Dissertationen zum Thema „LITERARY CRITICISM / Modern / 19th Century“
Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: LITERARY CRITICISM / Modern / 19th Century.
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Dissertationen für die Forschung zum Thema "LITERARY CRITICISM / Modern / 19th Century" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Dissertationen für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Nadler, Elizabeth. „Le roman symboliste : une logique de la distinction“. Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66264.
Der volle Inhalt der Quelle
2
Fresquet, Roso Maria. „Estudio sobre el género, las funciones y la calidad literaria del best seller. Los best seller híbridos en España y estudio comparativo con los autores más vendidos en Francia“. Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/403875.
Der volle Inhalt der QuelleAnnotation:
En esta tesis se aborda el corpus poco estudiado de los best seller. Se ofrece una visión panoràmica desde su primer boom en España y se identifica el tipo de obras que venden más que, como veremos, son las de naturaleza híbrida. La selección que realizamos de las obras se da desde el punto de vista del lector, es decir, las obras que estan a su alcance, ya sean de autores nacionales o bien traducciones. Adems, hemos contrastado los resultados del anàlisis con los superventas en Francia en el mismo periodo de tiempo para poder ofrecer a nuestro estudio un término de comparación y que no resten unos resultados aislados, y así poder dar un alcance más amplio a nuestras conclusiones.
La delimitación de género ha respondido a una creación nuestra de un tipo de subgénero dentro del best seller, que sería el que creemos que tiene mas éxito: el best seller híbrido. Y dentro de este best seller híbrido (que concentra distintas características de distintos géneros literarios), aquellos que se basan en los géneros que mas éxito tienen: la novela histórica y la novela negra. Hemos dejado de lado los géneros de nicho, que tienen un tipo de público mas definido, como la novela erótica, la ciencia ficción o la novela juvenil.
El best seller híbrido -una herencia del folletín del siglo diecinueve- es el que tiene ahora éxito junto a las novelas de género. Este best seller híbrido se caracteriza por una pretensión literaria y, de hecho, su hibridismo responde a una unión muy conveniente entre la herencia del folletín -en el que la aventura es el núcleo esencial y se complementa con elementos de todos los géneros populares- y dicha pretensión literaria, que surge cuando la obra no se identifica con ningún género en concreto. Esta pretensión también se alimenta de elementos que hemos ido viendo a lo largo de los anàlisis, elementos que hacen que se eleve en nivel cultural de la lectura, tales como la aportación de información de forma explícita o el retoricismo sensacionalista y superficial, que responde a una voluntad de dignificación de la literatura de consumo.
También tratamos la sociación de best seller con mala calidad literaria. A nivel literario, hemos visto que la calidad literaria no tiene por qué contraponerse con el hecho de vender mucho.
Así mismo, hemos contrastado diferentes formes de enfocar el fenómeno para ofrecer una perspectiva global de éste y hemos ofrecido tres tipus de definicions del fenómeno: econòmica, sociològica y literaria. En cuanto al enfoque literario, que es el nuestro, hemos optado por considerar el best seller como un genero literario en tanto que el lector así lo considera. Lo cual nos lleva al objectivo principal de la tesis, que es reforzar la teoria literaria del best seller como genero, esbozar sus características discursives más representatives y ver qué necesidades lectores están cubriendo, que denominaremos funciones.
Tras el anàlisis del corpus, hemos detectado tres funciones características del genero best-seller: la contemporaneidad, la transversalidad y la conservación. También hemos detectado trss elementos que, a nivel de trama, se articulan para canalitzar estas funciones, como son: el secreto, el abuso o la injustícia y la mujer como nuevo héroe. Estos tres elementos se entrelazan en la trama a través de nexos, que son técnicas de suspense, y que ameniza la aventura: “cliffhangers”, diálogos para que se entienda todo lo expuesto, un narrador omnisciente y, en general, técnicas narratives del XIX.This dissertation addresses a corpus that has not yet been studied in depth. The purpose is to provide an overview of best sellers since their first great impact in Spain and identify the most successful type of works which, as we will later see, are those with a hybrid nature. The works have been selected from the reader's point of view, that is, the works selected are those readers can have access to, whether the authors are national or have been translated. The results of the analysis have been compared to best sellers in France during the same period of time so that they will not be examined in absolute and isolated terms and the conclusions can have a larger scope. Firstly, for the purposes of this dissertation I have created a new subgenre within best sellers, which serves to identify the most successful works: hybrid best sellers. And then, within hybrid best sellers (books that have the characteristics of different literary genres), those that are based on the most successful genres: historical and crime novels. I have not considered niche genres, such as erotic novels, science fiction or children's and young adults literature, as these have a more specific audience. Hybrid best sellers and genre novels are currently the most successful books and their origin dates back to 19th century serialised novels. The main characteristic of this type of hybrids is their literary ambition. This hybridism comes from a very convenient combination of the legacy of serialised novels (in which adventure is the main core, together with other elements taken from all popular genres) and literary ambition, which appears when the work is not identified with a specific genre. The literary ambition also feeds from the elements that I have identified in the analysis of these works, which raise the cultural level, such as giving information in an explicit way or superficial and sensationalist rhetoric, which is caused by the will to dignify consumer literature. Secondly, I have examined the reasons why best sellers are associated with poor literary quality. On a literary basis, I have come to the conclusion that there is no direct relationship between literary quality and high sales. Thirdly, I have compared different ways of approaching this phenomenon in order to provide both a global perspective and economic, sociological and literary definitions. As to the literary approach, I have considered the best seller as a genre itself, as that is what readers consider them. This leads us to the main purpose of this dissertation, which is to reinforce the literary theory of the best seller as a genre, to outline its most important discourse characteristics, and to find out what reading needs it covers. I shall refer to these needs as functions. After analysing the corpus, I have noticed three elements that work on the plot level to channel these functions: secrets, abuse or injustice, and woman as the new heroine. These three elements intertwine in the plot by means of links that work as suspense techniques and make the adventures more enjoyable: cliff-hangers, dialogues that help readers to understand every bit of the plot, an omniscient narrator and, generally speaking, 19th century narrative techniques.
3
Magerski, Christine 1969. „The constitution of the literary field in Germany after 1871 : Berlin modernism, literary criticism and the beginnings of the sociology of literature“. Monash University, German Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8724.
Der volle Inhalt der Quelle
4
Mills, Andrew Joseph. „Escaping satisfaktion dueling violence and the German literary canon of the long 19th century /“. [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378372.
Der volle Inhalt der QuelleAnnotation:
Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2009.Title from PDF t.p. (viewed on Jul 7, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3870. Adviser: William Rasch.
5
Moore, Natasha Lee. „The unpoetical age : modern life and the mid-Victorian long poem“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610158.
Der volle Inhalt der Quelle
6
England, Peter S. (Peter Shands). „American Literary Pragmatism : Lighting Out for the Territory“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278511/.
Der volle Inhalt der Quelle
7
Louw, Denise Elizabeth Laurence. „A literary study of paranormal experience in Tennyson's poetry“. Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.
Der volle Inhalt der QuelleAnnotation:
My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
8
Bolongaro, Eugenio. „The modern intellectual negotiating the generic system : Italo Calvino and the adventure of literary cognition“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ36958.pdf.
Der volle Inhalt der Quelle
9
Elston, Suzanne Poteet. „Garrison Keillor and American Literary Traditions“. Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500338/.
Der volle Inhalt der QuelleAnnotation:
Although Garrison Keillor is perhaps best known as the creator and host of Minnesota Public Radio's A Prairie Home Companion (1974-1987), the focus of this study is his literary career. Keillor's literary accomplishments include a successful career as a writer for The New Yorker and two best-selling books about the fictional town of Lake Wobegon, Minnesota, entitled Lake Wobegon Days (1985) and Leaving Home (1987). His literary style incorporates elements from several traditions in American literature--the precise, sophisticated "New Yorker style" practiced by writers such as E. B. White and James Thurber; the oral tradition prominent in the works of Mark Twain and the nineteenth-century literary comedians; and the satiric realism associated with the small-town literature of writers such as Sherwood Anderson and Sinclair Lewis.
10
Kuhns, Julia Sophie. „The pre-19th-century manuscript tradition and textual transmission of the Early Modern Irish tale Oidheadh Con Culainn : a preliminary study“. Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1236/.
