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1
Hall, Simon W. „The history of Orkney literature“. Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/2365/.
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The history of Orkney literature is the first full survey of the literature of the Orkney Islands. It examines fiction, non-fiction and poetry that is uncomplicatedly Orcadian, as well as that which has been written about Orkney by authors from outside the islands. Necessarily, the work begins with the great Icelandic chronicle Orkneyinga Saga. Literary aspects of the saga are examined, as well as its place within the wider sphere of saga writing. Most significantly, this study examines how the saga imposes itself on the work of subsequent writers. The book goes on to focua on the significance of Orkney and Orkney history in the work of a number of key nineteenth- and twentieth-century figures, including Sir Walter Scott, Edwin Muir, Eric Linklater, Robert Rendall and George Mackay Brown. The Victorian folklorist and short story writer Walter Traill Dennison is re-evaluated: The History of Orkney Literature demonstrates his central significance to the Orcadian tradition and argues for the relevance of his work to the wider Scottish canon. A fixation with Orkney history is common to all the writers considered herein. This preoccupation necessitates a detailed consideration of the core historiography of J. Storer Clouston. Other non-fiction works which are significant in the creation of this distinctly Orcadian literary identity include Samuel Laing's translation of Heimskringla; the polemical writings of David Balfour; and the historical and folklore studies of Ernest Walker Marwick. The study welcomes many writers into the fold, seeking to map and define a distinctly Orcadian tradition. This tradition can be considered a cousin of Scottish Literature. Although the writing of Orkney is a significant component of Scottish Literature at various historical stages, it nevertheless follows a divergent course. Both the eighteenth century Vernacular Revival and the twentieth century Literary Renaissance facilitate literary work in the islands which nevertheless remains distinctly independent in character. Indigenous Orcadian writers consider themselves to be Orcadians first and Scots or Britons second. Regardless of what they view as their national or political identity, their sense of insular cultural belonging is uniformly and pervasively Orcadian. What emerges is a robust, distinctive and very tight-knit minor literature.
2
PINTO, MARCELLO DE OLIVEIRA. „PRESUPPOSITIONS FOR A HISTORY OF LITERATURE“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8380@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROOs estudos da literatura, da história e da história da história atuais tendem a considerar inadequado abordar seus problemas e conceitos fundamentais isoladamente dos seus contextos e não visualizá-las como redes de interações que emergem de complicados processos psico-biosociais nos quais a figura curiosa e criativa do observador ocupa lugar central. A partir destes pressupostos, esta tese objetiva sugerir um modelo para a construção de uma história da literatura, descrevendo os fundamentos meta-teóricos que sustentam a construção dos conceitos principais a serem utilizados neste modelo, as teorias subjacentes às noções de literatura, história, história da literatura e os elementos importantes destes conceitos.
Nowadays Literary studies, history and history of history consider inadequate approaches to their basic concepts that do no take into consideration their contexts and their emergence as interactive networks derived from complex psychobiosocial processes generated by a curious and creative observer. Based on these presuppositions, this thesis aims to suggest a model to construct a history of literature. In order to reach its aims, I will describe its main concepts metatheoretical fundamentals applied to build this model, as well as theories that deal with the concepts of literature, history and history of literature and the relevant elements of these concepts.
3
Faulkner, S. „Adapting Spanish literature : cinema, form, history“. Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598953.
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This thesis examines literary adaptation in Spanish cinema as a site for the interaction of formal questions central to the study of film and literature and ideological concerns crucial to late twentieth-century Spain. While cinematic adaptations of literary texts have previously been neglected as they seemingly dilute 'pure' cinema, or have been subjected to analyses which seek to prove the artistic superiority of literature, this study demonstrates that the literary adaptation genre can be creatively energetic and conceptually challenging by drawing examples from Spanish cinema and television of the late dictatorship, transitional and democratic periods. Given the propaganda exercise mounted through cinema under Franco, in chapter one I argue firstly that ideological issues are particularly significant in Spanish film - even though a contradictory appeal to a historical Structuralist models is prevalent in Spanish film scholarship. I contend secondly that because literary adaptation constitutes a dialogue between two media, formal issues are also inevitably raised. In chapters two, three and four I foreground ideological questions by examining three themes of particular importance to late twentieth-century Spain - the recuperation of history, the negotiation of the rural and the urban, and the representation of gender - and consider the related stylistic issues of the supposed affinities between cinematic expression and nostalgia, the city and phallocentrism. In chapter five I place the formal question of the narrator centre stage by assessing Buñuel's previously unacknowledged stylistic debt to Galdós as manifested in his adaptations of Nazarín and Tristana, and examine the ideological implications of the two artists' shared subversion of realism. Questions of history and form are therefore inseparable, and every cinematic adaptation holds in tension its influence by, or its inflection of, the ideology and form of the literary text on which it is based.
