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Vincent, Alana M. „Memorialisation and Jewish Theology in the 20th and 21st centuries : monument, narrative, liturgy“. Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2006/.
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This thesis is an exploration of the relationship between the understanding of the past and the practice of theology. It is built around three major case studies: the history of interpretation of the commandment to blot out the memory of Amalek (Deuteronomy 25:17-19), the commemoration of the First World War in Canada, and the development of post-Holocaust theology. Linking these cases are issues of theological response to (or justification for) violence, and tensions between individual and collective identity. Part I focuses on Deuteronomy 25:17-19, and the internal contradiction between the commandments to remember and blot out the memory of Amalek. The passage is analysed both in terms of language and reception history, with special attention paid to Rabbinic interpretations from the 19th and 20th centuries (sermons and commentaries generated during or immediately after the German Reform movement, the American Civil War, and the Nazi occupation of Poland). This reading prompts two further strands of analysis, which are pursued separately: the distinction between the remembering commanded in the passage and concepts of memory active in the Western philosophical tradition prior to the 20th century, and the place this passage has in a larger tradition of religious and secular discourse on acceptable justifications for violence, again in both Jewish and more broadly Western thought. Part II takes up these themes, beginning with an historically contextualised reading of two versions of Antigone—one written by Sophocles in the early days of the Athenian Empire, and the other by Jean Anouilh during the Second World War. Both of these focus on a dead body as the site of ideological contestation between divergent identity narratives—a conflict that is also apparent in negotiations over the memorialisation of the First World War, which is the main focus of this part. A close reading of novels from L. M. Montgomery‘s Anne of Green Gables series, published before, during, and just after the war reveals that the First World War partly destabilised the individual-focused structures of memorialisation that were in place prior to its beginning, in favour of structures which enforced the collective identity of the soldiers who died in the war; while much of this instability could be (and was) addressed in existing theological language, the war nevertheless left a mark on Canadian society and religious practice. This part concludes with an examination of the Canadian National Monument at Vimy, conducted via archival documentation of the monument‘s design and construction and then through a reading of The Stone Carvers, a recent novel which re-imagines the circumstances documented in the archives through the eyes of one war veteran and his family. This dual reading also demonstrates the instability of memorials, the tendency of their meaning to shift over time. Part III commences with a discussion of the shift in memorial forms precipitated by the Holocaust. I contend that the tendency to memorialise the Holocaust with complex museum narratives betrays an anxiety about the intended audience of these memorials, which points in turn to the degree to which the Holocaust upset previous cultural and religious worldviews. This section focuses on theological and literary attempts to record and respond to the ruptures caused by the Holocaust, with specific reference to two recent novels by Jewish Candian women which, taken together, provide a constructive interruption to overly tidy narratives of national and religious identity.
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Dudas, Stephen P. „A Jug Full of Stars: The Poetry of Childhood in the 20th and 21st Centuries“. Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami161678986029086.
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Ferguson, Benjamin. „Rethinking the Last Frontier : Anglophone travel literature about Alaska in the 20th and 21st centuries – writing, ethics and environmental responsibility“. Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASK002.
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Cette thèse s’articule autour de trois champs littéraires : études environnementales, études arctiques, et littérature de voyage. Elle s’attache essentiellement à traiter des responsabilités éthiques d’un étranger(e) arrivant dans une région isolée comme l’Alaska, avec ses démographies diverses et ses biomes uniques. Dans cette perspective, la discussion des questions environnementales se retrouve très souvent en première ligne de la conversation dans la littérature de voyage “moderne”.Le terme “moderne” est ici mis entre guillemets car il est fondamentalement subjectif. L’ère de l’Alaska moderne peut être délimitée par divers marqueurs chronologiques, notamment ce millénaire, avec son basculement par le changement climatique et les discussions autour des droits d’animaux. Cependant, deux autres dates sont plus incisives : 1977 lorsque le pétrole a commencé à s’écouler de Prudhoe Bay sur la côte arctique vers Valdez, traversant l’état dans le Trans-Alaska Pipeline System ; et 1959 quand l’Alaska est devenu officiellement le 49ème Etat des Etats-Unis. C’est finalement cette dernière date qui a été retenue, la précédente symbolisant plutôt la culmination d’un long processus qui avait déjà bouleversé l’identité de l’Etat de lui-même, y compris par l’ouverture de vannes financières pour remplir la caisse du gouvernement.Six oeuvres primaires ont été sélectionnées, de 1959 à nos jours, avec une approche de la diversité : des intérêts, des démographies, de la chronologie, de la géographie, et du style. Les oeuvres sont Oomingmak: The Expedition to Musk Ox Island in the Bering Sea (1967) de Peter Matthiessen ; Coming into the Country: Travels in Alaska (1977) de John McPhee ; Arctic Dreams: Imagination and Desire in a Northern Landscape (1986) de Barry Lopez ; Ancient Land, Sacred Whale: The Inuit Hunt and its Rituals (1993) de Tom Lowenstein ; Passage to Juneau: A Sea and its Meanings (1999) de Jonathan Raban ; et Beluga Days: Tracking a White Whale’s Truths (2003) de Nancy Lord. Ces oeuvres explorent des gammes géographiques et démographiques de la côte arctique du nord- ouest et sa culture Iñupiat, l’Alaska du sud-ouest des Yup’ik, le Cook Inlet et le bol d’Anchorage et ses autochtones urbains ainsi que ses Dena’ina, l’intérieur de l’Alaska et ses Athabaskan, et les Tlingits et Haidas du sud-est.La thèse est structurée en trois parties : une historiographie qui cadre la politique et la culture de l’Alaska moderne ; une analyse littéraire directe des oeuvres primaires, déclinée sur différents thèmes ; et une application prescriptive éclairée par la méta-discussion actuelle dans les études environnementalesThis thesis is centered around three primary literary focuses: environmental studies, Arctic studies, and travel writing. Essentially, the subject to be treated is the ethical responsibilities of an outsider when entering into an isolated region such as Alaska, with its extraordinary demographic diversity and unique biomes, particularly when discussing environmental issues, which are very often at the forefront of conversation in “modern” travel writing.As for parameters, “modern” is in quotations as the term is inherently subjective. The modern Alaska timeframe could be set up in numerous ways, including this millennium, with its shift into climate change and animal rights discussions, but two other dates are more trenchant: 1977 when the first oil flowed from Prudhoe Bay on the Arctic Coast latitudinally southward to Valdez on the Trans-Alaska Pipeline System, and 1959 when Alaska officially became the 49th US state. The latter date was chosen, as the former was merely the culmination of a long process that had already upended the state’s identity of itself, including the arrival of ostensibly endless flows of money into government coffers.Furthermore, six primary works were chosen, from 1959 to the present moment, with an eye toward diversity: of interests, of demographics, of chronology, of geography, and of style. The works are Peter Matthiessen’s Oomingmak: The Expedition to Musk Ox Island in the Bering Sea (1967); John McPhee’s Coming into the Country: Travels in Alaska (1977); Barry Lopez’ Arctic Dreams: Imagination and Desire in a Northern Landscape (1986); Tom Lowenstein’s Ancient Land, Sacred Whale: The Inuit Hunt and its Rituals (1993); Jonathan Raban’s Passage to Juneau: A Sea and its Meanings (1999); and Nancy Lord’s Beluga Days: Tracking a White Whale’s Truths (2003). These six works explore geographic and demographic ranges from the Northwest Arctic coast of Iñupiat culture, Southwest Alaska of the Yup’ik, Cook Inlet and Anchorage Bowl Urban Native and Dena’ina culture, Interior Alaska Athabaskan culture, and Southeast Alaska Tlingit and Haida culture.The thesis is ordered into three parts: a historiography framing the current political and cultural moment in the state; a direct literary analysis of the primary works, broken up into themes discussed therein; and a prescriptive application informed by the current meta-discussion taking place in environmental studies
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Estrada, Orozco Luis Miguel. „El boxeador: genealogia y transformacion de un icono en la literatura mexicana de los siglos XX y XXI (The Boxer: Genealogy and Transformation of an Icon in Mexican Literature from the 20th and 21st Centuries)“. University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1495795307024171.