Der volle Inhalt der QuelleAnnotation:
The Early Modern Irish recension of the tale relating Cú Chulainn’s death, Oidheadh Con Culainn, has received comparatively little scholarly attention, especially compared with its Early Irish counterpart, Aided Con Culainn. Consequently, little is known about the textual transmission and manuscript tradition of the Early Modern Irish tale. The present thesis seeks to rectify this and give a more accurate view and preliminary analysis of the extant manuscripts, concentrating on the manuscripts that date to before the 19th century. A core element of this thesis is a draft catalogue of these pre-19th-century manuscripts. Taking advantage of the tale’s prosimetric structure, it will be argued and demonstrated that it is possible to classify the manuscripts of Oidheadh Con Culainn into distinct groups. Within the extant manuscripts preserving the tale we can identify a number of versions of it, differing most notably in the poetry that they contain. The classification of the manuscripts into groups can be established on the basis of the poetry that a version of the tale contains; the emerging groups thus established can be used to comment on the transmission of the tale. In order to corroborate the argument for the manuscript groups, we will explore a number of aspects of the text and the manuscripts, such as textual comparisons on both intra- and inter-group levels, possible relations (e.g. geographical) of the scribes, linguistic and metrical variations, the ‘rhetorics’, and different versions of the tale written by the same scribe. The thesis will further investigate the most famous poem from the text, Laoidh na gCeann (‘The Lay of the Heads’), in order to establish to what extent the evidence from the poem can be used to add to our understanding of the transmission of the overall tale.
11
Gairn, Louisa. „Aspects of modern Scottish literature and ecological thought“. Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/14839.
Der volle Inhalt der QuelleAnnotation:
'Aspects of Modern Scottish Literature and Ecological Thought' argues that the science and philosophy of 'ecology' has had a profound impact on Scottish literature since the mid-nineteenth century to the present day, and relates the work of successive generations of Scottish writers to concurrent developments in ecological thought and the environmental sciences. Chapter One suggests that, while Romantic ways of thinking about the natural world remained influential in nineteenth-century culture, new environmental theories provided fresh ways of perceiving the world, evident from the writings of Scottish mountaineers. Chapter Two explores the confrontation of modernity and wilderness in the fiction and travel writings of Robert Louis Stevenson, and some contemporaries such as John Muir. Chapter Three suggests that ecologically-sensitive local and global concerns, rather than 'national' ones per se, are central to the work of Hugh MacDiarmid, Lewis Grassic Gibbon and others, while Chapter Four demonstrates that post-war 'rural' writers including Nan Shepherd, Neil Gunn, Edwin Muir and George Mackay Brown, often viewed as peripheral, are actually central and of international relevance, and challenges the assumption that there is a fundamental divide between Scottish rural and urban writing. Finally, Chapter Five argues that contemporary writers John Burnside, Kathleen Jamie and Alan Warner are not only reviewing human relationships with nature, but also the role writing has to play in exploring and strengthening that relationship, helping to determine the ecological 'value' of poetry and fiction. By looking at Scottish literature through the lens of ecological thought, and engaging with international discourses of 'Ecocriticism', this thesis provides a fresh perspective in contrast to the dominant critical views of modern Scottish literature, and demonstrates that Scottish writing constitutes a heritage of ecological thought which, in this age of environmental awareness, should be recognised as not only relevant, but vital.
12
Moore, Lindsay Emory. „The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
Der volle Inhalt der QuelleAnnotation:
In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
13
Roy, Alain. „L'écriture minimaliste; suivi de Journée programmée“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59429.
Der volle Inhalt der QuelleAnnotation:
This master's thesis in creative writing is divided into two parts. The first constitutes a critical analysis of "minimalist" writing, a term which has been used to describe the work of certain contemporary American writers but which might equally be applied to a portion of the world literature. This literary form has two fundamental characteristics from an aesthetic point of view: brevity and realism. In fact, it could be defined as the short story taken to its ultimate expression. Furthermore, it represents one of two poles by which we can evaluate all literature. The second part of the thesis is a collection of short stories which embody the minimalist aesthetic with everyday life and relationships between couples as their central theme.
14
Poueymirou, Margaux Lynn Rosa. „The sixth sense : synaesthesia and British aestheticism, 1860-1900“. Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/952.
Der volle Inhalt der QuelleAnnotation:
“The Sixth Sense: Synaesthesia and British Aestheticism 1860-1900” is an interdisciplinary examination of the emergence of synaesthesia conceptually and rhetorically within the ‘art for art’s sake’ movement in mid-to-late Victorian Britain. Chapter One investigates Swinburne’s focal role as both theorist and literary spokesman for the nascent British Aesthetic movement. I argue that Swinburne was the first to practice what Pater meant by ‘aesthetic criticism’ and that synaesthesia played a decisive role in ‘Aestheticising’ critical discourse. Chapter Two examines Whistler’s varied motivations for using synaesthetic metaphor, the way that synaesthesia informed his identity as an aesthete, and the way that critical reactions to his work played a formative role in linking synaesthesia with Aestheticism in the popular imagination of Victorian England. Chapter Three explores Pater’s methods and style as an ‘aesthetic critic.’ Even more than Swinburne, Pater blurred the distinction between criticism and creation. I use ‘synaesthesia’ to contextualise Pater’s theory of “Anders-streben” and to further contribute to our understanding of his infamous musical paradigm as a linguistic ideal, which governed his own approach to critical language. Chapter Four considers Wilde’s decadent redevelopment of synaesthetic metaphor. I use ‘synaesthesia’ to locate Wilde’s style and theory of style within the context of decadence; or, to put it another way, to locate decadence within the context of Wilde. Each chapter examines the highly nuanced claim that art should exist for its own sake and the ways in which artists in the mid-to-late Victorian period attempted to realise this desire on theoretical and rhetorical levels.
15
Perry, Seamus. „Radical differences : divisions in Coleridgean literary thinking; and, The construction of an English romanticism“. Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670268.
Der volle Inhalt der Quelle
16
Adams, Dana W. (Dana Wills). „Female Inheritors of Hawthorne's New England Literary Tradition“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.
Der volle Inhalt der QuelleAnnotation:
Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.
17
Nash, Andrew. „Kailyard, Scottish literary criticism, and the fiction of J.M. Barrie“. Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15199.
Der volle Inhalt der QuelleAnnotation:
This thesis argues that the term Kailyard is not a body of literature or cultural discourse, but a critical concept which has helped to construct controlling parameters for the discussion of literature and culture in Scotland. By offering an in-depth reading of the fiction of J.M. Barrie - the writer who is most usually and misleadingly associated with the term - and by tracing the writing career of Ian Maclaren, I argue for the need to reject the term and the critical assumptions it breeds. The introduction maps the various ways Kailyard has been employed in literary and cultural debates and shows how it promotes a critical approach to Scottish culture which focuses on the way individual writers, texts and images represent Scotland. Chapter 1 considers why this critical concern arose by showing how images of national identity and national literary distinctiveness were validated as the meaning of Scotland throughout the nineteenth century. Chapters 2-5 seek to overturn various assumptions bred by the term Kailyard. Chapter 2 discusses the early fiction of J.M. Barrie in the context of late nineteenth-century regionalism, showing how his work does not aim to depict social reality but is deliberately artificial in design. Chapter 3 discusses late Victorian debates over realism in fiction and shows how Barrie and Maclaren appealed to the reading public because of their treatment of established Victorian ideas of sympathy and the sentimental. Chapter 4 discusses Barrie's four longer novels - the works most constrained by the Kailyard term - and chapter 5 reconsiders the relationship between Maclaren's work and debates over popular culture. Chapter 6 analyses the use of the term Kailyard in twentieth-century Scottish cultural criticism. Discussing the criticism of Hugh MacDiarmid, the writing of literary histories and studies of Scottish film, history and politics, I argue for the need to reject the Kailyard term as a critical concept in the discussion of Scottish culture.
18
Kay, Simon Michael Gorniak. „Literary, political and historical approaches to Virgil's Aeneid in early modern France“. Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13837.
Der volle Inhalt der QuelleAnnotation:
This thesis examines the increasing sophistication of sixteenth-century French literary engagement with Virgil's Aeneid. It argues that successive forms of engagement with the Aeneid should be viewed as a single process that gradually adopts increasingly complex literary strategies. It does this through a series of four different forms of literary engagement with the Aeneid: translation, continuation, rejection and reconciliation. The increasing sophistication of these forms reflects the writers' desire to interact with the original Aeneid as political epic and Roman foundation narrative, and with the political, religious and literary contexts of early modern France. The first chapter compares the methods of and motivations behind all of the sixteenth-century translations of the Aeneid into French; it thus demonstrates shifts in successive translators' interpretations of Virgil's work, and of its application to sixteenth-century France. The next three chapters each analyse adaptation of Virgil's poem in a major French literary work. Firstly, Ronsard's Franciade is analysed as an example of French foundation epic that simultaneously draws upon and rejects Virgil's narrative. Ronsard's poem is read in the light of Mapheo Vegio's “Thirteenth Book” of the Aeneid, or Supplementum, which continues Virgil's narrative and carries it over into a Christian context. Next, Agrippa d'Aubigné's response to Virgilian epic in Les Tragiques is shown to have been mediated by Lucan's Pharsalia and its anti- epic and anti-imperialist interpretation of the Aeneid. D'Aubigné's inversion of Virgil is highlighted through comparison of attitudes to death and resurrection in Les Tragiques, the Aeneid and Vegio's Antoniad. Finally, Guillaume de Salluste du Bartas' combination, in La Sepmaine and La Seconde Sepmaine of the hexameral structure of Genesis with Virgil's narrative of reconciliation after civil war is shown to represent the most sophisticated understanding of and most complex interaction with the Aeneid in sixteenth-century France.