4
Zheng, Xiaorong. „A history of Northern Dynasties literature“. Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11120.
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5
Pizziuti, Floriana <1983>. „G.M.Trevelyan:A life between Literature and History“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2930.
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Lo scopo del presente lavoro è quello di analizzare le fonti storiche e letterarie che hanno sviluppato la sensibilità di G.M.Trevelyan per la conservazione di una natura incontaminata. Tale condizione ha permesso al paesaggio di rappresentare in maniera univoca i valori spirituali della nazione inglese.
6
Veale, John Michael. „The Konigsmarck affair in history and literature“. Thesis, University of Bristol, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364965.
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7
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.
8
Geider, Thomas. „A bibliography of Swahili literature, culture and history“. Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91490.
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The present alphabetical Bibliography ranging from `Abdalla` to `Zhukov` includes old and new titles on Swahili Literature, Linguistics, Culture and History. Swahili Studies or \'Swahilistics\' have grown strong since the mid-1980s when scholars started to increasingly engage in international networking, first by communicating through the newsletter Swahili Language and Society: Notes and News from Vienna (Nos. 1.1984-9.1992) and Antwerp (No. 10.1993) and then through the journal Swahili Forum published at the University of Cologne (Nos. I. 1994 - IX. 2002), not to mention the numerous conferences held in Dar es Salaam, Nairobi, London, Bayreuth and other places, and not to forget the achievements of the journal Kiswahili from Dar es Salaam as another steady medium of Swahili scholarship. Of course, this Bibliography is not the only one: other useful and specialized bibliographical information appeared in articles, surveys, reference books and larger studies, which are indicated in the following. Part of the titles have been extracted from these sources and integrated into the present Bibliography after having had a physical look at them. As this was not always possible, it seems still to be advisable and necessary to consult the indicated sources themselves when it comes to selecting one\'s base of research literature.
9
Wydenbach, Joanna Susan. „Irish women's fiction 1900-1924 : literature and history“. Thesis, Queen's University Belfast, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437734.
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10
Jayasuriya, Shihan Malkanthi Devika de Silva. „Indo-Portuguese of Ceylon : history, linguistics and literature“. Thesis, University of Westminster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434365.
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11
CAMPOS, CARLOS ROBERTO PIRES. „LITERATURE, HISTORY AND ALEXANDRE HERCULANOS LEGENDS E NARRATIVES“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=3743@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta tese tem como objetivo principal a análise das Lendas e Narrativas, para, do ponto de vista histórico e ficcional, demonstrar a tentativa de Herculano de transformar, atento ao projeto romântico, o medievo português em patrimônio cultural. Captar o olhar romântico do autor, voltado para o passado medieval na construção da identidade cultural portuguesa, foi o segundo objetivo que se nos impôs. Para tanto, dividimos o estudo em seis capítulos, enfatizando em cada um o papel que o discurso da História desempenha nessa ficção. As sete narrativas são analisadas através da discussão dos enredos, à luz de correntes teóricas contemporâneas, para detectar as peculiaridades de cada uma, com ênfase no diálogo que se estabeleceu entre o discurso da literatura e o da História, no ato da criação ficcional. Grosso modo, concluímos que, em Lendas e Narrativas, o autor pretendeu conservar a memória de intensas experiências, compreendendo tanto a tradição ibérica quanto a transformação dessa mesma tradição, que assume o papel de produtora de elementos novos. Em seus textos, representa-se a construção da própria identidade, das marcas basilares da literatura do século XIX e até de algumas do século posterior. Pensar a questão da memória literária em Lendas e Narrativas obriga, assim, a reconhecer a produção literária como um sistema de diálogos, de trocas e de apropriações, impulsionado por um jogo de forças interativas. A diversidade de personagens presentes na obra a constitui um tecido intrincado e exemplar do gênero ficção histórica, na esteira de Walter Scott. A leitura aqui feita, norteou-a o propósito principal de contribuir para o (re)conhecimento desta obra fundamental do Romantismo português, acrescido de outro, talvez pretensioso, de abrir perspectivas para novas abordagens. Este contínuo interpretar a história, renovando seu significado, dando-lhe diferentes interpretações, assemelha- se a percorrer uma trilha que, sempre renovada, leva à descoberta de novas e fascinantes leituras.