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Денісова, Дар'я Данилівна, und Daria Danylivna Denisova. „Weird Fiction: етимологічний аналіз природи жанру“. ХНУ імені В. Н. Каразіна, 2017. http://repository.sspu.sumy.ua/handle/123456789/3411.
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Díaz, Fernández Estrella. „La colección "La sonrisa vertical" y la representación literaria de las minorías sexuales“. Doctoral thesis, Universitat de Lleida, 2017. http://hdl.handle.net/10803/405758.
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La col•lecció de narrativa eròtica «La sonrisa vertical» (Barcelona: Tusquets Editores) nasqué en plena transició democràtica, el 1977, a càrrec de Luis García Berlanga i Beatriz de Moura, amb un doble propòsit: rescatar un gènere literari fins aquell moment censurat per les lleis franquistes i apostar per la narrativa de joves autors, tant en llengua catalana com espanyola. L’interès d’una col•lecció d’aquestes característiques no és exclusivament literari, ja que, donada l’ època turbulenta en la qual es va gestar i l’aposta ideològica editorial, va albergar volums amb una notable voluntat de ruptura política i moral. En aquest sentit, no van escassejar les representacions de personatges amb sexualitats heterodoxes, entre les quals, donada la legislació vigent (Llei de Perillositat i Rehabilitació Social), bé s’hi podrien incloure les de lesbianes, gais i persones trans. Aquesta tesi doctoral pretén oferir una anàlisi de les molt diverses creacions d’autors espanyols i hispanoamericans que, en especial, van afavorir la representació de personatges lèsbics entre 1977 i 2014 amb l’objectiu de valorar la seva identitat literària i la seva rellevància històrica i social.La colección de narrativa erótica «La sonrisa vertical» (Barcelona: Tusquets Editores) nació en plena transición democrática, en 1977, de la mano de Luis García Berlanga y Beatriz de Moura, con un doble propósito: rescatar un género literario hasta aquel momento censurado por las leyes franquistas y apostar por la narrativa de jóvenes autores, tanto en lengua catalana como española. El interés de una colección de estas características no es exclusivamente literario, ya que, dada la época turbulenta en que se gestó y la apuesta ideológica de la editorial, albergó volúmenes con una notable voluntad de ruptura política y moral. En este sentido, no escasearon las representaciones de personajes con sexualidades heterodoxas, entre las cuales, dada la legislación vigente (Ley de Peligrosidad y Rehabilitación Social), bien podrían incluirse las de lesbianas, gais y personas trans. Esta tesis doctoral pretende ofrecer un análisis de las muy diversas creaciones de autores españoles e hispanoamericanos que, en especial, favorecieron la representación de personajes lésbicos entre 1977 y 2014 con el objetivo de valorar su entidad literaria y su relevancia histórica y social.
The collection of erotic narrative «La sonrisa vertical» (Barcelona: Tusquets Editores) was born in full democratic transition, in 1977, it was created by Luis García Berlanga and Beatriz de Moura, with a double purpose: a genre up to that moment censored by the laws rescuing Francoists and betting on the narrative of young authors, both in Catalan and Spanish. The interest of a collection of these characteristics is not exclusively literary, since, the turbulent period in which it was gestated and the ideological bet of the publishing company, lodged volumes with a remarkable will of political and moral breach. In this sense, the representations of characters with heterodox sexualities were not scarce, among which, given the current legislation (Law of Dangerousness and Social Rehabilitation), well those of lesbians, gays and people could be included trans. This Ph. D. dissertation intends to offer an analysis of the very different creations of Spanish and Latin American authors who, especially, favoured the representation of lesbian characters between 1977 and 2014 with the aim of valuing their literary entity and their historical and social relevance.
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Garnerin, Fabienne. „Jean Ganiayre/Joan Ganhaire : entre rire et désespoir, un regard occitan sur l'humaine condition“. Electronic Thesis or Diss., Montpellier 3, 2020. http://www.theses.fr/2020MON30059.
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L’œuvre de Joan Ganhaire (Jean Ganiayre en français) est d’une exceptionnelle richesse. Cet auteur contemporain, qui a fait de l’occitan limousin son unique langue d’écriture, a abordé des genres littéraires variés : nouvelles fantastiques, « nhòrlas » [histoires drôles], romans de cape et d’épée, romans policiers, sans compter une forme de poésie en prose qui affleure dans de nombreux textes. Sous son apparente diversité, cette œuvre est d’une grande cohérence par ses thèmes, par ses images, par ses « biais de dire » [façons de s’exprimer] récurrents. Elle peut se lire à des niveaux multiples et ouvre sur des possibilités d’interprétation très différentes selon le point de vue que l’on adopte, interprétations qui se croisent et s’enrichissent mutuellement. Hanté par les questions de la mort, de la violence omniprésente et de l’absurdité du monde, à la fois en tant qu’homme et par sa profession de médecin, Ganhaire, comme de nombreux auteurs des XXe et XXIe siècles, leur oppose le rire et la dérision comme un ultime pied de nez. Son œuvre est un hommage à l’imaginaire limousin, en relation étroite avec la nature, et dont il s’est senti imprégné dès l’enfance. Elle en propose une expression contemporaine, irriguée et hybridée par les imaginaires de grandes figures de la littérature mondiale, mais aussi par d’autres arts comme le cinémaThe work of Joan Ganhaire (in French Jean Ganiayre) is of exceptional richness. This contemporary author, who made the Limousin Occitan his only language of writing, addressed various literary genres : fantastic short stories, «nhòrlas» [funny short stories], cape and sword novels, detective novels, not to mention a form of poetry in prose that outcrops in many texts. Under its apparent diversity, this work is very consistent because of its themes, its images, and its recurring « biais de dire » [ways of saying]. It can be read at multiple levels and opens up very different possibilities of interpretation depending on the point of view adopted, interpretations that cross and enrich each other. Haunted by the questions of death, of the omnipresent violence and of the world’s absurdity, both as a man and by his profession as a doctor, Ganhaire, like many authors of the twentieth and twenty-first centuries, opposes them laught and derision like an ultimate snub. His work is a tribute to the imaginative limousin world, in close relationship with nature, which he felt imbued from childhood. It proposes a contemporary expression of it, irrigated and hybridized by the imaginative worlds of great figures of world literature, but also by other arts such as cinema
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Gullo, Anne Sophie. „L'oeuvre en prose (2001-2014) d'Alejandro Lopez Andrada : vers l'élégie“. Thesis, Normandie, 2019. http://www.theses.fr/2019NORMC026.