19
Pittock, Murray. „Decadence and the English tradition“. Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:6fa01d5c-e900-4ee8-9fb6-a8c3645e0bdd.
Der volle Inhalt der QuelleAnnotation:
The thesis sets out to do two things. It seeks first of all to describe the revival of interest in the Caroline era which defines the nature of an "English Tradition" in the Eighteen Nineties. Secondly, in doing so it seeks to reappraise three significant poets of that era, Ernest Dowson, Lionel Johnson, and Francis Thompson, in terms of their participation in this revival. The first chapter, "Craving Viaticum", deals with the general background of the Eighteen Nineties period. It suggests that the Symbolist movement equates with the Decadent one in a more direct way than has often been allowed, and deals with the era's enthusiasm for nostalgia and past ages as part of its reaction against current society. It also explores the period's allegiance to hero-figures. The second chapter, "The French Connection: Pater's Part", deals with Walter Pater, and evaluates him in terms of his art and criticism, suggesting how these develop from a nostalgic desire to re-create past ages in the image of his present ideals. The more exaggerated claims made by critics of his work for the influence of French writers on him are questioned, and Pater's relation to the "English Tradition" is discussed. In the third chapter, "The French Connection: Other Approaches", the tendentiousness of those critics who attempt to define the entire Decadent era in Britain in terms of French influences is discussed and exposed. The fourth chapter, "New Births of Decadence: The English Tradition and the Seventeenth Century", deals with the relation of the literature of the period to the Caroline era in detail, and the fifth chapter, "Of Academic Interest", is concerned with analysing this relationship through discussion of both contemporary and present-day critics, adducing statistical evidence to prove a resurgence of interest in the writers of the Caroline era in the period 1880-1910. The sixth chapter, "By the Statue of King Charles: The Jacobite Revival" deals with the political and religious aspects of the Caroline revival, and charts the growth of neo-Jacobitism in the Eighteen Nineties and its relation to literary history. The seventh chapter, "Against Nature: Defining Decadence", suggests that the root of Decadent thinking is myth, and that the counterpart of Symbolism in the world of decadent nostalgia was the iconic religious and political culture of the court of King Charles I, a convenient archetype for Decadent myths of ritual, aristocracy, and martyrdom. This discussion closes the first part of the thesis. "Francis Thompson, Faithful Decadent: Catholics and Criticism" is Chapter Eight. It discusses Francis Thompson in relation to his critics, and the manner in which views of his work have been polarised between two main schools of criticism. Chapter Nine, "Faithful in my Fashion", suggests a resolution of this historically polarised critical discussion by assessing Thompson's poetry in close relationship with the work of the seventeenth-century sacred poets. The tenth chapter, "Waif of Romance: The Poetry of Ernest Christopher Dowson", assesses Dowson in relation to Herrick and the Cavalier lyrists, discussing also how he stands as a type in relation to his age. The eleventh chapter, "Lionel Johnson: One of Those Who Fall: His Life and Ideas", is concerned with the crisis in Johnson's thought over the natures of guilt and beauty, and how this is illustrated in his poetry. The twelfth and final chapter, "The Life and Work of Lionel Johnson: A Long Blast Upon the Horn: His Work and Themes", assesses Johnson's nostalgia for the Stuart era in terms of a resolution of his present poetic crisis through past values. His intellectual and intertextual relationships with Ben Jonson and Marvell are also discussed. The thesis closes with an assessment of Johnson's achievement based on his allegiance to the Caroline revival with which the argument throughout has been concerned.
20
Massie, Eric. „Stevenson, Conrad and the proto-modernist novel“. Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.
Der volle Inhalt der QuelleAnnotation:
This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
21
Smith, James Gregory. „The Dostoevskyan Dialectic in Selected North American Literary Works“. Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278268/.
Der volle Inhalt der QuelleAnnotation:
This study is an examination of the rhetorical concept of the dialectic as it is realized in selected works of North American dystopian literature. The dialectic is one of the main factors in curtailing enlightenment rationalism which, taken to an extreme, would deny man freedom while claiming to bestow freedom upon him. The focus of this dissertation is on an analysis of twentieth-century dystopias and the dialectic of Fyodor Dostoevsky's Grand Inquisitor parable which is a precursor to dystopian literature. The Grand Inquisitor parable of The Brothers Karamazov is a blueprint for dystopian states delineated in anti-utopian fiction. Also, Dostoevsky's parable constitutes a powerful dialectical struggle between polar opposites which are presented in the following twentieth-century dystopias: Zamiatin's Me, Bradbury's Farenheit 451, Vonnegut's Player Piano, and Atwood's The Handmaid's Tale. The dialectic in the dystopian genre presents a give and take between the opposites of faith and doubt, liberty and slavery, and it often presents the individual of the anti-utopian state with a choice. When presented with the dialectic, then, the individual is presented with the capacity to make a real choice; therefore, he is presented with a hope for salvation in the totalitarian dystopias of modern twentieth-century literature.
22
McKay, Kali, und University of Lethbridge Faculty of Arts and Science. „Gertrude Stein and her audience : small presses, little magazines, and the reconfiguration of modern authorship“. Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2010, 2010. http://hdl.handle.net/10133/2479.
Der volle Inhalt der QuelleAnnotation:
This thesis examines the publishing career of Gertrude Stein, an American
expatriate writer whose experimental style left her largely unpublished throughout much
of her career. Stein’s various attempts at dissemination illustrate the importance she
placed on being paid for her work and highlight the paradoxical relationship between
Stein and her audience. This study shows that there was an intimate relationship
between literary modernism and mainstream culture as demonstrated by Stein’s need for
the public recognition and financial gains by which success had long been measured.
Stein’s attempt to embrace the definition of the author as a professional who earned a
living through writing is indicative of the developments in art throughout the first
decades of the twentieth century, and it problematizes modern authorship by reemphasizing
the importance of commercial success to artists previously believed to
have been indifferent to the reaction of their audience.iv, 89 leaves ; 29 cm
23
Hirsch, Brett Daniel. „Werewolves and women with whiskers : figures of estrangement in early modern English drama and culture“. University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0175.
Der volle Inhalt der QuelleAnnotation:
Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figuresowls, bearded women, werewolves, Jewsoccupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.
24
Silva, Mariana Souza e. „O retrato de uma subjetividade feminina em The portrait of a lady, de Henry James“. Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-07062017-085440/.