The main objective of this thesis is to analyse the historical short stories in Lendas e Narrativas, so as to demonstrate, from both historical and fictional points of view, Herculanos attempt to change the Portuguese medieval period into a cultural inheritance, following the romantic artistic project. The second objective is to capture the romantic view of the author, who looked back to medieval times, in order to build a Portuguese cultural identity. The investigation is divided into six chapters, each one emphasizing the function that historical discourse represents in Herculanos fiction. In the light of contemporary theories, the seven narratives are analysed through the discussion of the plots (intrigues), to detect the peculiarities of each one. The emphasis is on the dialogue established between the discourses of Literature and History, within the texts, at the moment of creation. In broad terms, the research concludes that in Lendas e Narrativas the author intended to keep the memory of intense experiences, involving both the Iberian traditions and the transformation of these traditions, which assume the role of producer of new elements. This experience constructs the identity of the basic characteristics of nineteenth century Portuguese literature and even some characteristics of literature in the following century. Reflecting on the question of literary memory in Lendas e Narrativas thus demands the recognition that literary production is a system of dialogues, exchanges and appropriations that are activated by a play of interactive forces. The diversity of characters in the book makes it an intricate weave of historical fiction in the tradition of Walter Scott. The present study intends to contribute to the recognition of this essential work in Portuguese Romanticism and, perhaps ambitiously, to open up perspectives for new research. This continuous movement of interpreting history, renewing its significance, and providing it with different interpretations is a pathway to the discovery of fascinating new readings.
12
Trott, Vincent Andrew. „The First World War : history, literature and myth“. Thesis, Open University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664476.
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This thesis explores the role literature played in the creation and subsequent development of the mythology of the First World War in Britain. In this thesis, the term 'mythology' is used to denote a set of dominant symbols and narratives which characterise how the past is represented and understood. Many historians consider literature to be the source of the British mythology of the First World War, but it is argued here that previous historical approaches have paid insufficient attention to the processes by which books were published, promoted and received. Drawing on Book History methodologies, this thesis therefore also examines these processes with reference to a range of literary works, whilst employing theoretical models advanced in the field of memory studies to interrogate further the relationship between literature and evolving popular attitudes to the First World War. Through a series of case studies this thesis demonstrates that publishers, hitherto overlooked by scholars in this context, played a crucial role in constructing the mythology of the First World War between 1918 and 2014. Their identification of texts, and promotional strategies, were key processes by which this mythology was developed across the twentieth century and beyond. By examining critical and popular responses to literature this thesis also problematizes the linear narrative by which the mythology of the war is often taken to have evolved. It demonstrates that myths of the war have been constructed and contested by various groups at different times, and that the evolving memories of veterans were not always in alignment with those of the wider public. In doing so it provides a powerful counterargument to the assumption that a mythology of the First World War has become hegemonic in recent decades.
13
Lee, Shantell. „The Unheard New Negro Woman: History through Literature“. ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2046.
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Many of the Harlem Renaissance anthologies and histories of the movement marginalize and omit women writers who played a significant role in it. They neglect to include them because these women worked outside of socially determined domestic roles and wrote texts that portrayed women as main characters rather than as muses for men or supporting characters. The distorted representation of women of the Renaissance will become clearer through the exploration of the following texts: Jessie Fauset’s Plum Bun, Caroline Bond Day’s “Pink Hat,” Dorothy West’s “Mammy,” Angelina Grimke’s Rachel and “Goldie,” and Georgia Douglas Johnson’s A Sunday Morning in the South. In these texts, the themes of passing, motherhood, and lynching are narrated from the consciousness of women, a consciousness that was largely neglected by male writers.
14
Monteverde, Margaret Pyne. „The patterning of history in Old English literature“. The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1241188005.
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15
Blustein, Rebecca Danielle. „Kingship, history and mythmaking in medieval Irish literature“. Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1432770931&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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16
Verhagen, Pieter Cornelis. „A history of Sanskrit grammatical literature in Tibet“. Leiden : E. J. Brill, 1994. http://catalogue.bnf.fr/ark:/12148/cb356106379.
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Texte remanié de: Proefschrift--Rijksuniversiteit te Leiden, 1991. Titre de soutenance : Sanskrit grammatical literature in Tibet : a study of the Indo-Tibetan canonical literature on Sanskrit grammar and the development of Sanskrit studies in Tibet.
17
Thomas, Alun Deian. „The making and remaking of history in Shakespeare's History Plays“. Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/42105/.