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Alejandro López Andrada, poète, romancier et essayiste appartenant à la « génération des fils » comme la nomme Juan Vila, retrace le passé perdu ou en voie de disparition de son Andalousie natale. Sa prose se démarque par son caractère élégiaque et en dépit de la diversité générique qui caractérise ses œuvres, celles-ci ont en commun l’expression d’un sentiment nostalgique. Cette étude s’attache à présenter, en premier lieu, la voix narrative qui s’exprime dans le corpus choisi ainsi que la subjectivité qui la définit, puis, dans un second temps, les modes d’expression de cette nostalgie à travers l’exaltation de l’enfance dans laquelle s’inscrit la représentation de la terre natale andalouse. Enfin, la dernière partie de ce travail est consacrée à l’humanisme chrétien qui se dégage des textes, lesquels traduisent ainsi la foi personnelle de l’auteur. Celle-ci se manifeste notamment par l’expression de l’amour de l’Autre, de la revendication de valeurs et modes de vie renvoyant à nouveau à la période de l’enfance de l’auteur et par le poids important du religieux dans l’ensemble de son œuvreAlejandro Lopez Andrada, a poet, novelist and essayist from the "generation of sons" as Juan Vila calls it, traces the lost or disappearing past of his native Andalusia.His prose is notable for its elegiac character and despite the generic diversity that characterises his works, they all express a feeling of nostalgia.This study aims to present, in the first instance, the narrative voice that is expressed in the chosen corpus as well as the subjectivity that defines it, and, secondly, the expression of this nostalgia through the exaltation of childhood, in which the representation of the Andalusian homeland is enshrined. Finally, the last part of this work is devoted to the Christian humanism that emerges from the texts, which reflect the author's own personal faith. This particularly manifests itself in the expression of love of the Other, in the demand for the values and way of life which hark back to the author's childhood and by the weight given to the importance of religion in all his work
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Schuenemann, Keah Camille. „Analysis of the synoptic forcing of Greenland precipitation in the 20th and 21st centuries“. Connect to online resource, 2008. 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:3337152.
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Duran, Alejandro A. „The Iranian Green Movement and the Journey of Democracy in the 20th and 21st Centuries“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1315.
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The Green Movement of 2009 was a moment where the Iranians took to the streets and protested for democracy. This is nothing new, throughout the whole 20th century gave Iranian people many different options of their country. This thesis examines those moments and differentiates the Green Movement as an event that is unique in that it has not yet led to top-down reforms. Previous literature has yet to incorporate the Green Movement in contemporary analysis of Iranian history.
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Ward, Robert (Robert Clark). „Passion Settings of the 20th- and 21st- Centuries Focusing on Craig Hella Johnson's Considering Matthew Shepard“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862740/.
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Craig Hella Johnson (b. 1963) has emerged as a leader in choral music over the last 20 years. As the conductor of the Austin, TX based chorus Conspirare Johnson implemented the European model of bringing singers together from all over the country to assemble for concerts and recordings over a short period of time. He is known for his collage programs which bring together many styles of music bound by a central theme. Through these programs he has written and arranged many pieces which are now published and being performed by choirs across the globe. Johnson's most significant work to date is a 90 minute passion oratorio which details the story of Matthew Shepard, a college student murdered in a hate crime in 1998. Considering Matthew Shepard (2016) is a wonderful example of Johnson's composition and programming style. Though not a traditional passion story, it is part of the evolution of the genre in the 20th and 21st centuries. The passion oratorio has seen a resurgence in the past 50 years and has undergone a transformation in that time. These new works pay homage to the history of the genre but have begun to stretch it in terms of form and content. This study will highlight the evolution of the passion oratorio focusing on Johnson's Considering Matthew Shepard and offer some insight into the composers style and how this work represents a modern treatment of the passion oratorio.
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Corbett, Joseph. „Captain John Smith and American Identity: Evolutions of Constructed Narratives and Myths in the 20th and 21st Centuries“. Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5618.
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Historical narratives and anecdotes concerning Captain John Smith have been told and retold throughout the entire history the United States of America, and they have proved to be sacred, influential, and contested elements in the construction of the individual, sectional, regional, and national identity of many. In this thesis, I first outline some of the history of how narratives and discourses surrounding Captain John Smith were directly connected with the identity of many Americans during the 18th and 19th century, especially Virginians and Southerners. Then I outline how these narratives and discourses from the 18th and 19th centuries have continued and evolved in the 20th and 21st centuries in American scholarship and popular culture. I demonstrate how Captain John Smith went from being used as a symbol for regional and sectional identity to a symbol for broader national American identity, and how he has anachronistically come to be considered an American. I then show how Captain John Smith has continued to be constructed, to a seemingly larger degree than previous centuries, as a hero of almost mythic proportions. Finally I demonstrate how this constructed American hero is used as a posterchild for various interest groups and ideologies in order to legitimize the places of certain discourses and behavior within constructed and contested American identities.M.A.
Masters
History
Arts and Humanities
History; Public History
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Ramugondo, Elelwani. „Intergenerational shifts and continuities in children's play within a rural Venda family in the early 20th and 21st centuries“. Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/12113.
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Includes abstract.Includes bibliographical references (leaves 235-252).
This research involved studying the childhood play of three generations within one family based in the Venda region, Limpopo Province, South Africa. Two main questions were asked: 1. What is the nature of intergenerational shifts or continuities in children?s play within one Venda family? 2. What are the factors that bring about the shifts or continuities? The Gudani family was studied as a single case. The case study was approached with an understanding proposed by Stake (1998, 2008) and supported by others like Flyvbjerg (2006), who regard it not always a research method, but also the object of study. Handling the family as a bounded system, information was gathered from multiple sources, situating the case within its context. Interviews were conducted with a grandparent, the parents and children in order to gain an understanding of their childhood play, foregrounding participants' own view of what constitutes play. In addition, an ethnographic lens was used to investigate the third generation's everyday culture, with specific attention to their play.
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McNeese, Lauren. „The Shrinking Opera Diva: The Impact of Sociocultural Changes upon the Casting of Women in the 20th and 21st Centuries“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984190/.
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For most of the twentieth century, opera singers were not beholden to the ideal physical standard of women dictated by popular culture, but rather focused on serving the music and perfecting their artistry. Unprecedented sociocultural changes throughout the twentieth century exposed the shifting ideals of each generation and how they were promoted through mass media and advertising. This thesis surveys the time period of the 1890s to the present day for the purpose of analyzing cultural trends, philosophies and technologies that shaped the century. Societal pressure to make the body a project and the focus of one's own intense attention now reflects back onto the opera stage where audience members expect to see what society has dictated to be an acceptable female form. Artistic and stage directors are influenced by society's decree that only thin is beautiful, imbedding into the mindset of the art form notions that now affect how female professional opera singers are depicted and even employed.
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Thurner-Uhle, Michaela. „The representation and function of Christmas in English literature of the 19th and 20th centuries“. Hamburg Kovač, 2008. http://d-nb.info/99328597X/04.
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Sakoda, Maho. „George Eliot and Pre-Raphaelitism : literature, painting, sculpture and photography“. Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/64074/.
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This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.
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Plaiche, Anza Karel. „États et écritures de violence en Afrique contemporaine : la représentation des conflits armés et des violences de masse dans les fictions africaines subsahariennes francophones“. Thesis, La Réunion, 2012. http://www.theses.fr/2012LARE0031/document.