Der volle Inhalt der QuelleAnnotation:
The Portrait of a Lady (1881), obra de Henry James, conta a história da formação de Isabel Archer, uma jovem americana que se destaca por desejar ser livre e independente em um contexto em que se esperava da mulher que desempenhasse um papel apenas decorativo; por isso, é possível que sua caracterização seja associada a uma protagonista com características feministas. Porém, o desenvolvimento do enredo a leva a um casamento infeliz motivado por determinantes alheios, principalmente pelo interesse financeiro de outras personagens. Este trabalho tem o objetivo de analisar de que maneira a construção da subjetividade feminina da protagonista reflete, ou não, as questões sócio-históricas que marcaram seu contexto de criação, dentre os quais se destacam o início de uma consciência voltada à valorização feminina e busca pelos direitos das mulheres demonstrada pelo movimento pelo sufrágio universal. Em nossa análise consideramos os fatores sociais e políticos da época em que a obra foi escrita e revista, assim como os pressupostos da crítica literária feminista e crítica materialista, de forma a detectar na narrativa jamesiana as características que corroborem com um ponto de vista feminista sobre Isabel Archer, estendendo nossa leitura às personagens e fatos mais relevantes da obra. Assim, chegamos à conclusão de que a protagonista de The Portrait of a Lady apresenta características feministas, como o desejo pela independência, mas não pode ser considerada uma personagem feminista por ter sido subjugada e oprimida pelo poder patriarcal representado pelas figuras masculinas mais importantes à sua volta, principalmente por Gilbert Osmond, seu marido, que personifica nesta obra a dominação masculina total sobre a mente feminina. Contudo, sentimos que o enredo contém outras personagens e fatos que demonstram a força do insconsciente político daquele contexto, que se faz presente mesmo à revelia de seu autor, dentre eles outras personagens que caracterizam atitudes feministas. A importância deste estudo é posicionar uma forte protagonista feminina de Henry James dentre os estudos feministas sobre o Realismo do século XIX.The Portrait of a Lady (1881), Henry James novel, tells the story of the formation of Isabel Archer, an young American lady who stands out for her desire to be free and independent in a context where nothing more was expected from a woman than having a decorative role; for that, it is possible that her charcterization is associated to a protagonist with feminist traits. However, the development of the plot leads her to an unhappy marriage motivated by outward determinants, especially by other characters financial interest. The objective of this work is to analyze how the construction of the protagonists feminine subjectivity either reflects or not the social and historical matters that marked its context of creation, among which the beginning of a consciousness aimed at a feminine appreciation and the search for the womens rights shown by the international suffrage movement. In our analysis we consider the social and political factors of the time when the novel was written and revised, as the assumptions of the feminist literary criticism and materialist criticism, in order to detect, in the Jamesian narrative, the characteristics that corroborate with a feminist point of view about Isabel Archer, and we extend our reading to the most relevant characters and events of the novel. So, we got to the conclusion that the protagonist in The Portrait of a Lady shows feminist characteristics, as the desire for independence, but she cannot be considered a feminist character for having been subjugated and oppressed by the patriarchal power represented by the most important masculine figures around her, mostly by Gilbert Osmond, her husband, who impersonates the total male domination over the female mind in this novel. Nevertheless, we feel that the plot contains other characters and events that demonstrate the strength of the political unconscious from a context that makes itself present even if unwanted by its author, and among them there are other characters that show feminist attitudes. The importance of this research is to establish a Henry James strong feminine protagonist in the feminist studies about the 19th century Realist literature.
25
Hise, Patricia Jean Fielder. „Carson McCullers Beyond Southern Boundaries: Diagnosing "An American Malady"“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935671/.
Der volle Inhalt der QuelleAnnotation:
The loneliness theme of Carson McCullers' fiction falls into three divisions or levels. And because of her focus on the individual, her general theme of loneliness as it results from human isolation is universal. She develops her "broad principal theme" through an examination of human characteristics common to all human beings. In expressing her concept of isolation as a human condition, however, she presents loneliness as she believes it exists in her own culture, and, for this reason, her works present a loneliness that results from American cultural attitudes and is tempered by a Southern sense of nostalgia. After first establishing an understanding of McCullers' basic theme through an analysis of The Heart is a Lonely Hunter, this study analyzes the nature of the Southern tradition and its influence on the criticism of her fiction with particular focus on the problems of determining to what degree her Southern settings inhibit the interpretation of her works beyond a regional perspective. A comparison of thematic elements, events, and characterization in The Heart is a Lonely Hunter to nonfiction critical discussions of American culture in The Image by Daniel Boorstin and The Pursuit of Loneliness by Philip Slater shows that the social context and the theme of isolation in the novel reflect a condition of life that is American, not distinctively Southern. The final portion of this study continues the analysis of McCullers' basic theme in Reflections in a Golden Eye, The Member of the Wedding, The Ballad of the Sad Cafe, and Clock Without Hands, comparing elements of these later works to The Image and The Pursuit of Loneliness in order to demonstrate the particularly American loneliness of her characters and the value of her works to the tradition of American novel.
26
Riguet, Marine. „La Littérature laboratoire (1850-1914) : quand la critique littéraire défie la science“. Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL020.
Der volle Inhalt der QuelleAnnotation:
Cette thèse souhaite cerner la formation de la critique littéraire française, dans la seconde moitié du XIXe siècle, comme discours autonome et légitimé, en la restituant dans le riche dialogue qu’elle noue avec les sciences exactes, humaines et sociales de son époque. Notre intérêt se porte plus précisément sur l’étude des savoirs en circulation, des transferts lexicaux, notionnels et structurels, des emprunts de modèles et des influences au travers desquels la critique littéraire sonde son propre champ. Ces questionnements ne permettent pas seulement d’introduire la science et la littérature au sein d’un même système culturel en identifiant leurs interactions, mais mettent également en avant l’émergence d’une nouvelle idée de littérature autour de la logique du vivant. Pour ce faire, nous nous appuyons sur les apports méthodologiques du numérique. Le recours à un ensemble d’outils informatiques offre, d’une part, la possibilité d’échapper au cloisonnement disciplinaire, et, d’autre part, de traiter des corpus textuels de taille considérable en synchronieIn this work we aim at defining the formation of the French literary criticism, during the second half of the 19th century, becoming an autonomous and legitimate discourse. To do so, we shall take into consideration the rich dialogue held between the French literary criticism and natural, human and social sciences of the time. We will especially concentrate on the circulation of knowledge, notional and structural lexical transfers, model reproductions and imitations, and influences that help the literary criticism build its own field of knowledge. These questions allow us to locate both science and literature in the same cultural field by identifying their interactions, but also to establish the emergence of a new perception of literature, seen through the logic of the living. Thus we will rely, for most of our results, on digital methods of investigation. By using digital tools, we shall not be confined to a determined disciplinary field, and may be able to work synchronically on large corpora
27
Brahamcha-Marin, Jordi. „La réception critique de la poésie de Victor Hugo en France (1914-1944)“. Thesis, Le Mans, 2018. http://www.theses.fr/2018LEMA3006/document.
Der volle Inhalt der QuelleAnnotation:
Cette thèse étudie la réception critique de la poésie de Hugo en France entre 1914 et 1944. Elle se fonde sur une conception large et englobante de la « réception critique ». Ainsi, elle envisage la manière dont l’œuvre poétique hugolienne est reproduite et diffusée (dans des éditions savantes, des éditions populaires bon marché, des livres de luxe, des manuels scolaires, des anthologies…) ou fait l’objet d’adaptations (mises en musique, parodies et pastiches) ainsi que les discours tenus sur la poésie de Hugo, que ceux-ci émanent d’universitaires, d’écrivains et intellectuels, de journalistes, de militants, d’hommes politiques, etc. En mobilisant un corpus riche et varié, en confrontant des démarches critiques provenant de champs très différents, notre travail fait apparaître quelques problématiques récurrentes.Celles-ci sont notamment relatives au statut de Hugo comme auteur patrimonial, à la centralité de la poésie dans son œuvre (et en particulier à la centralité des trois grands recueils de l’exil, Les Châtiments, Les Contemplations, La Légende des siècles), aux lectures et aux appropriations politiques auxquelles cette poésie donne lieu, à la manière de situer Hugo dans l’histoire de la poésie française (selon les cas, aux côtés de Lamartine et Musset ou aux côtés de Baudelaire, Rimbaud et Mallarmé). Au-delà du seul cas Hugo, notre travail jette aussi quelques éclairages sur la place de la poésie dans l’imaginaire du premier XXe siècle et sur la manière dont cette période se définit par rapport à un double héritage poétique, « romantique » et « moderne »This dissertation studies the critical reception of the poetry of Victor Hugo in France over the period 1914-1944. Relying on an inclusive conception of “critical reception”, it considers the way in which Hugo’s poetic work was reproduced and circulated (in scholarly editions and cheap popular editions, in luxury books and school textbooks, in poem collections...) or adapted (turned into parody or pastiche and set to music by various composers). It also looks at the many discourses that were held on Hugo’s poetry, whether by academics, professional writers and intellectuals, journalists, political men and activists, etc. Drawing on an extensive corpus and a wide range of sources, confronting methodological approaches borrowed from different study fields, our work helps to throw light on Hugo’s importance as an integral part of French cultural heritage; on the centrality of poetry (especially of the three major collections published while Hugo was in exile, Les Châtiments, Les Contemplations, La Légende des siècles) within his work; on the political readings and the political uses that were made of Hugo’s poetry; on the competing ways of categorising Hugo’s work within French poetry and among French poets, as a Romantic akin to Lamartine and Musset or as a modernist equated with Baudelaire, Rimbaud and Mallarmé. Beyond the sole case of Hugo, our dissertation also sheds light on the importance of poetry in the imagination of the early 20th century, and on the way in which the literature of the period sought to define itself in relation to a two-fold poetic legacy, that of romanticism and that of modernism
28
O'Donnell, Stuart. „The author and the shepherd : the paratextual self-representations of James Hogg (1807-1835)“. Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/12940.