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History is a problem for the history plays. The weight of ‘true’ history, of fact, puts pressure on the dramatic presentation of history. Not fiction and not fact, the plays occupy the interstitial space between these opposites, the space of drama. Their position between the binary opposites of fact and fiction allows the history plays to play with history. They view history as a problem to be solved, and the different ways in which each play approaches the problem of history gives us a glimpse of how they attempt to engage and deal with the problem of creating dramatic history. Each history play rewrites the plays that preceded it; the plays present ‘history’ as fluid and shifting as competing narratives and interpretations of the past come into conflict with each other, requiring the audience to act as historians in order to construct their own narrative of events. In this way the plays dramatise the process of remaking history. This can be seen in the relationship between the two parts of Henry IV, which restage the same narrative in a different emotional key, and the way that Henry IV’s retelling of the events of Richard II from his own perspective at the conclusion of 1 Henry IV forces the audience to re-evaluate the events of the earlier play, reinterpreting the dramatic past and imaginatively rewriting the play in light of the new perspective gained on events. The history plays thus create a new, dramatic history, a history without need for historical precedent. The plays deliberately signal their departure from ‘fact’ through anachronism, deviation from chronicle history and wholesale dramatic invention. In this sense the plays deliberately frustrate audience expectations; knowledge of chronicle history does not provide foreknowledge of what will happen onstage. History in the theatre is new and unpredictable, perhaps closer in spirit to the uncertainty of the historical moment rather than the reassuring textual narrative of the chronicles.
18
DiCuirci, Lindsay Erin Marks. „History's Imprint: The Colonial Book and the Writing of American History, 1790-1855“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280362004.
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Humble, Nicola Claire. „Robert Browning and history“. Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316762.
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Barlow, Richard. „Scotographic joys : Joyce and Scottish literature, history and philosophy“. Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580301.
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This thesis examines how the work of James Joyce deals with the literature, history and philosophy of Scotland. My first chapter discusses the Scottish character Crotthers of the , 'Oxen of the Sun' and 'Circe' chapters of Ulysses and demonstrates how this character, especially his name, is the beginning of Joyce' s treatment of the connections of Scottish and Irish histories. Chapter Two examines a motif from Finnegans Wake based on words related to the names of two tribes from ancient Scottish and Irish history, the Picts and the Scots. Here I discuss how this motif relates to the divided consciousness of the Wake's dreamer and also how Joyce bases this representation on 19th century Scottish literature, especially the works of James Hogg and Robert Louis Stevenson. Chapter Three is a look at the function of allusions to the work of the Scottish poet James Macpherson in Finnegans Wake. I claim that references to Macpherson and his work operate as signifiers of the cyclical and repetitive nature of life and art in the text. Chapter Four studies connections between the works of Joyce and Robert Burns, studying passages from Finnegans Wake, Ulysses and Joyce's poetry. The chapter covers the use of song in Finnegans Wake, connections in Irish and Scottish literature and provides close readings of a number of passages from the Wake. The final chapter looks at Joyce and the Scottish Enlightenment, particularly allusions to the philosopher David Hume in Finnegans Wake. The chapter considers connections between the scepticism and idealism of Hume's thought with the internal world of the dreamer of Finnegans Wake. As a whole this thesis seeks to show Joyce's indebtedness to Scottish literature, examine the ways in which Joyce uses Scottish writing and describe Joyce's representation of the Scottish nation.
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Milne-Walasek, Nicholas. „The History/Literature Problem in First World War Studies“. Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35162.
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In a cultural context, the First World War has come to occupy an unusual existential point half-way between history and art. Modris Eksteins has described it as being “more a matter of art than of history;” Samuel Hynes calls it “a gap in history;” Paul Fussell has exclaimed “Oh what a literary war!” and placed it outside of the bounds of conventional history. The primary artistic mode through which the war continues to be encountered and remembered is that of literature—and yet the war is also a fact of history, an event, a happening. Because of this complex and often confounding mixture of history and literature, the joint roles of historiography and literary scholarship in understanding both the war and the literature it occasioned demand to be acknowledged. Novels, poems, and memoirs may be understood as engagements with and accounts of history as much as they may be understood as literary artifacts; the war and its culture have in turn generated an idiosyncratic poetics.
It has conventionally been argued that the dawn of the war's modern literary scholarship and historiography can be traced back to the late 1960s and early 1970s—a period which the cultural historian Jay Winter has described as the “Vietnam Generation” of scholarship. This period was marked by an emphatic turn away from the records of cultural elites and towards an oral history preserved and delivered by those who fought the war “on the ground,” so to speak. Adrian Gregory has affirmed this period's status as the originating point for the war's modern historiography, while James Campbell similarly has placed the origins of the war's literary scholarship around the same time.