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Ce travail de recherche examine la représentation de l'expérience des violences extrêmes dans l'espace fictionnel contemporain de l'Afrique subsaharienne francophone. Les nombreuses fictions en prose produites dans le sillage des conflits armés des années 90 et du génocide au Rwanda soulèvent des interrogations liées à la représentation de la douleur, de la cruauté et de la mort ainsi qu’à l'éthique de l'art. Comment le texte littéraire met-il en récit les événements traumatiques ? Comment l'écrivain pense et problématise-t-il des crises extrêmes relevant de l'histoire immédiate ? Selon quelles modalités littéraires sont-elles constituées en un objet de connaissance et de sensibilisation ? Et quelles sont les stratégies langagières et esthétiques privilégiées pour transmettre la mémoire des atrocités dans une visée de témoignage ou de réflexion critique ? Cette thèse explore la mise en écriture de ces drames collectifs qui inaugurent, sur les plans historique et socioculturel, une nouvelle ère de violence en Afrique subsaharienne. Dans ce contexte, nous nous intéressons surtout aux ouvrages qui – en raison des choix formels et stylistiques singuliers adoptés par leurs auteurs – se caractérisent par une radicalisation du discours et des scénographies particulièrement violentes. Cette étude qui, au final, interroge les pouvoirs et les possibles limites de l'art dans la représentation de faits de violence extrême analyse un vaste corpus de romans et de nouvelles parus entre 1998 et 2010 et propose une approche pluridisciplinaire, puisant, à côté des théories littéraires et esthétiques, dans l'histoire, la sociologie, l'anthropologie et la psychiatrieThis research project examines the representation of the experience of extreme violence in the contemporary fictional space of Sub-Saharan Francophone Africa. The numerous works of prose fiction written in the wake of the armed conflicts of the 1990s and the Rwandan genocide raise questions related to the representation of pain, cruelty and death as well as to the ethics of art. How do literary texts put into narrative traumatic events? How do writers think and problematize extreme crises of immediate history? By the means of what literary modalities are these crises constituted into an object of knowledge and awareness? And what esthetic and language strategies have been privileged to convey the memory of the atrocities in order toprovide testimony or aim at critical reflection? This thesis explores the writing of the collective tragedies that, from a historical and socio-cultural perspective, mark the start of a new period of violence in Sub-Saharan Africa. In this context, we are focusing predominantly on texts that are characterized – through the distinctive choices of form and style operated by the authors – by a radicalization of discourse and particularly violent plots and esthetics. This research which interrogates the powers and the possible limits of art in the representation of facts of extreme violence analyses an extensive corpus of novels and short stories published between 1998 and 2010 and suggests a multidisciplinary approach which, next to literary and esthetic theories, draws on history, sociology, anthropology and psychiatry
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Fernández, Iturrate Íñigo. „Life as a couple in the late 20th and early 21st centuries: how do men's and women's socioeconomic resources influence union stability?“ Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/392640.
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This thesis evaluates whether the increasing socioeconomic resources of women and men and the distribution of work within the couple have an effect on union instability. On the one hand, it assesses each spouse’s satisfaction with the union, testing the differences between partners in their perceptions of the quality of the marriage. On the other hand, it studies the stability of the relationship, focusing on the risk of dissolution over time and differentiating between cohabiting and married unions. The focus is on the factors that account for this stability and whether their effects differ by type of couple, both from the perspective of the individual (distinguishing between men and women) and of the couple. The findings suggest that the nature of marriage is different from that of cohabitation and that cohabiting partners are more susceptible to the internal and external negative conditions that unions have to deal with. Finally, the thesis demonstrates that it is important to take into account, if possible, the responses of both partners.Esta tesis evalúa si el incremento en los recursos socioeconómicos de mujeres y hombres y la distribución del trabajo dentro de la pareja afectan a la estabilidad de la unión. Por un lado, investiga la satisfacción individual con la pareja, investigando las diferencias en las percepciones de la calidad de la relación. Por otro lado, estudia la estabilidad de la relación, centrándose en el riesgo de separación en el tiempo y diferenciando entre parejas que cohabitan y parejas que se casan. En concreto, analiza los factores que pueden incidir en la estabilidad y comprueba si sus efectos difieren por tipo de pareja desde una perspectiva individual (diferenciando entre hombres y mujeres) y desde una perspectiva de pareja. Los resultados de los análisis parecen indicar que la naturaleza del matrimonio es diferente de la naturaleza de la cohabitación y que los cohabitantes son más vulnerables a las condiciones negativas, tanto internas como externas, a las que tienen que hacer frente las parejas. Por último, esta tesis demuestra que es importante, si es posible, tener en cuenta la información de los dos miembros de la pareja.
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Hoffmann, Andrew. „The City as a Trap| 20th and 21st Century American Literature and the American Myth of Mobility“. Thesis, Marquette University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13809920.
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This dissertation reads twentieth and twenty-first century U.S. multicultural literatures, women’s literature, and science-fiction film and literature to identify a tradition of literary representation of long-standing patterns of economic entrapment in American cities.” I argue that the capitalist ideologies of opportunity and spatial, economic, and social mobility associated with American cities have been largely false promises, and that literature provides an avenue to investigate the ideological matrices and cultural narratives that American capitalism uses to situate bodies where it needs them, primarily in urban centers. I claim that this entrapment remains more or less a constant in American cities despite the fact that both capitalism and the space of the city have radically changed since the late 1930s. I further claim that the persistence of this entrapment across different instantiations of both the American city and American capitalism speak to its normalization, acceptance, and the fact of its continuing legacy. As the ideological narratives are culturally projected as ones of the promise and freedom of mobility in cities, and as the historical conditions of entrapment have proven so resilient, literature and film have constituted important tools for exposing just how these capitalist ideologies generate consent for hegemonic capitalism. The dissertation seeks to understand how a large percentage of urban populations are interpellated by the very capitalist machinery which fixes them in space and class while simultaneously denying them the benefits of American capitalism.
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Stanek, Mark C. „Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries“. Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285408.
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This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument.School of Music
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Quintanilla, Octavio. „Love Poem with Exiles“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28465/.
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Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.
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Schaper, Benjamin. „Poetik und Politik der Lesbarkeit in der deutschen literatur“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8e1e8c05-c0f9-4dda-ad9b-b208ded2432b.
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In 1990, German literary critics agreed that the end of the Cold War should mark the end of politically committed post-war literature. The political caesura prompted a debate about the future of German literature during which the concept of 'readability' evolved as a contested issue. It was championed in particular by the author Matthias Politycki and the publishers Uwe Wittstock and Martin Hielscher. Ever since, 'readability' has remained a benchmark for authors and critics alike in the battle for value and success. The thesis will establish a theoretical basis for 'readability' that draws on narratology, the Aristotelian concept of 'mimesis', classical rhetoric, and the poetics of contemporary authors who explicitly engage with 'readability'. Discussion will centre on the novel since this genre has been the focus of debate ever since the novel gained prominence with the rise of the reading middle classes in the eighteenth century. An analysis of the historical role of 'readability' will demonstrate that the debate as it manifested itself around 1990 developed out of a specifically German tradition, in which authors and critics alike viewed it as potentially in conflict with true art. In 1990, German literary critics agreed that the end of the Cold War should mark the end of politically committed post-war literature. The political caesura prompted a debate about the future of German literature during which the concept of 'readability' evolved as a contested issue. It was championed in particular by the author Matthias Politycki and the publishers Uwe Wittstock and Martin Hielscher. Ever since, 'readability' has remained a benchmark for authors and critics alike in the battle for value and success. The thesis will establish a theoretical basis for 'readability' that draws on narratology, the Aristotelian concept of 'mimesis', classical rhetoric, and the poetics of contemporary authors who explicitly engage with 'readability'. Discussion will centre on the novel since this genre has been the focus of debate ever since the novel gained prominence with the rise of the reading middle classes in the eighteenth century. An analysis of the historical role of 'readability' will demonstrate that the debate as it manifested itself around 1990 developed out of a specifically German tradition, in which authors and critics alike viewed it as potentially in conflict with true art. The thesis will demonstrate that 'readability' is key to understanding the debates about German literature in an era of globalisation when readers are more attracted to works by foreign authors than to works by German ones. It will examine how writers such as Helmut Krausser, Daniel Kehlmann, and Thomas Glavinic have exploited the opportunities of the changed parameters by writing and promoting 'readable' books. It will further explore to what extent 'readability' has opened up new avenues even for authors like Felicitas Hoppe and Ulrike Draesner, who distrust the quest for 'readability'. The thesis will conclude with a reflection on the prospects for 'readability' in the current literary landscape in Germany.