Der volle Inhalt der QuelleAnnotation:
The Author and the Shepherd: The Paratextual Self-Representations of James Hogg (1807-1835) This project establishes a literary-cultural trajectory in the career of Scottish poet and author James Hogg (1770-1835) through the close reading of his self-representational paratextual material. It argues that these paratexts played an integral part in Hogg’s writing career and, as such, should be considered among his most important works. Previous critics have drawn attention to Hogg’s paratextual self-representations; this project, however, singles them out for comprehensive analysis as literary texts in their own right, comparing and contrasting how Hogg’s use of such material differed from other writers of his period, as well as how his use of it changed and developed as his career progressed. Their wider cultural significance is also considered. Hogg not only used paratextual material to position himself strategically in his literary world but also to question, challenge and undermine some of the dominant socio-cultural paradigms and hierarchies of the early-nineteenth century, not least the role and position of ‘peasant poets’ (such as himself) in society. Hogg utilised self-representational paratextual material throughout his literary career. Unlike other major writers of the period Hogg, a self-taught shepherd, had to justify and explain his position in society as ‘an author’ through these pseudo-autobiographical paratexts, which he attached to most of his works (in such forms as memoirs, introductions, dedications, notes and footnotes, and introductory paragraphs to stories). Via these liminal devices he created and propagated his authorial persona of ‘The Ettrick Shepherd’, whose main function was to draw attention to Hogg’s preeminent place in the traditional world, and to his status as a ‘peasant poet’. It was on the basis of this position that he argued for his place in the Scottish literary world of the early-nineteenth century and, ultimately, in literary history. His paratextual self-representations are thus a crucial element in his literary career. Drawing on Gerard Genette’s description of ‘the paratext’, the authorial theories of Roland Barthes and Michel Foucault (along with more recent authorial criticism), as well as autobiographical theory, this project traces Hogg’s changing use of self-representational paratexts throughout his career, from his first major work The Mountain Bard (1807) to his final book of stories Tales of the Wars of Montrose (1835). By reading Hogg’s paratexts closely, this project presents a unique view – from the inside out – of the specific literary world into which Hogg attempted to position himself as an author.
29
Mercurio, Jeremiah Romano. „Fantasy as a mode in British and Irish literary decadence, 1885–1925“. Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1964.
Der volle Inhalt der QuelleAnnotation:
This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts.
30
Clarke, Patricia, und n/a. „Life Lines to Life Stories: Some Publications About Women in Nineteenth-Century Australia“. Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040719.150756.
Der volle Inhalt der QuelleAnnotation:
This thesis consists of an introduction and six of my books, published between 1985 and 1999, on aspects of the history of women in nineteenth-century Australia. The books are The Governesses: Letters from the Colonies 1862-1882 (1985); A Colonial Woman: The Life and Times of Mary Braidwood Mowle 1827-1857 (1986); Pen Portraits: Women Writers and Journalists in Nineteenth Century Australia (1988); Pioneer Writer: The Life of Louisa Atkinson, Novelist, Journalist, Naturalist (1990); Tasma: The Life of Jessie Couvreur (1994); and Rosa! Rosa! A Life of Rosa Praed, Novelist and Spiritualist (1999). At the time they were published each of these books either dealt with a new subject or presented a new approach to a subject. Collectively they represent a body of work that has expanded knowledge of women's lives and writing in nineteenth-century Australia. Although not consciously planned as a sequence at the outset, these books developed as a result of the influence on my thinking of the themes that emerged in Australian social and cultural historical writing during this period. The books also represent a development in my own work from the earlier more documentary-based books on letters and diaries to the interpretive challenge of biographical writing and the weaving of private lives with public achievements. These books make up a cohesive, cumulative body of work. Individually and as a whole, they make an original contribution to knowledge of the lives and achievements of women in nineteenth-century Australia. They received critical praise at the time of publication and have led to renewed interest and further research on the subjects they cover. My own knowledge and expertise has developed as a result of researching and writing them. The Governesses was not only the first full-length study of a particular group of letters but it also documented aspects of the lives of governesses in Australia, a little researched subject to that time. A Colonial Woman, based on a previously unpublished and virtually unknown diary, pointed to the importance of 'ordinary' lives in presenting an enriched view of the past. Pen Portraits documented the early history of women journalists in Australia, a previously neglected subject. Three of the women I included in Pen Portraits, Louisa Atkinson, Tasma and Rosa Praed, the first two of whom were pioneer women journalists as well as novelists, became the subjects of my full-length biographies. In my biographies of women writers, Pioneer Writer, Tasma, and Rosa! Rosa!, I recorded and interpreted the lives of these important writers placing them in the context of Australian cultural history as women who negotiated gender barriers and recorded this world in their fiction. My books on Louisa Atkinson and Tasma were the first full-length biographies of these significant but largely forgotten nineteenth-century women writers, while my biography of Rosa Praed was the first for more than fifty years. Each introduced original research that changed perceptions of the women's lives and consequently of attitudes to their creative work. Each provided information essential for further research on their historical significance and literary achievements. Each involved extensive research that led to informed interpretation allowing insightful surmises essential to quality biography.
31
Clarke, Patricia. „Life Lines to Life Stories: Some Publications About Women in Nineteenth-Century Australia“. Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365578.
Der volle Inhalt der QuelleAnnotation:
This thesis consists of an introduction and six of my books, published between 1985 and 1999, on aspects of the history of women in nineteenth-century Australia. The books are The Governesses: Letters from the Colonies 1862-1882 (1985); A Colonial Woman: The Life and Times of Mary Braidwood Mowle 1827-1857 (1986); Pen Portraits: Women Writers and Journalists in Nineteenth Century Australia (1988); Pioneer Writer: The Life of Louisa Atkinson, Novelist, Journalist, Naturalist (1990); Tasma: The Life of Jessie Couvreur (1994); and Rosa! Rosa! A Life of Rosa Praed, Novelist and Spiritualist (1999).
At the time they were published each of these books either dealt with a new subject or presented a new approach to a subject. Collectively they represent a body of work that has expanded knowledge of women's lives and writing in nineteenth-century Australia. Although not consciously planned as a sequence at the outset, these books developed as a result of the influence on my thinking of the themes that emerged in Australian social and cultural historical writing during this period. The books also represent a development in my own work from the earlier more documentary-based books on letters and diaries to the interpretive challenge of biographical writing and the weaving of private lives with public achievements. These books make up a cohesive, cumulative body of work. Individually and as a whole, they make an original contribution to knowledge of the lives and achievements of women in nineteenth-century Australia. They received critical praise at the time of publication and have led to renewed interest and further research on the subjects they cover. My own knowledge and expertise has developed as a result of researching and writing them. The Governesses was not only the first full-length study of a particular group of letters but it also documented aspects of the lives of governesses in Australia, a little researched subject to that time. A Colonial Woman, based on a previously unpublished and virtually unknown diary, pointed to the importance of 'ordinary' lives in presenting an enriched view of the past. Pen Portraits documented the early history of women journalists in Australia, a previously neglected subject. Three of the women I included in Pen Portraits, Louisa Atkinson, Tasma and Rosa Praed, the first two of whom were pioneer women journalists as well as novelists, became the subjects of my full-length biographies. In my biographies of women writers, Pioneer Writer, Tasma, and Rosa! Rosa!, I recorded and interpreted the lives of these important writers placing them in the context of Australian cultural history as women who negotiated gender barriers and recorded this world in their fiction. My books on Louisa Atkinson and Tasma were the first full-length biographies of these significant but largely forgotten nineteenth-century women writers, while my biography of Rosa Praed was the first for more than fifty years. Each introduced original research that changed perceptions of the women's lives and consequently of attitudes to their creative work. Each provided information essential for further research on their historical significance and literary achievements. Each involved extensive research that led to informed interpretation allowing insightful surmises essential to quality biography.Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
School of Arts, Media and Culture
Full Text
32
Wright, Elizabeth Helena. „Virginia Woolf and the dramatic imagination“. Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
Der volle Inhalt der Quelle
33
Lewis, Darcy Hudelson. „Xenotopia: Death and Displacement in the Landscape of Nineteenth-Century American Authorship“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062864/.
Der volle Inhalt der QuelleAnnotation:
This dissertation is an examination of the interiority of American authorship from 1815–1866, an era of political, social, and economic instability in the United States. Without a well-defined historical narrative or an established literary lineage, writers drew upon death and the American landscape as tropes of unity and identification in an effort to define the nation and its literary future. Instead of representing nationalism or collectivism, however, the authors in this study drew on landscapes and death to mediate the crises of authorial displacement through what I term "xenotopia," strange places wherein a venerated American landscape has been disrupted or defamiliarized and inscribed with death or mourning. As opposed to the idealized settings of utopia or the environmental degradation of dystopia, which reflect the positive or negative social currents of a writer's milieu, xenotopia record the contingencies and potential problems that have not yet played out in a nation in the process of self-definition. Beyond this, however, xenotopia register as an assertion of agency and literary definition, a way to record each writer's individual and psychological experience of authorship while answering the call for a new definition of American literature in an indeterminate and undefined space.
