies by Mieke Bal, Seymour Chatman and Gerald Prince. Historical narrative is analyzed through the writings of the philosophers of history, Hayden White, Louis O. Mink and Paul Ricoeur. These theories are applied to the fiction of Salman Rushdie in order to investigate his use of narrative. It is concluded that he uses a combination of historical and fictional narrative in order to explode existing 'truths' and mythologies, and to suggest alternative realities in their place.
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Brannigan, John Gerard. „Literature's poor relation : history and identity in the writing and criticism of nineteen-fifties literature“. Thesis, University of Bedfordshire, 1995. http://hdl.handle.net/10547/620747.
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All the major critics of postwar literature regard the fifties as a period in which literature was inept, conservative and conformist. This thesis argues that fifties literature was instead an active and successful agent in problematising conservative political orthodoxies, and in articulating alternative identities and politics. The study is concerned with two major themes: the relationship between literature and history, and the critical reputation and location of literature in nineteen-fifties Britain. It begins from positions that are already evident in postwar literary criticism towards both of these themes. Literature is understood in much of the critical writing of postwar Britain to be representative of social trends and attitudes, and its meaning is determined largely according to particular understandings of postwar British history and society. The literary text, if understood as 'representative', is capable of offering the reader direct access to the society of its production, and of reflecting the dominant trends and attitudes in a given period. Because it is the most recent period of realism in the history of English literature, the fifties seem to be particularly susceptible to this view. Reading fifties literature in the light of poststructuralist thinking on textuality and representation, this study argues that literature is not representative bu negotiates identities and social experiences of the fifties in a much more diverse way. These negotiations are demonstrated in readings of the work of John Osborne, Brendan Behan and Sam Selvon, and elaborated theoretically in the concluding chapters of the study. Literature's Poor Relation demonstrates that fifties literature is able to manoeuvre into a space wherein it can articulate oppositional and critical stances towards power, by firstly, imitating social detail and literary traditions, and secondly, reading these details and traditions in such was as to deconstruct them. The appearance of representativeness serves to seduce the reader into desiring the text (the idea that Look Back in Anger was representative attracted many of its original audiences to see it), and its readings and interpretations of history and identity deflect the reader's desire towards oppositional and critical moments in the text.
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Zingrone, Nancy L. „From text to self : the interplay of criticism and response in the history of parapsychology“. Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/7722.
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The thesis examines the history of criticism and response in scientific parapsychology by bringing together the tools of history, rhetoric of science, and discursive psychology to examine texts generated in the heat of controversy. Previous analyses of the controversy at hand have been conducted by historians and sociologists of science, focusing on the professionalisation of the discipline, its philosophical and religious underpinnings, efforts of individual actors in the history of the community, and on the social forces which constrict and restrict both the internal substantive progress of the field and its external relations with the wider scientific community. The present study narrows the problem domain from the English-language literature ---- an extensive database of over 1500 books and articles ---- to the following: (1) a brief history of the development of the field in the U. K. and the U. S. that includes a survey of previous reviews of the controversy; (2) a specific controversy that extended over a 10-year period in the mid-twentieth century; and (3) a solicited debate on parapsychology with two target articles, 48 commentaries, and 3 responses published in Behavioral and Brain Sciences. The thesis is comprised of eight chapters. In Chapter 1, the goals and methods of the thesis are described, previous considerations of controversy and closure in science studies are reviewed, the notion of closure is discussed, and the thesis content is described. In Chapter 2, a brief history of the field is provided which emphasises the broad structure and content of the field rather than specific methodology, results, or theory. In Chapter 3, previous reviews of the controversy are examined to provide a sense of the controversy terrain and to examine the extent to which what Gilbert and Mulkay (1984) have called ‘‘contingent’’ and ‘‘empiricist’’ repertoires have been used in criticisms and response. In Chapter 4, case studies on parapsychology that appeared in the science studies literature are reviewed. Rhetoric of science is introduced as a domain from which analytic tools for the present research are drawn. In Chapter 5, a case study tests the hypothesis that differences in style and structure in the two volumes that bracket the most important controversy in the history of American experimental parapsychology may have contributed to the scope and persistence of the controversy. The controversy extended from 1934 to 1944, beginning with the publication of the monograph Extra-sensory Perception (Rhine, 1934) and ending with the publication of Extrasensory Perception After Sixty Years (Pratt, Rhine, Smith, Stuart & Greenwood, 1940). In Chapter 6, I justify a turn towards the methodology of discourse analysis by reviewing both the antecedents of modern discursive psychology, and methods that are currently in use. I also review Mulkay’s (1985) The Word and The World as a prelude to the case study in the next chapter. In Chapter 7, a subset of the methods available in discourse analysis, particularly the concepts of formulation, category entitlement and footing are used to analyse a target article, 48 commentaries and two responses to the commentaries that center on James Alcock’s contentions that parapsychology is the search for the soul and that dualism as a philosophical position is incommensurate with science. I show how Alcock’s use of the contingent repertoire in characterising science practise in parapsychology undermines his authority as a scientific interlocutor, and obscures, to some extent, the substantive message he intended his target article to carry. Chapter 8 concludes the thesis by restating the findings of the three methods used, examining the limited use of the methods in this thesis and outlining what a more extended study with the same and/or related materials would look like, while describing other potentially fruitful research that might be done. How these methods should and may contribute to science practise in parapsychology is also discussed with a particular emphasis on the multidisciplinary nature of the discipline and the need for a more complete reflexivity.