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Handa, Atsuko. „Bridging Sōseki and Murakami : the modernity of Japan through modernist and postmodern prose“. Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5230.
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Turner, Robert Charles Grey. „Counterfeit culture : truth and authenticity in the American prose epic since 1960“. Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709455.
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Wilson, Rachelle. „Historical Memory and Ethics in Spanish Narrative“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062813/.
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This study traces the current status of Spanish ethics as seen through the optics of historical memory. Starting from the Spanish Civil War in 1936, the thesis relates contemporary themes to their proposed origin throughout three additional distinctive eras of the 20th and 21st century in Spain: 1982-1996 (Socialist Spain), 1997-2010 (Post-modern Spain), and 2011-present (current Spain). Spanish narratives ranging from Los Abel by Matute, La magnitud de la tragedia by Monzó, "Fidelidad" of Ha dejado de llover by Barba and Las fosas de Franco by Silva are contextualized through their ethical architecture, in accordance with their socio-political context, and relationship to past historical traumas. This work proposes that the themes of anticlericalism, the pursuit of social equality, anti bureaucracy, and political distrust are trends culminating from Kohlberg's third level of morality. The thesis aims to be an exposition and legitimization of different ethical schemas that might otherwise be polarized as wrong and inferior by others.
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Duggan, Lucy. „Reading the city : Prague in Czech and Czech-German narrative fiction since 1989“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3827cf9c-fa91-4fb5-aa7e-8942de885729.
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In the course of its history, Prague has been the site of many significant cultural confrontations and conversations. From the medieval chronicle of Cosmas to the work of contemporary writers, the city has taken shape in literature as a multivalent space where identities are constructed and questioned. The evolution of Prague's literary significance has taken place in an intercultural context: both Czech-speaking and German-speaking writers have engaged with the city and its past, and their texts have interacted with each other. The city has played a central part in many collective narratives in which myth, history and literature intertwine. Looking at contemporary prose fiction written in both Czech and German, this thesis explores continuities and contrasts in the literary roles played by Prague. It analyses two German-speaking emigrant authors, Libuše Moníková (1945-1998) and Jan Faktor (1951- ), viewing them alongside three Czech writers, Jáchym Topol (1962- ), Daniela Hodrová (1946- ), and Michal Ajvaz (1949- ). Through close readings of eight texts, the thesis approaches the imagined city from four angles. It discusses how contemporary authors portray the search for meaning in the city by imagining Prague as two contrasting realms (the 'real' city and the 'other' city), how the discontinuities of the city are reflected by the fragmentation of the authorial stance, how these authors assemble new Prague myths from the vestiges of older topoi, and how they confront the contradictory urges to uphold the boundaries of the city and to transgress them. In post-1989 Prague, authors explore the unstable spaces between continuity and discontinuity, constructing an authorial ethos in these areas of tension.
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Giuliana, Chiara. „Negotiating home spaces : spatial practices in Italian postcolonial literature“. Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/9764.
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Williams, Court. „Sensitive skin“. Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
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The work being considered for examination will be my gallery installation Affliction.
Consisting of approximately six hundred digitally printed and hand constructed three
dimensional models, it will be installed on the gallery floor as a part of the Postgraduate
Degree show at Sydney College of the Arts (Tuesday December 9th through to Wednesday
December 17th).
My masters project explores the isolation and dislocation experienced in the urban
environment and situates un-commissioned street art as a construct that potentially
generates modes of plurality through immediate encounter, collaboration and intervention.
My work explores the inter-activity of street art. This is done through a reading of Nicolas
Bourriaud’s Relational Aesthetics - a theory of art that takes as its theoretical horizon
the realm of human inter-actions in social spaces. 1 demonstrate the inter-activity of street
art through a discussion of my work as well as the work of three other street artists.
In doing so, 1 also draw attention to the virtual characteristics of the anonymous urban
environment by locating street art as a virtual representation of the art world, the street
artist as an avatar and the city surface as an online blog.
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Clermont, Célia. „Portraits de famille : Étude comparée du motif familial dans la fiction romanesque de la Grande Caraïbe aux XXe-XXIe siècles“. Thesis, Lyon, 2020. http://www.theses.fr/2020LYSES021.
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Transdisciplinaire et transculturel, le motif familial a toujours entretenu des liens étroits avec le genre romanesque. Dans la littérature de la Grande Caraïbe, il fait l’objet de peu d’études critiques alors que l’espace caribéen se présente lui-même comme une famille géographique complexe, douloureusement marquée par la conquête coloniale, l’esclavage et le système de la plantation. Cette thèse se propose de l’aborder dans toute sa polysémie, de la représentation de la famille biologique aux différentes acceptions figurées – famille de substitution, famille de cœur, affiliations spirituelles, etc. – dans un corpus trilingue composé de quatre fictions romanesques caribéennes des XXe et XXIe siècles : Sartoris de William Faulkner, Cien años de soledad de Gabriel García Márquez, Texaco de Patrick Chamoiseau et La eternidad del instante de Zoé Valdés. Dans ces quatre romans, la représentation de la famille biologique révèle rapidement son caractère dysfonctionnel : rejetée par les personnages ou fragilisée par les événements, elle semble condamnée au délitement. Cet échec permet à d’autres types de relations d’apparaître ; loin de s’opposer au schéma familial initial, elles invitent à penser d’autres façons de « faire famille ». Ce passage d’une famille à l’autre permet ainsi d’engager une réflexion aussi bien sur la question de l’identité familiale des personnages que sur le rapport qu’entretiennent les romanciers caribéens avec les membres de la généalogie littéraire dans laquelle ils choisissent de se placerAn interdisciplinary and transcultural motif, the study of families has taken root in the genre of the novel. In Caribbean literature, there are but a few studies about the family pattern, despite the fact that the Caribbean area already constitutes a complex geographical family, painfully marked by colonization, slavery and the plantation system. This dissertation aims to study the various meanings of the representation of family, biological but also, figuratively, adoptive family, chosen family, spiritual family, etc. – in a trilingual corpus of texts made of four Caribbean fictional novels from the XXth and XXIst centuries: William Faulkner’s Sartoris, Cien años de soledad by Gabriel García Márquez, Patrick Chamoiseau’s Texaco and La eternidad del instante by Zoé Valdés. Within these four novels, the representation of the biological family soon reveals its dysfunctional dimension: rejected by the characters, fragilized by events, the family seems condemned to being dismembered. The failure allows for other relationships to form; far from being opposed to the way the original family was outlined, these relationships offer other ways to think about how to make a family. The passage from one family to the other allows to reflect upon, on the one hand, the question of familial identity on the part of the characters and, on the other, the relationship that Caribbean fiction writers have with the literary genealogy to which they wish to identify themselves
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Ausoni, Alain. „En d'autres mots : l'écriture translingue de soi“. Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:e06d8806-9bc2-4be1-ab9a-c1b63ba38541.