I argue instead that this “turn” to the oral and the subaltern is in fact somewhat overstated, and that the fully recognizable origins of what we would consider a “modern” approach to the war can be found being developed both during the war and in its aftermath. Authors writing on the home front developed an effective language of “war writing” that then inspired the reaction of the “War Books Boom” of 1922-1939, and this boom in turn provided the tropes and concerns that have so animated modern scholarship. Through it all, from 1914 to the current era, there has been a consistent recognition of both the literariness of the war's history and the historiographical quality of its literature; this has helped shape an unbroken line of scholarship—and of literary production—from the war's earliest days to the present day.
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O'Meara, Patrick Carleton University Dissertation English. „Invisibility and interpretation; history and hope in African literature“. Ottawa, 1987.
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Biart, Nicholas David. „A question of history“. Thesis, University of Chichester, 1999. http://eprints.chi.ac.uk/941/.
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My thesis seeks to challenge the existing understanding of the relationship between Romanticism and Post-Modernism in order to put into question the traditional historiographical view of the division of literary history into a series of discrete epochs, each one consecutive to the passing away of the other. My methodology devolves upon a close reading and analysis of the work of three writers and philosophers: the philosopher Immanuel Kant, the 'Post-Modern' French feminist writer Helene Cixous and the 'Romantic' philosopher and poet Samuel Taylor Coleridge. Through my examination of the oeuvres of these three writers I seek to demonstrate that, in the domain of subjectivity, there is a strong commonality of approach to the question of the construction of the subject in despite of the gulf of time that separates them. In this way I demonstrate that the historiographical approach, which involves the fissuring of the works of writers and philosophers into discrete historical events, is fundamentally susceptible of being put into question.
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Vollaro, Daniel R. „Origins and orthodoxy anthologies of American literature and American history /“. unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-08272008-210438/.
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Thesis (Ph. D.)--Georgia State University, 2008.Title from file title page. Janet Gabler-Hover, committee chair; Robert Sattelmeyer, Calvin Thomas, committee members. Electronic text (205 p.) : digital, PDF file. Description based on contents viewed Sept. 18, 2008. Includes bibliographical references (p. 192-205).
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Forsberg, Laura. „The Miniature and Victorian Literature“. Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845467.
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The Victorian period is famously characterized by its massiveness, with the vast extent of the British Empire, the enormous size of the nineteenth-century city and the massive scale of the three-volume novel. Yet the Victorians were fascinated with miniature objects, which seemed in their small scale to belong to another world. Each miniature object prompted a unique imaginative fantasy of intimacy (the miniature painting), control (the toy), wonder (the microscope and the fairy) or knowledge (the miniature book). In each case, the miniature posited the possibility of reality with a difference, posing the implicit question: What if? This dissertation traces the miniature across a range of disciplines, from aesthetics and art history to science and technology, and from children’s culture to book history. In so doing, it shows how the miniature points beyond the limits of scientific knowledge and technical capabilities to the outer limits of the visual and speculative imagination. In novels, the miniature introduces elements of fantasy into the framework of realism, puncturing the fabric of the narrative with the internal reveries and longings of often-silent women and children. Miniature objects thus function less as realist details than as challenges to realism. In charting the effect of the miniature, both as a portal into the Victorian imagination and as a challenge to narrative realism, this dissertation puts the techniques of material history to new use. It aims not to describe the world of the Victorians but to show how the Victorians imagined other worlds.English
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Plummer, Robert. „History in black and white : the treatment of history in the political novel of Andre Brink“. Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363761.
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Weiss, Katherine. „Samuel Beckett: History, Memory, Archive“. Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2281.
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Kennedy, Seán, und Katherine Weiss. „Samuel Beckett: History, Memory, Archive“. Digital Commons @ East Tennessee State University, 2010. https://www.amzn.com/0230619444.
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This volume comprises ten essays challenging the dominant account of Samuel Beckett’s engagement with history. As the first full-length volume to address the historical debate in Beckett studies, Samuel Beckett: History, Memory, Archive provides both ground-breaking analysis of the major works as well as a sustained interrogation of the critical assumptions that underpin Beckett studies more generally. Drawing on a range of archival materials, and situating Beckett in historical context, these essays pose a strong challenge to the prevailing critical consensus that he was a deracinated modernist who cannot be read historically.https://dc.etsu.edu/etsu_books/1185/thumbnail.jpg
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Safran, Morri. „"Unsex'd" texts : history, hypertext and romantic women writers /“. Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3026209.
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Mills, Mark Spencer. „Interrogating History or Making History? Vonnegut's Slaughterhouse-Five, DeLillo's Libra, and the Shaping of Collective Memory“. Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1524.pdf.
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Lezra, Esther Margaret. „Looking for monsters : mechanism of history, mechanisms of power /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170235.
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Maxson, Brian. „The Crusades and the Lost Literature of the Italian Renaissance“. Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/6225.