34
Ribeiro, Lúcia Amaral de Oliveira. „Espaço e imaginação em L\'éducacion sentimentale, de Flaubert“. Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-03032011-104642/.
Der volle Inhalt der QuelleAnnotation:
Permeia a arte do século XIX uma reflexão sobre a perspectiva, o ponto de vista como olhar do sujeito. As construções discursivas de Flaubert subvertem procedimentos convencionais de representação da fala e do pensamento, sua escritura produz ambiguidade e desestabiliza a voz narrativa. Em relatos de viagem, ele desloca a descrição do que contempla (elementos da paisagem urbana ou da natureza, objetos e pessoas) para a descrição do que imagina. Fazendo uso de procedimento semelhante em LÉducation sentimentale, ele constrói cenas a partir do que Frédéric, protagonista do romance, observa ou projeta no espaço. Ele mistura percepções, desejos, lembranças, delírio e imaginação do personagem. Ao expressar a subjetividade de Frédéric, Flaubert cria um efeito de sobreposição de espaços. Esta pesquisa abrange aspectos de gênese textual, o estudo de como imagens e descrições integram a criação literária. Planos e roteiros manuscritos mostram que muitas das ideias de Flaubert começam com uma imagem.Nineteenth century art is permeated by a reflection on perspective, the subjective viewpoint. Flauberts discursive constructions revolutionize conventional procedures that represent speech and thought. His writing produces ambiguity and throws the narrative voice off balance. In travel journals, he shifts descriptions of what he contemplates (urban landscapes or nature, objects and people) to paint in words what he imagines. Using a similar procedure in LÉducation sentimentale, his scenes are built on what the novels protagonist, Frédéric, observes or projects in space. Flaubert mingles perceptions, desires, memories, delerium and imagination. Through Frédérics subjective eye, Flaubert creates an effect of overlapping spaces. This research encompasses textual aspects; it is a study on how images and descriptions actively participate in literary creation. Manuscripts plans and scenarios show that many of Flauberts ideas begin with images.
35
Brooks, Scott A. „To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674“. Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.
Der volle Inhalt der QuelleAnnotation:
By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
36
Roodt, Vasti. „Amor fati, amor mundi : Nietzsche and Arendt on overcoming modernity“. Thesis, Link to the online version, 2005. http://hdl.handle.net/10019.1/1230.
Der volle Inhalt der Quelle
37
Laffey, Seth Edward. „The Letters of Edwin Arlington Robinson: A Digital Edition (1889-1895)“. Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1499369594701871.
Der volle Inhalt der Quelle
38
Dessy, Clément. „Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences“. Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.
Der volle Inhalt der QuelleAnnotation:
En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
39
Amilitou, Eftychia. „L'écrivain et le camelot. Enjeux d'une littérature de presse dans les romans "athéniens" (1913-1945) de Gr. Xenopoulos“. Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030159.
Der volle Inhalt der QuelleAnnotation:
Ce travail a pour objectif la mise en évidence des interférences entre la presse et la littérature. en étudiant les "romans athéniens" de Grigorios Xénopoulos, publiés en feuilleton entre 1913 et 1945 dans la presse athénienne, nous examinons le champ littéraire et journalistique grec depuis la fin du XIXe siècle et jusqu’à la deuxième guerre mondiale, la description de l’espace urbain (Athènes) et la présence de l’interdiscours dans les romans. Nous traitons le corpus dans l’optique d’une littérature de presse, médiatique et largement accessible. Enfin, dans le sillage de l’analyse du discours et particulièrement de la nouvelle rhétorique, nous examinons la dimension argumentative des textes et l’image de l’auteur dans la fiction, telle qu’elle est perçue notamment à travers le réseau intertextuelThis work aspires to the description of the connection between the press and the literature. by studying Grigorios Xenopoulos’"Athenian novels", published in serial form between 1913 and 1945 in the Athenian press, I examine the greek literary and journalistic field from the end of the 19th century until the world war II, the description of the urbain space (Athens) and the interdiscourse in the novels. the corpus is treated from the point of view of the media and the largely accessible press literature. Finally, following on from the discourse analysis and in particular from the new rhetoric, I examine the argumentative dimension of the texts and the image of the author in fiction, as it is perceived in particular through the intertextual network
40
Cavallaro, Adrien. „Rimbaud et le rimbaldisme. XIXe-XXe siècle“. Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040117.
Der volle Inhalt der QuelleAnnotation:
Notre thèse a pour but de refonder les études de réception rimbaldiennes en substituant à la notion négative de mythe, forgée par Étiemble dans les années 1950, la notion positive de rimbaldisme. Alors que le mythe envisage la réception rimbaldienne comme une erreur d’interprétation collective et veut séparer l’œuvre de Rimbaud de sa réception, le rimbaldisme entend évaluer ce qui unit l’œuvre et sa réception, en adoptant un point de vue avant tout poétique. Notre corpus comprend les auteurs de réception les plus importants de la fin du XIXe siècle, moment de la réception symboliste de Rimbaud, au début des années 1950, au moment où la critique universitaire prend le relais d’une critique d’écrivains : Aragon, Breton, Claudel, Jacques Rivière, Léon-Paul Fargue, Max Jacob, Gustave Kahn, Verlaine notamment en sont les figures les plus importantes. Les enjeux d’une telle réflexion (historiographiques, herméneutiques, poétiques) sont rimbaldiens et extrarimbaldiens. L’approche littéraire de la réception permet de penser le devenir de l’œuvre rimbaldienne au XXe siècle, tout en livrant des enseignements sur cette œuvre elle-même. Elle permet aussi d’envisager une langue de la modernité poétique, une grammaire mentale selon laquelle la poésie moderne elle-même est théorisée sur notre périodeThe aim of this thesis is to reforge the rimbaldian reception studies by substituting rimbaldism, a positive notion, for the negative notion of myth, invented by Étiemble in the early 1950’s. While myth is described as a collective error of interpretation and distinguishes between Rimbaud and the reception, rimbaldism is a way to pay attention to the links between these two fields ; the point of view is strictly poetical. The corpus includes the most important rimbaldian authors from the end of the 19th century, at a time when a symbolist reception was promoting Rimbaud’s works, to the middle of the 20th century, at a time when the writers criticism is progressively overwhelmed by universitary criticism : Aragon, Breton, Claudel, Jacques Rivière, Léon-Paul Fargue, Max Jacob, Gustave Kahn, Paul Verlaine are the most important authors of this corpus. The issues of such an analysis (historiographical, hermeneutical and poetical) are rimbaldian and extrarimbaldian. The literary approach of reception is a way to think about what becomes of Rimbaud’s poetry during the 20th century, and at the same time it is an original way to study this poetry. But the main issue is the approach of an original modern language, a sort of collective mental grammar according to which modern poetry itself is theorized during the period
41
Bompaire, François. „Ironie et communication littéraire, à partir des fictions d’André Gide“. Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL075.
Der volle Inhalt der QuelleAnnotation:
Face à l’incohérence apparente de la notion d’ironie, cette thèse vise, non à valoriser l’impossibilité de la définir et le protéisme de la notion, mais à construire une définition sur des principes alternatifs : attention aux traits communs plutôt qu’aux variations, aux processus longs qu’à la succession des significations, définition de l’ironie comme acte communicationnel plutôt que comme mécanique formelle. L’ironie, à partir du monde grec, est tenue pour un acte de communication, non réductible à la linguistique pragmatique : comment contrôler la socialisation en contexte dangereux, en se tenant au plus près de l’ennemi ? La résolution de ce problème dans l’échange passe par l’invention de formes, dont certaines, antiphrase en tête, s’autonomisent et deviennent des formes fixes, parmi d’autres, de l’ironie. Je m’efforce ensuite de suivre la façon dont se maintient cette définition non formelle en étant attentif, jusqu’au romantisme d’Iéna, à l’analyse de la communication à l’œuvre dans les réflexions sur l’ironie. L’œuvre fictionnelle d’André Gide, déployant une grande variété de formes d’ironie et habitée par le secret, biographique et sexuel, est relue comme remettant en jeu ce contrôle de la socialisation dangereuse et comme déployant, derrière la notion de collaboration, une réflexion sur la communication littéraire. D’autre part, l’œuvre d’André Gide est ressaisie dans la perspective d’une histoire de l’ironie au dix-neuvième siècle. L’antiphrase n’est alors pas centrale : à la figure de Voltaire s’attache l’idée de raillerie de l’idéal, qui constitue un poids sémantique déterminant l’adaptation des différentes traditions ironiques au cadre françaisFaced with the apparent inconsistency of the notion of irony, this PhD does not suggest to enhance the impossibility of defining the notion or its proteism, but to build a definition on alternative principles: the focus on common features instead of variations, on long term processes instead of the succession of meanings and the definition of irony as an act of communication rather than as a formal mechanic. Irony, ever since the Greek world, appears as an act of communication which cannot be reduced to pragmatic linguistics: how to control socialisation in a dangerous context, in staying as close to the enemy as possible? Solving this problem by exchanging supposes the invention of forms, some of which – first and foremost the antiphrasis – get autonomous and are fixed forms – but among others – of the irony. I then strive to follow the way in with this non formal definition is maintained by paying attention – until Jena romanticism – to the analysis of the communication at work in the reflexions on irony. André Gide’s fictional work displaying a great variety of forms of irony and being imbued with secret, both biographical and sexual, is read as questioning this control of dangerous socialisation and as laying out, beneath the notion of collaboration, a reflexion on literary communication. On the other hand André Gide’s work is reinterpreted in the perspective of a history of irony in the nineteenth century. The antiphrasis is the centre of perception of irony: to the figure of Voltaire is attached to the idea of taunting the ideal, which constitutes a semantic weight conditioning the adaptation of different ironic traditions to the French framework
42
Murakami, Yumi. „De la critique à la création poétique : l'importance du ballet dans l'écriture de Mallarmé“. Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL094.