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For several reasons, translingual writers, defined here as authors who write in a language that is not their native one, have gained increased visibility in recent years. This is particularly true in the context of French literature where, more frequently than before, and with a more explicit recognition of their particular status, translingual writers have received important literary prizes and have been welcomed into the French Academy. Central to this recognition is their rich and diverse mobilisation of life writing, a corpus curiously neglected in the study of the phenomenon of literary translingualism. This thesis focuses on the writers Andreï Makine, Hector Bianciotti, Vassilis Alexakis, Nancy Huston, Agota Kristof and Katalin Molnár. It demonstrates that the translingual experience, in its capacity to question one's sense of self and provide novel tools for the exploration of one's personal history and subjectivity (conceived as an experience in language), appears eminently suited to the genre of life writing and that, in the current configuration of the French literary space, life writing is demanded from translingual authors. It proposes an original cartography of contemporary translingual literature in French, suggesting that more than any similarities in the conditions of their literary adoption of French, what creates family resemblance between translingual writers is the types of relation with their adopted language that are constructed in their autobiographical texts.
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Dwyer, Richard. „Self as Other : Non-Figurative Memorial Sites and Artworks of the late 20th and early 21st Centuries which commemorate the victims of political tyranny by activating the visitor's engagement with his/her immediate and, by extension, Socio-Cultural Environm“. Thesis, University of Kent, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508566.
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Al-Hassan, Hawraa. „Propaganda literature in Baʻthist cultural production (1979-2003) : the novels of Saddam Hussein as a case study“. Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648424.
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García-Precedo, Juan Manuel. „Intrahistory, regeneration and national identity, past and present : the reflection of Nietzschean Unamuno on Arturo Pérez-Reverte and Luisa Castro“. Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/13792.
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This thesis analyzes the relevance of Miguel de Unamuno’s idea of Spain and its Nietzschean influence in two contemporary authors, Arturo Pérez-Reverte and Luisa Castro. My work contributes to a debate that is ever present in literature and politics: what is Spain and what defines Spanish identity. This debate has continued throughout the democratic period and reveals that Spain is still a controversial idea. The Constitution of 1978 might have shaped national identity but Spanish sociopolitical evolution has indeed questioned the idea of Spain emerged in the Transition. From my point of view, Arturo Pérez-Reverte and Luisa Castro evoke Unamuno’s ideological inheritance to offer a solution of what has been branded as the age-old problem of Spain. By the end of the nineteenth century, Unamuno introduced his theory of intrahistory in order to contravene the model of nation promoted by the political class during the Restoration. The author considered that this model imposed on society a metaphysical idealization, protected by reason, which distorted its actual national identity. Currently, the works of Arturo Pérez-Reverte and Luisa Castro reflect Unamunian intrahistory thus putting an end to this idealization. As seen in the chapters of this thesis, the combined analysis of the works by Pérez-Reverte and Castro reveals the implicit survival in our days of Nietzsche’s influence in Unamuno’s intrahistory. In this sense, they highlight the crucial role of individual subjectivity, work and interaction with their immediate environment, in the characterization of Spanish national identity. In so doing, their works reflect Unamuno’s implementation of Nietzschean theories on metaphysics, the Greek tragedy, the eternal recurrence and the overman. Pérez-Reverte and Castro’s works suggest that the solution to the problem of identity in Spain is to be found in Nietzsche’s influence on Unamuno’s intrahistory.
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NOGUEIRA, Leo Carrer. „Umbanda em Goiânia [manuscrito]: das origens ao movimento federativo (1948-2003)“. Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2346.
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Made available in DSpace on 2014-07-29T16:17:44Z (GMT). No. of bitstreams: 1
Dissertacao Leo Carrer historia.pdf: 783870 bytes, checksum: 1f48e1f44ce8cac67a38e789060c933d (MD5)
Previous issue date: 2009-05-05As a hybrid religion, Umbanda has elements of different sources in its daily practices. Thus, it doesn t have, necessarily, a single and centralized doctrine, in spite of several leaders had tried to impose a unified doctrine to it. That was one of the roles of several Umbanda Federations during the 20th century. Another role was to protect the shrines against the persecutions and repressions made by the State, Catholicism and the press. Therefore, the federations tried to protect the shrines and, on the other hand, they tried to control and centralize the religion, in its doctrines and socially. In the state of Goiás such control was held by the Umbanda and Candomblé Federation of Goiás, established in 1969 in Goiânia City. This dissertation, therefore, has as main objective to analyze the path of the religion in Goiânia, focusing its origins; the action of the Federation; as well as the conflicts and tensions created between it, the State repressive apparels and the shrines, from 1948 until 2003, when Goiânia was the scenario of a public repudiation of Umbanda, by some neo-Pentecostal churches against the exposition of seven sculptures depicting Orixás in a park of the city, which is known as Vaca-Brava Episode
Como religião híbrida, a Umbanda agrega elementos de diferentes matrizes religiosas em sua prática diária. Isto faz com que ela não tenha, necessariamente, uma doutrina única e centralizada, apesar de vários líderes já terem tentado impor a ela uma doutrina unificada. Este foi um dos papéis das várias Federações de Umbanda surgidas no Brasil ao longo do século XX. A outra função seria a de proteger os terreiros contra as perseguições e repressões por eles sofridas, por parte do Estado, do catolicismo e da imprensa. Assim, enquanto de um lado as federações tentavam proteger aos terreiros, de outro elas mesmas exerciam um controle e buscavam centralizar a religião, tanto social quanto doutrinariamente. Em Goiás tal poder foi exercido pela Federação de Umbanda e Candomblé de Goiás, surgida em 1969 na cidade de Goiânia. Nosso trabalho, portanto, tem por objetivo analisar a trajetória da religião em Goiânia, tendo como foco suas origens, a ação da Federação, os conflitos e tensões criados entre ela, os aparelhos repressores do Estado e o terreiros, entre os anos de 1948 e de 2003, quando Goiânia foi palco de uma manifestação pública de repúdio à Umbanda, protagonizada por algumas igrejas neo-pentecostais ao protestarem contra uma exposição de vários Orixás em um parque da cidade, caso que ficou conhecido como Episódio Vaca-Brava
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MacKenzie, Garry Ross. „Landscapes in modern poetry : gardens, forests, rivers, islands“. Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5910.
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This thesis considers a selection of modern landscape poetry from an ecocritical perspective, arguing that this poetry demonstrates how the term landscape might be re-imagined in relation to contemporary environmental concerns. Each chapter discusses poetic responses to a different kind of landscape: gardens, forests, rivers and islands. Chapter One explores how, in the poetry of Ian Hamilton Finlay, Douglas Dunn, Louise Glück and David Harsent, gardens are culturally constructed landscapes in which ideas of self, society and environment are contemplated; I ask whether gardening provides a positive example of how people might interact with the natural world. My second chapter demonstrates that for Sorley MacLean, W.S. Merwin, Susan Stewart and Kathleen Jamie, forests are sites of memory and sustainable ‘dwelling', but that deforestation threatens both the ecology and the culture of these landscapes. Chapter Three compares river poems by Ted Hughes and Alice Oswald, considering their differing approaches to river sources, mystical immersion in nature, water pollution and poetic experimentation; I discuss how in W.S. Graham's poetry the sea provides a complex image of the phenomenal world similar to Oswald's river. The final chapter examines the extent to which islands in poetry are pastoral landscapes and environmental utopias, looking in particular at poems by Dunn, Robin Robertson, Iain Crichton Smith and Jen Hadfield. I reflect upon the potential for island poetry to embrace narratives of globalisation as well as localism, and situate the work of George Mackay Brown and Robert Alan Jamieson within this context. I engage with a range of ecocritical positions in my readings of these poets and argue that the linguistic creativity, formal inventiveness and self-reflexivity of poetry constitute a distinctive contribution to contemporary understandings of landscape and the environment.
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Stone, Katherine Mary. „Gender and German memory cultures : representations of National Socialism in post-1945 women's writing“. Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708863.