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Davall, Nicole Elizabeth. „Shakespeare and concepts of history : the English history play and Shakespeare's first tetralogy“. Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/65797/.
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Divided into three large chapters, this thesis explores sixteenth-century concepts of history, considers how those concepts appear in Elizabethan history plays on English history, and finally looks at Shakespeare’s first tetralogy of history plays. The aim of the thesis is to consider in some detail the wider context of historical and dramatic traditions in Tudor England to gain a better appreciation of how they influenced possible readings of Shakespeare’s early history plays. Chapter One looks at how medieval approaches were modified in the fifteenth century. St. Augustine’s allegorical method of biblical exegesis made it possible to interpret history from inside the historical moment by allowing historically specific incidents to stand for trans-historical truths. However, the sixteenth-century chronicle tradition shows an increasing awareness of the difficulties of interpreting history. Chapter Two looks at early English history plays outside of the Shakespearean canon. History plays borrowed the conventions of comedy, tragedy and the morality play to provide frameworks for interpretation. Nevertheless, early histories such as Kynge Johan, Edmund Ironside, Famous Victories, Edward III, The True Tragedy, and The Troublesome Reign did not fit comfortably within established dramatic modes, leading to history’s gradual recognition as a separate genre. Chapter Three looks at the contribution Shakespeare’s plays made to the developing genre. The un-unified dramatic structure of the Henry VI plays denies the audience a stable framework within which to interpret events. In Richard III, a clear tragic framework appears, but is undermined by a strong thread of irony that runs through the play. History appears in the tetralogy as a repetitive cycle of violence perpetuated by characters’ attempts to memorialise the past while failing to learn from it. The crisis presented by history is the necessity of acting on partial information, while the promise of fuller understanding is projected into an unknowable future.
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Crick, Julia Catherine. „The reception of Geoffrey of Monmouth's Historia Regum Britanniae : the evidence of manuscripts and textual history“. Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314984.
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Dearmont, Diane. „Automatic writing : a history from Mesmer to Breton /“. Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/8297.
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Dandridge, Ross. „Anti-quack literature in early Stuart England“. Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/3112.
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During the thirty years preceding the Civil War, learned physicians such as John Cotta, James Hart, James Primerose and Edward Poeton produced a stream of works attacking those who practised medicine without what they regarded as the proper training and qualifications. Recent scholarship has tended to view these as exercises in economic protectionism within the context of the ‘medical marketplace’. However, increasing attention has latterly been drawn to the Calvinist religious preferences of these authors, and how these are reflected in their arguments, the suggestion being that these can be read as oblique critiques of contemporary church reform. My argument is that professional and religious motivations were in fact ultimately inseparable within these works. Their authors saw order and orthodoxy in all fields - medical, social, political and ecclesiastical - as thoroughly intertwined, and identified all threats to these as elements within a common tide of disorder. This is clearest in their obsession with witchcraft, that epitome of rebellion, and with priest-physicians; practitioners who tended to combine medical heterodoxy, anti-Calvinist sympathies and a taste for the occult, and whose practices were innately offensive to puritan social thought while carrying heavy Catholic overtones. These works therefore reflected an intensely conservative worldview, but my research suggests that they should not necessarily be taken as wholly characteristic of early Stuart puritan attitudes. All of these authors can be associated with the moderate wing of English Calvinism, and Cotta and Hart developed their arguments within the context of the Jacobean diocese of Peterborough, where an entrenched godly elite was confronted by an unusually rigourous conformist church court regime. They sought to promote a particular vision of puritan orthodoxy against conformist heterodoxy; in light of the events of the interregnum, it seems likely that this concealed more diverse attitudes towards medical reform amongst the godly.
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Marotta, Jennifer Susan. „Constructing the norm, medical advice literature to Canadian adolescents, c. 1873-1922“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0009/MQ31227.pdf.
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Smith, Mark Ryan. „The literature of Shetland“. Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/3938/.