Der volle Inhalt der QuelleAnnotation:
Nous nous pencherons tout au long de notre thèse, sur la question de la construction poétique dans les pensées de Mallarmé concernant la Danse, et ce, à partir des modifications syntaxiques et lexicales que celui-ci a effectuées sur certaines de ses œuvres. À travers l’analyse du processus par lequel Mallarmé affinera ses pensées dans ses écrits poétiques et ses critiques de la Danse, nous essaierons de définir le rôle pris par la Danse dans la dernière partie de sa vie. Tout en cherchant à contextualiser ses critiques, nous procèderons à un examen minutieux des pièces que Mallarmé a vues et dont il a précisément établi la critique. Puis, en nous penchant sur la réécriture de texte opérée entre « Notes sur le Théâtre » et « Crayonné au Théâtre » qui se trouve compilé dans son ouvrage Divagations, nous analyserons les évolutions potentielles de ses pensées et nous tenterons d’apporter une lecture des concepts de « regard », du « voile » et de « la nudité » à travers les œuvres poétiques de Mallarmé comme L’Après-midi d’un faune ou bien Hérodiade. Au sein du genre même de la Danse, nous nous concentrerons sur la place privilégiée du Ballet chez Mallarmé et, tout en définissant la vision que celui-ci avait de cet art, nous effectuerons une interprétation de sa prose poétique. Cela nous permettra de faire ressortir le caractère novateur et profondément singulier des écrits que Mallarmé a consacrés à la Danse, et de définir finalement tout ce que cet art représentait pour lui. Le concept de la Danse chez Mallarmé sort du cadre où il est ordinairement relégué, et est défini comme quelque chose revêtant une grande valeur et une haute signification dans le processus créatif de cet auteur. Cette thèse se propose de circonscrire les passerelles et les continuités entre les poèmes et les critiques de Mallarmé, afin de tenter de bâtir la conception que celui-ci avait de la DanseThe question of the poetic construction in the lines Mallarmé wrote about Dance will be examined throughout this thesis from the point of view of the modifications he made on some of his works. Through the analysis of the process by which Mallarmé has been able to refine his thoughts in his poetic writings and his critics of the Dance, we will try to define the role taken by the Dance in the last part of his life. Focused on the privileged place occupied by the Ballet, we will try to give an interpretation of his poetic prose while defining the vision that Mallarmé had of this art. The highly innovative and singular nature of his writings dedicated to the Dance will be highlighted and we will be able to finally define what this art represented for him. The concept of Dance for this poet, comes out of its ordinary framework, and it is defined as something of high value and high significance in Mallarmé’s creative process. With this thesis, we will circumscribe the continuities between the poems and the critics of Mallarmé, in order to seize more precisely how he came to think about Dance the way he did
43
Pricop, Lucian. „L'identité de la littérature roumaine: écrivains, éditeurs et lecteurs à la fin du XIXe siècle et au début du XXe siècle“. Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209502.
Der volle Inhalt der QuelleAnnotation:
Notre recherche a examiné un phénomène communicationnel susceptible d’éclairer le processus de la modernisation de la société roumaine au tournant des XIXe et XXe siècles :il s’agit de la transformation de l’édition d’une société manufacturière dans « une proto-industrie culturelle » et de la création d’une sphère publique dans ce monde en constante redéfinition. Le rapport entre la croissance des biens culturels produits par les éditeurs et celle de l’intérêt des individus pour la lecture est le centre de notre recherche. Autrement dit, nous avons évalué la fonction sociale de la littérature roumaine et le rôle des livres sur le marché des produits culturels et informationnels. L’intervalle relativement long, de 1880 à 1914, nous a permis de confronter les données spécifiques à la production de littérature d’une manière diachronique, en analysant les stratégies économiques et politiques des acteurs et aussi les conflits résultant des rapports de pouvoir entre ceux-ci. L’analyse des conditions de ces mutations a déterminé les rôles sociaux des instances, les dialogues, les confrontations entre les acteurs et les publics. Nous avons identifié une crise de la littérature roumaine originelle qui a mobilisé une sorte d’internationalisation de la production littéraire. La concurrence des biens, des marchandises culturelles « importées » de l’Occident sous la forme des traductions ou des reformulations est l’un des « potentiateurs » de la création littéraire autochtone. Les lectures croisées de documents (plans éditoriaux, correspondance, presse, journaux intimes et professionnels, etc.) et de sources secondaires (histoires littéraires, travaux de critique, manuels, etc.) nous ont permis de suivre l’évolution des intentions, des objectifs, des réalités et des conséquences sur ce qu’on considère l’histoire officielle de la littérature. Les différences entre les étapes démontrent, d’une manière assez exacte, les degrés de pouvoir des forces impliquées dans la production du canon littéraire ;elles illustrent aussi l’emprise croissante de l’idéologie sur le champ culturel à partir de la fin du XIXe siècle. L’analyse diachronique des parutions éditoriales à travers les 34 années étudiées reflète les changements des politiques culturelles de l’Etat. L’analyse appliquée à la politique éducationnelle de la discipline littérature roumaine nous a permis d’envisager une modification de la stratégie de l’Etat dans ce domaine et de questionner ses effets sur la création du patrimoine national.
Le littéraire, acteur central de notre recherche, nous a donné la possibilité d’instrumentaliser plusieurs notions appartenant à l’histoire du livre et de l’édition. De cette manière, les tensions présentes à l’intérieur de l’analyse historique de la littérature ont été transformées en sujet de réflexion, voire de rétablissement de certaines positions de domination. Le concept d’identité bibliographique est convoqué pour réaliser une lecture diachronique d’une époque. Nous avons identifié et analysé toute une série de problématiques passionnantes, telles les relations entre les instances impliquées dans la production, la circulation et la réception des livres littéraires durant la période 1880-1914.
The PhD thesis entitled The Romanian Literary Identity. Writers, Publishers and Readers in the Late Nineteenth and Early Twentieth Centuries examines a communication phenomenon, constituting a scientific enterprise that aims to clarify some aspects relating to the modernization of Romanian society during the Belle Époque: we have in mind the transformation of the “publishing house” from a business dealing with handmade items into a “proto-industrial culture” and the creation of a public sphere in a world constantly seeking to define itself. The relationship between the increasing number of cultural goods produced by publishers and the growing interest in reading among the people represents a main focus of this research. In other words, we tried to assess the social function of Romanian literature and the role of books on the market for cultural and informational products. By choosing a fairly long period of time (1880-1914), we were able to confront the data pertaining to literary production in a diachronic manner, analyzing the economic and political strategies of the “actors”, as well as the conflicts arising from the power relations between those actors. The analysis of the circumstances surrounding the transformations undergone by the Romanian cultural area enabled us to determine more clearly the social roles of the participants, the interactions and confrontations between actors and audiences. We could identify a crisis of the original Romanian literature, a crisis that fostered the “internationalization” of the literary production. The competition between cultural goods “imported” from the West in the form of translations or adaptations was one of the factors enhancing local literary production.
The cross-reading of documents (editorial plans, correspondence, press, personal and professional diaries etc.) allowed us to evaluate the evolution of the intentions, goals, realities and consequences of the official history of Romanian literature (which has its origins in this period). The differences between these stages revealed the power statuses of the forces involved in producing the literary canon; they also showed the growing influence of ideology on the cultural field since the end of the nineteenth century. The diachronic analysis of the titles published in the 34 years under scrutiny reflects the changes ocurring in the cultural policies of the state. The educational strategies concerning Romanian literature as a field of study revealed the state’s attitude change towards this area, which enabled us to assess the effects on the development of the “national literary heritage”.