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Ménard, Valérie. „L'influence de Réjean Ducharme chez les écrivains de la génération x“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83128.
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Generation X has often been defined as being without role models or inspiration. Nevertheless, it is possible to detect a sizeable amount of intertextual references in several Quebecer books written by authors of that generation. In Quebec, these young writer's influences are as distinct as they are diverse, varying from Kerouac to Hemingway and from Sartre to Camus. But concerning their Quebecer role model, one name continually returns, that of Rejean Ducharme.The goal of this thesis is to illustrate the presence of ducharmesque universe in three Generation X novels, namely Le souffle de l'harmattan by Sylvain Trudel, Vamp by Christian Mistral and La rage by Louis Hamelin. Within these novels, we will attempt to find the trail of three typical elements to Ducharme's work: the rejection of conformity, the contempt towards a consumer society, and the substitution of a utopian universe for reality.
According to Francois Ricard, Ducharme belongs to what he calls the "generation lyrique", which is the eldest baby boomers, while Generation X is composed of Baby Boom's youngest members. Interestingly enough, one should expect such a generational conflict between these two cohorts to incite Generation X writers to despite their predecessor. Hence, this thesis will conclude with a few tentative explanations as to why Generation X authors were so driven to choose Rejean Ducharme, a member of the "generation lyrique", to be their role model.
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Schneider, Stefanie Maria. „Gegen-Stimmen/Gegen-Blicke : Zeitgenössische literarische (De-)Konstruktionen deutsch-afrikanischer Identitäten“. Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86404.
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Thesis (MA)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates counter-voices, counter-gazes and (de-)constructions of German-African identities in contemporary German literature. In extended application of postcolonial concepts it examines the way in which post-colonial views and counter-views on Germany and Africaare produced and how in the process alternative identities are created and negotiated. Analyzing poetry, short stories and novels by Black German authors (May Ayim, Ika Hügel-Marshall, ManuEla Ritz and Olumide Popoola) as well as by African literary voices writing in German (El Loko, Daniel Mepin, Philomène Atyame and Luc Degla), the thesis looks at and evaluates strategies of literary hybridization, responses to and deconstructions of the colonial imaginary, transcultural positioning and world literary perspectives.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek enkele teenstemme, teenblikke en (de-)konstruksies van Duits-Afrika identiteite spruitend uit Duitsland en dié uit Afrika in hedendaagse Duitse literatuur. Deurʼn uitgebreide toepassing van postkoloniale konsepte,ondersoek die tesis die wysewaarop die post-koloniale sienings en teenstandpunte oor Duitsland en Afrika geproduseer word en hoe in die proses alternatiewe identiteite geskep en onderhandel word. Deur die ontleding van gedigte, kortverhale en romans deur swart Duitse skrywers (May Ayim, Ika Hügel-Marshall, ManuEla Ritz en Olumide Popoola) sowel as Duitse werke deur literêre stemme uit Afrika (El Loko, Daniel Mepin, Philomène Atyame en Luc Degla), bekyk en evalueer die tesis strategieë van literêre verbastering, antwoorde op en dekonstruksies van die koloniale denkbeeldige, transkulturele plasing en wêreld literêre perspektiewe.
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Hopper, Keith. „Imagining otherwise : Neil Jordan's counter-narratives“. Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669873.
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Bradley, Darin Colbert. „The Little Weird: Self and Consciousness in Contemporary, Small-press, Speculative Fiction“. Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3703/.
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This dissertation explores how contemporary, small-press, speculative fiction deviates from other genres in depicting the processes of consciousness in narrative. I study how the confluence of contemporary cognitive theory and experimental, small-press, speculative fiction has produced a new narrative mode, one wherein literature portrays not the product of consciousness but its process instead. Unlike authors who worked previously in the stream-of-consciousness or interior monologue modes, writers in this new narrative mode (which this dissertation refers to as "the little weird") use the techniques of recursion, narratological anachrony, and Ulric Neisser's "ecological self" to avoid the constraints of textual linearity that have historically prevented other literary modes from accurately portraying the operations of "self." Extrapolating from Mieke Bal's seminal theory of narratology; Tzvetan Todorov's theory of the fantastic; Daniel C. Dennett's theories of consciousness; and the works of Darko Suvin, Robert Scholes, Jean Baudrillard, and others, I create a new mode not for classifying categories of speculative fiction, but for re-envisioning those already in use. This study, which concentrates on the work of progressive, small-press, speculative writers such as Kelly Link, Forrest Aguirre, George Saunders, Jeffrey Ford, China Miéville, and many others, explores new ideas about narrative "coherence" from the points of view of self as they are presented today by cognitive, narratological, psychological, sociological, and semiotic theories.
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Imamoglu, Abdulfettah. „La notion d "Ailleurs" dans les récits romanesques du XXE et du XXIE siècles“. Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN039.
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La notion d’ailleurs, qui vient du Latin et qui veut dire « en un autre lieu », est le terme central de cette thèse. Ce terme signifie aussi « dans un autre esprit », « autre part », « chez une autre personne », « dans un autre ensemble d’objets ». Avec toutes ces significations, la notion d’ailleurs implique une condition étant « autre », « différente ». Par l’usage de ce terme, on se réfère aussi aux actes tels que l’éloignement et le déplacement.Ce travail, dont la problématique est le fait d’occuper l’espace en tant qu’« autre » et de concevoir l’autre en tant que « sujet », vise à montrer une image romanesque de l’autre lieu, de l’autre espace à partir des points de vue de différents écrivains-voyageurs contemporains, représentant les littératures et pays différents, et à créer ainsi un profil de « voyageur romanesque ». Pour ce faire, nous allons étudier la conception de l’espace en abordant le con-cept d’altérité et sa réalité d’après une perspective romanesque, littéraire et contemporaine.La pluralité et l’altérité des éléments qui constituent un espace, un lieu, un paysage, une vue, une réalité, une pré-sence sont les composantes principales de ce travail.Dans trois grandes parties de ce travail, la notion d’ailleurs sera envisagée à partir des thèmes spécifiques et sous plusieurs aspects. Chaque partie sera formée autour d’une notion spatiale étant relative à la notion d’ailleurs. Ces notions seront : chez-soi, distance, ailleurs.Dans cette thèse, nous allons obtenir une image d’espace qui reflétera une complexité d’apparences, de sensations, d’expressions, de révélations, de symboles, d’idées, de rêves, de projets, d’intentions en tant que conséquences des expériences individuelles du « voyageur romanesque » qui représente la littérature de déplacement du XXème et du XXIème siècles.Les récits de déplacement qui ont été choisis comme références pour cette thèse sont : Towards Another Summer de Janet Frame (Nouvelle-Zélande), Terre des hommes d’Antoine de Saint-Exupéry (France), Başka Yollar d’Enis Batur (Turquie), Le poisson-scorpion de Nicolas Bouvier (Suisse), L’Africain du Groenland de Tété-Michel Kpomassie (Togo) et On the road de Jack Kerouac (États-Unis)The French notion of “ailleurs” is the central term of this thesis. It derives from Latin and can be translated as “elsewhere”, “in another place”, “other part”, “in another mind”, “at another home”, or “in a different set of ob-jects”. Despite such variations, the notion of ailleurs can be said to refer to ideas of “otherness” and “difference”. It also contains a spatial element, the act of “being away” or of “shifting”.The idea that one might occupy a space as “other” and conceive of the “subject” in relation to this otherness, is the main problematic of this work which aims to explore romanesque images of the “other place” and of the “other space” from the point of view of different contemporary travel writers. These travel writings are taken from 20th and 21st Century literature and represents different forms of literature and have different countries of origin, they are drawn together to create a profile of “romanesque traveller”. The present thesis therefore focuses on the conception of the space by approaching the concept of otherness and its reality from a romanesque, literary and contemporary perspective.Plurality and alterity are essential components of this work: of the elements that constitute a space, a place, a landscape, a view, a reality, and a presence.Over the course of three chapters, an examination is conducted of the themes and spatial notions related to the notion of ailleurs: ‘home’, ‘distance’, and ‘elsewhere’.In this work, an image of space is constituted that reflects the complexity of appearances, sensations, expressions, revelations, symbols, ideas, dreams, projects, intentions which exist as a consequence of the individual experiences that are acquired by the “romanesque traveller”. The six contemporary books that served as main sources for this thesis are: Towards Another Summer by Janet Frame (New Zealand), Terre des hommes by Antoine de Saint-Exupéry (France), Başka Yollar by Enis Batur (Turkey), Le poisson-scorpion by Nicolas Bouvier (Switzerland), L’Africain du Groenland by Tété-Michel Kpomassie (Togo) and On the road by Jack Kerouac (United States)
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Shishkin, Timur. „Marginalized Characters in Contemporary American Short Fiction“. PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.