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This thesis is the first ever survey of Shetland’s literature. The large body of material the thesis covers is not well known, and, apart from Walter Scott’s 1822 novel The Pirate, and Hugh MacDiarmid’s sojourn in the archipelago, Shetland is not a presence in any account of Scottish writing. ‘The Literature of Shetland’ has been written to address this absence. Who are Shetland’s writers? And what have they written? These are the fundamental questions this thesis answers. By paying close attention to Shetland’s writers, ‘The Literature of Shetland’ extends the geographical territory of the Scottish canon. ‘The Literature of Shetland’ covers a chronological period from the early nineteenth century to the present day. Virtually no creative poetry or prose, either written or oral, survives in Shetland from before this time so, after a brief discussion of the fragmentary pre-nineteenth century sources, the thesis discusses the archipelago’s literature in eight chronologically arranged chapters. Chapter One concentrates on a group of three obscure early nineteenth-century Shetland authors – Margaret Chalmers, Dorothea Primrose Campbell, and Thomas Irvine – and also explores Scott’s involvement with the northern isles. Chapters Two and Three discuss an important period at the end of the nineteenth century, in which books and newspapers were published in Shetland for the first time, and in which a number of pioneering and influential local writers emerged. Jessie M.E. Saxby became the first professional writer from Shetland and, in the work of George Stewart, James Stout Angus, Basil Anderson, and especially J.J. Haldane Burgess, the Shetland dialect developed as a serious literary idiom. These writers laid down foundations for much of what came next. Chapter Four discusses the end of this period of growth, with James Inkster posed as the last significant figure of his generation, and the war poet John Peterson as the first local writer to depart from the literary principles which developed in the Victorian era. Chapter Five looks at the work Hugh MacDiarmid did in Shetland from 1933-1942. MacDiarmid is not really part of the narrative of the thesis, but the work he produced in the isles is vast. Because he does not need to be introduced in the way the other writers do, this chapter takes a different approach to the rest of the thesis and looks at MacDiarmid’s Shetland-era work alongside that of Charles Doughty. Doughty was a crucial presence for MacDiarmid during his time in the isles, and considering their work together opens up a better understanding of the work MacDiarmid did in Shetland. Chapters Six and Seven discuss the second major period of growth in Shetland’s literature, focussing on the writers associated with the New Shetlander magazine, an important local journal which emerged in 1947. The final chapter then looks at contemporary Shetland authors and asks how they negotiate the literary tradition the thesis has worked through. This chapter also discusses the Shetland-related work of several non-native authors, Jen Hadfield being the most well known. In moving through these authors, as well as providing necessary introductory material, several general questions are asked. Firstly, because almost all the writing studied emerges from the isles, the question of how each writer engages with those isles is consistently relevant. How do local writers find ways of writing about their native archipelago? Do writers who are not from Shetland write about the islands in different ways than local people? The thesis shows how Scott and MacDiarmid, the two most famous non-native authors dicussed here, draw on earlier literary sources – the sagas and the work of Doughty – to construct their respective creative visions of the isles. And, in discussing the work of local authors, it will be shown that, in the early period covered in Chapter One, landscape is the most prominent idea whereas, from the Victorian era to the present day, the croft provides the central imaginative space for Shetland’s writers. A second question that runs through the thesis is one of language. Almost every local author has written extensively in Shetland dialect, and this study explores how they have developed that language as a literary idiom. The thesis shows how Shetland dialect writing gets underway in the 1870s, and how writers have continued to expand and diversify that literary tradition. The two most innovative figures to emerge are J.J. Haldane Burgess and William J. Tait and, after demonstrating how the corpus of writing in Shetland dialect has grown, the thesis concludes by examining the ways in which contemporary writers engage with the vernacular legacies their predecessors have left. Extensive use of the local language gives Shetland’s writing a regional distinctiveness, and this thesis shows how some writers have been enabled and inspired by that idiom, how some have taken dialect writing in exciting new directions, but also how some have felt limited by it and how, by not using the language, some writers have been unfairly ignored by local editors and critics. The thesis also shows that, in its two main eras of development – at the end of the nineteenth century and in the middle of the twentieth – Shetland’s writers took their cues from the general movements in Scottish writing. In the Victorian period, developments in local letters paralleled the interest in regionality and upsurge in vernacular writing that are marked characteristics of Scottish writing at the time. And, in discussing the emergence of the New Shetlander and the writers associated with it, the thesis demonstrates how the second period of flourishing in Shetland’s literature is part of the wider cultural movement of the Scottish Renaissance. The picture of Shetland’s literature the thesis offers is a self-consciously heterogeneous one. Despite the marked use of the vernacular, the thesis resists moving towards an encompassing definition of the large body of work covered, preferring to celebrate the diversity of the writing that Shetland has inspired during the last two centuries. Questions of engagement with the local environment and the use of the local language are constantly asked, but the primary scholarly contribution offered by ‘The Literature of Shetland’ is a realignment of Scotland’s northern literary border.
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Birkhofer, Melissa Dee DeGuzmán María. „Voicing a lost history through photography in Hispaniola's diasporic literature“. Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1038.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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Vollaro, Daniel Richard. „Origins and Orthodoxy: Anthologies of American Literature and American History“. Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/english_diss/36.