The literary field, the central actor of our research, opened the possibility to operationalize several concepts pertaining to the history of book publishing. Thus, the tensions existing within the historical analysis of literature were transformed into a subject of reflection, even re-establishing some positions of dominance. The notion of bibliographical identity was employed in order to do a diachronic reading of the era.
The research conducted for this dissertation gave us the opportunity to identify and analyze a range of exciting issues, such as the relationship between the participants involved in the production, dissemination and reception of literary works between 1880 and 1914.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
44
Reeher, Jennifer M. „“The Despair of the Physician”: Centering Patient Narrative through the Writings of Charlotte Perkins Gilman“. Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1523435451243392.
Der volle Inhalt der Quelle
45
Whitted, Brent Edward. „Legal play : the literary culture of the Inns of Court, 1572-1634“. Thesis, 1999. http://hdl.handle.net/2429/10139.
Der volle Inhalt der QuelleAnnotation:
This thesis examines the social politics of literary production at
London's Inns of Court from 1572 to 1634. Pierre Bourdieu's concepts of
cultural production are widened beyond his own French academic context so
that the Inns may be located as institutions central to the formation of literary
and, in particular, dramatic culture in early modern London.
A significant part of Bourdieu's research has concerned the
establishment of a foundation for a sociological analysis of literary works. The
literary field, Bourdieu argues, is but one of many possible fields of cultural
production—social networks of struggle over valued economic, cultural,
scientific, or religious resources. As a historically constituted arena of activity
with its own specific institutions, rules, and capital, the juridical field of early
modern London was a competitive market in which legal agents struggled for
the power to determine the law. Within this field, the Inns of Court served as
unchartered law schools in which the valuable cultural currency of the
common law was transmitted to the resident students, whose association
with this currency was crucial for their pursuit of social prestige.
Focusing on the four Inns of Court as central institutions in the
juridical field and their relationship with the larger political and economic
forces of London, that is, the field of power, the thesis demonstrates how the
literary art associated with these institutions relates to the students' struggle
for social legitimation, particularly in their interaction with the City and the
Crown. By demonstrating how the structures of literary texts reflect the
structures of the relationship between the Inns and other centers of urban
power, this analysis examines the pivotal role(s) played by law students in the
development of London's literary culture.
46
Kure, Kathryn Susan. „From the daughter's seduction to the production of desire: why do women read the romance?“ Thesis, 1993. https://hdl.handle.net/10539/26222.
Der volle Inhalt der QuelleAnnotation:
A Dissertation Submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg
in fulfilment of the requirements for the Degree of Master of Arts."Why do women read the romance?" cannot be answered by Anglo-American feminist literary criticism; a critique is brought against feminist definitions of gender and genre, and the question, "Why did women begin to write (novels)?" Gender definition and genre formation are integrally interrelated in the modern period; this can be traced through textual analyses of textual practices in early nineteenth century texts. Analyses of Wuthering Heights, Emma, and Madame Bovary enable critique to be brought against tenets central to feminist criticism: the figure and function of the female author; the definitions of gender, desire and sexuality; the social and the sexual contracts; and the role of Oedipus in feminist-psychoanalytical debates. Moi's Sexual/Textual Politics provides a. critique of feminism, Armstrong's Desire and Domestic Fiction a feminist history of the novel, and Radway's Reading the Romance a feminist account of romance fiction.
Andrew Chakane 2018
47
Ohrenberger, Juliana. „The Publication and Initial Reception of Jane Eyre and Wuthering Heights: Victorian Gender Norms and Intertextual Modern Interpretation“. 2018. https://scholarworks.umass.edu/masters_theses_2/611.
Der volle Inhalt der QuelleAnnotation:
This thesis discusses the contrasting publication and reception histories of Charlotte Bronte’s Jane Eyre (1847) and Emily Bronte’s Wuthering Heights (1847) and the complex role of Victorian gender norms in shaping those histories. In addition, the thesis examines the interplay between the Brontes’ works and their dialogues with Victorian gender norms and expectations of women on the creation of modern intertextual interpretations such as the Twilight (2005) and Fifty Shades of Grey (2011) novel series. The publication histories of Jane Eyre and Wuthering Heights can be best understood in relation to the social context provided by the gender norms and pressures that governed (or sought to govern) women’s behavior during the nineteenth century. Emily and Charlotte’s novels both opposed these gendered social norms to varying degrees but received widely different receptions during their lifetimes. Emily’s text was relatively negatively received and Charlotte attained literary success. An analysis and discussion of the interplay between their publication histories, the social norms and pressures that shaped those histories, and contemporary responses to the main female and male characters in their novels, Catherine Earnshaw, Heathcliff, Edgar Linton, Jane Eyre, and Mr. Rochester, can shed light on their opposing receptions.
In addition, this thesis explores how a gendered analysis of the effect of Victorian social norms and pressures on these texts and their receptions illuminates how modern appropriations by popular series novels Twilight and Fifty Shades of Grey interpret anew the gender tropes the Brontes explored in their narratives. The characters in these novels, this thesis argues, follow a comparably gendered pattern of behavior in comparison to their literary predecessors. This thesis reads the female and male characters created by E.L. James and Stephenie Meyer for the ways they echo both the characterizations in the Bronte novels and the social and gendered pressures to which they conform. The connected characterization highlights female self-consciousness, morality and sexual innocence, and a desire for wealthy dominant male partners with sexual and emotional dysfunction. Finally, it is important to place this discussion within the wider cultural narrative that includes contemporary cultural engagement with these ‘popular’ interpretations of the Brontes’ work as a piece that fits into the larger archive of women’s culture.
48
Bradford, Lesa M. „Women in reality: a rhetorical analysis of three of Henrik Ibsen’s plays in order to determine the most prevalent feminist themes“. Thesis, 2007. http://hdl.handle.net/10057/1115.
Der volle Inhalt der Quelle
49
C, Bergeron Fabrice. „Du jugement éthique et esthétique dans «Les misérables de M. V. Hugo» de Barbey d'Aurevilly“. Thèse, 2018. http://hdl.handle.net/1866/21590.
Der volle Inhalt der Quelle
50
Glisson, Silas Nease. „Cultural nationalism and colonialism in nineteenth-century Irish horror fiction“. Thesis, 2000. http://hdl.handle.net/10500/16852.
Der volle Inhalt der QuelleAnnotation:
This thesis will explore how writers of nineteenth-century Irish horror fiction,
namely short stories and novels, used their works to express the social, cultural, and political
events of the period. My thesis will employ a New Historicist approach to discuss the effects
of colonialism on the writings, as well as archetypal criticism to analyse the mythic origins of
the relevant metaphors. The structuralism of Tzvetan Todorov will be used to discuss the
notion of the works' appeal as supernatural or possibly realistic works. The theory of
Mikhail Bakhtin is used to discuss the writers' linguistic choices because such theory focuses
on how language can lead to conflicts amongst social groups.
The introduction is followed by Chapter One, "Ireland as England's Fantasy." This
chapter discusses Ireland's literary stereotype as a fantasyland. The chapter also gives an
overview of Ireland's history of occupation and then contrasts the bucolic, magical Ireland of
fiction and the bleak social conditions of much of nineteenth-century Ireland.
Chapter Two, "Mythic Origins", analyses the use of myth in nineteenth-century horror
stories. The chapter discusses the merging of Christianity and Celtic myth; I then discuss the
early Irish belief in evil spirits in myths that eventually inspired horror literature.
Chapter Three, "Church versus Big House, Unionist versus Nationalist," analyses
how the conflicts of Church/Irish Catholicism vs. Big House/Anglo-Irish landlordism, proBritish
Unionist vs. pro-Irish Nationalist are manifested in the tales. In this chapter, I argue
that many Anglo-Irish writers present stern anti-Catholic attitudes, while both Anglo-Irish
and Catholic writers use the genre as political propaganda. Yet the authors tend to display
Home Rule or anti-Home Rule attitudes rather than religious loyalties in their stories.
The final chapter of the thesis, "A Heteroglossia of British and Irish Linguistic and
Literary Forms," deals with the use of language and national literary styles in Irish literature
of this period. I discuss Bakhtin's notion of heteroglossia and its applications to the Irish
novel; such a discussion because nineteenth-century Ireland was linguistically Balkanised,
with Irish Gaelic, Hibemo-English, and British English all in use. This chapter is followed by
a conclusion.English
M. Lit. et Phil. (English)