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This dissertation examines how the new “multicultural phase” anthologies of American literature treat American history. Anthologies of American literature are more historical, more diverse, and more multidisciplinary than ever before, but they have over-extended themselves in both their historical and representational reach. They are not, despite their diversity and historicism, effective vehicles for promoting critical discussions of American history in the classroom. Chapter One outlines a brief history of anthologies of American literature, while also introducing the terminology and methodology used in this study. Chapter Two explores the role of the headnote as a vehicle for American history in anthologies by focusing on headnotes to Abraham Lincoln in multiple anthologies. Chapter Three examines how anthologies frame Native American origin stories for their readers. Chapter Four focuses on the issues raised by anthologizing texts originally composed in Spanish, and Chapter Five argues for a transnational broadening of the “slavery theme” in anthologies to include Barbary captivity narratives and texts that reference Indian slavery.
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Modlinger, Martin. „'Die Tod-Verweigerung' : the Theresienstadt ghetto in history and literature“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610842.
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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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Tseti, Angela. „Photo-literature and trauma : from collective history to connective memory“. Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC004.
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Prenant appui sur l'intérêt contemporain pour les rencontres texte/image et la prolifération récente des oeuvres bi-médiales, cette thèse se propose d'étudier les structures et les qualités du photo-roman, en vue de soutenir que cette forme nouvelle offre un espace privilégié à l'interrogation — et potentiellement à la représentation ¬des événements traumatiques collectifs. L'exploration d'une série de travaux photo-littéraires produits entre la fin du 20ème siècle et le début du 21ème et caractérisés par une thématique historiographique ainsi que la concomitance avec une catastrophe historique suggère que la combinaison de la fiction et de la photographie au sein d'un même dispositif photo-narratif est susceptible de fournir une alternative à la problématique bien connue de l'irreprésentabilité du trauma. Nous considérons que la photo-littérature emploie les rapports souvent notés entre la photographie et l'histoire, la biographie, le temps et la mort dans le cadre familier du roman, tout en faisant appel au lecteur comme un acteur indispensable du processus d'élaboration du sens textuel. Les mécanismes complexes du composé photo-textuel permettent de mettre en lumière le fait que les histoires de vie personnelles sont pertinentes à l'expérience collective, ainsi que les parallèles entre des événements historiques traumatiques divers. Ainsi, la photo-littérature permet un passage de l'histoire à un genre de mémoire qui est essentiellement connectif ; par là même, cette forme nouvelle va à l'encontre d'une incapacité présumée à énoncer la mémoire traumatique, en suivant une approche fondée sur l'attention et l'investissement affectifDrawing on the increased interest in word-image interactions and the recent proliferation of bimedial works of literature, this study proposes an investigation of the structures and qualities of the photo-nove', with the contention that this emergent new form constitutes a privileged space where instances of collective trauma may be addressed, potentially even represented. The exploration of a series of works of photo-literature of the Tate 20th and early 215t century that are affiliated to historiography and unfold in the midst or aftermath of a great historic calamity suggests that the combination of fiction and photography within a single, photo-textual narrative may counter the problematic of unrepresentability raised by Trauma Studies. Photo-literature, as this study purports, employs photography's well-lçnown relations to history, biography, time and'cleath within the familiar schema of the nove', while invoking? the respondent reader as an essential component of the meaning¬making process. These elaborate workings of the photo-textual compound result in the highlighting of the individual life story's pertinence to the collective experience and the establishment of parallels between diverse historical instances of trauma. Thus, photo-literature enables the passage from history to an essentially connective type of memory and, subsequently, responds to a professed inability to enunciate the traumatic experience, by offering an approach that is reliant on affective investment and attention
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Anistratenko, A. V. „Alternative history subgenres in American and European literature: comparison analysis“. Thesis, БДМУ, 2020. http://dspace.bsmu.edu.ua:8080/xmlui/handle/123456789/18267.
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Kealy, Thomas Patrick. „Refiguring divinity : literature and natural history in the scientific revolution /“. view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9987235.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 251-271). Also available for download via the World Wide Web; free to University of Oregon users.
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Lyons, Reneé C., und Deborah Parrott. „Mystery to History: Using Literature to Teach the Common Core“. Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2389.
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Duncan, Laurie. „Connecting students to content area literature, California history-grade four“. CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/722.
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Duffett, Kristen Gayle. „Integrating literature and California history in fourth grade social studies“. CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1853.
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Kopec, Andrew. „Economic Crisis and American Literature, 1819-1857“. The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365760287.
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Musty, Emma. „A short history of lines“. Thesis, Aberystwyth University, 2016. http://hdl.handle.net/2160/c4aa2292-b43a-4d1f-bb59-b3cea766cb02.
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