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The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
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Dennison, John. „Seamus Heaney and the adequacy of poetry : a study of his prose poetics“. Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3026.
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Seamus Heaney's prose poetics return repeatedly to the adequacy of poetry, its ameliorative, restorative response to the inimical reality of life in the public domain. Drawing on manuscript as well as print sources, this thesis charts the development of this central theme, demonstrating the extent to which it threads throughout the whole of Heaney's thought, from his earliest conceptual formation to his late cultural poetics. Heaney's preoccupation with this idea largely originates in his undergraduate studies where he encounters Leavis and Arnold's accounts of poetry's adequacy: its ameliorative cultural and spiritual function. He also inherits, from Romantic and modernist influences, two differing accounts of poetry's relationship to reality. That conflicted inheritance engenders a crisis within Heaney's own early theorisation of poetry's adequacy to the violence of public life. An important period of clarification ensues, out of which emerge the dualisms of his later thought, and his emphasis on poetry's capacity to encompass, and yet remain separate from, ‘history'. Accompanied by habitual appropriation of Christian doctrine and language, these conceptual structures increasingly assume a redemptive pattern. By the mid-1990s, Heaney's humanist commitment to a ‘totally adequate' poetry has assumed a thoroughly Arnoldian character. The logical strain of his conceptual constructions—particularly the emphasis on poetry's autonomy from history—becomes acutely apparent, revealing just how appropriate the ambivalent ideal ‘adequacy' is. The subsequent expansion of Heaney's poetics into a general affirmation of the arts illuminates the fiduciary character of his trust in poetry while exposing the limits of that trust: Heaney's belief in poetry's adequacy constitutes a humanist substitute for—indeed, an ‘afterimage' of—Christian belief. This, finally, is the deep significance of the idea of adequacy to Heaney's thought: it allows us to identify precisely the Arnoldian origin, the late humanist character, and the limits of his troubled trust in poetry.
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Lombard, Erica. „The profits of the past : nostalgic white writing of post-apartheid South Africa“. Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:bb2c9ae1-e551-4931-9a44-3197fdc6e010.
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Drawing on relevant theory from memory studies, literary criticism, sociology, reception studies and book history, this thesis examines the prevalence of nostalgia in white South African writing of the post-apartheid period. It identifies the numerous and remarkably conventional texts by white authors that proliferated in this time which might be described as nostalgic, arguing that these constitute a key genre of post-apartheid South African literature. In seeking to offer an explanation for why these nostalgic forms predominated in this period, this study takes into consideration the full "communications circuit" of a book i.e. the life-cycle of a book from production to consumption. Consequently, it employs an interdisciplinary framework to examine nostalgic literature from the perspectives of both the producers and consumers of texts. It is argued, ultimately, that post-apartheid nostalgic writing was particularly involved in the protection of certain formulations and structures of whiteness at individual, collective and institutional levels. The argument unfolds in three phases, each of which explores the value of nostalgia and nostalgic white writing in a different but related sphere: namely, literature, memory, and the market. The first phase of the argument provides a literary critical reading of the generic hallmarks of these novels, considering a range of representative texts, including works by Mark Behr, André Brink, Justin Cartwright, J. M. Coetzee, Lisa Fugard, Christopher Hope, Jo-Anne Richards, and Rachel Zadok. The second examines the allure of nostalgia and nostalgic books for the writers and readers of this literature, drawing on sociological studies of post-apartheid white South African identity and reader-response theory to analyse a selection of online and print reviews by readers. In the third phase, the thesis utilises a book historical approach to investigate the influence of various literary markets and the publishing industry, both local and global, in shaping the nostalgia trend.
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Johnson, Alfred B. „Net work : social networks, disruptive agency, and innovation in Howells, Fitzgerald, Heller, Pynchon, and Gibson“. Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343471.
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This study uses concepts from network science to analyze the agency of outsider characters who cause change or disruption without necessarily securing economic or political power for themselves. Network science as theorized by thinkers like Duncan Watts (Six Degrees, 2003) and Albert-Laszlo Barabasi (Linked, 2002) explains social networks in terms of social structures: clusters of people, bridges between them, pathways through them. Michel Foucault (The Archaeology of Knowledge, 1971) suggests that new notions must enter public or personal awareness on "surfaces of emergence"—institutions like families and social groups. Michel de Certeau (The Practice of Everyday Life, 1974) looks at inventive ways that users repurpose products, both industrial and cultural, and so become "secondary producers." To analyze the influential-outsider agency of the fictional characters featured in this study, I theorize the clusters, bridges, and pathways of network science as surfaces of emergence on which "secondary productions" can appear and then spread through a social network.The introductory chapter explores and explains the general application of network science to literary criticism. In subsequent chapters, I use a networks-based approach to examine the agency of William Dean Howells's Tom Corey (The Rise of Silas Lapham, 1884), F. Scott Fitzgerald's Jay Gatsby (The Great Gatsby, 1925), Joseph Heller's Milo Minderbinder (Catch-22, 1961), Thomas Pynchon's Pierce Inverarity (The Crying of Lot 49, 1965), and William Gibson's Cayce Pollard (Pattern Recognition, 2003). These characters do unusual things with and from the subject positions in which they find themselves, and—whether or not they are or remain marginalized characters in their social systems—they are innovative and influential in ways that other characters do not understand or anticipate. All five novels depict the diffusion of innovative ideas and practices as a process of unplanned, non-coercive social negotiation, where innovation can originate with any person or group of people in the social network and is dependent on the complex interaction of liminal notions and mainstream thinking. The networking approach to these novels clarifies the ways that their authors have imagined social networks to function and the particular interactions they have imagined to lead to change or disruption.Department of English
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Glover, Jayne Ashleigh. „"A complex and delicate web" : a comparative study of selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy“. Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002241.
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This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.
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Flett, Edward Charles. „Virtual frontiers and the technological state : contemporary American narratives in a global context“. Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:608353cc-62d8-496c-b8df-d79de028f03e.
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This thesis analyses a series of threshold states located within contemporary culture. It investigates the effects of technology on spatial relations and human conditions in recent centuries, with a specific interest in the rise of virtual phenomena and the ongoing process of virtualisation. Key to the discussion is measuring the extent to which America and its narratives have influenced the virtual layer attached to contemporary global technological culture. Prevalent within this framework is the idea of the frontier as an idealised outpost, a lingering threshold state that is scrutinised in terms of its metaphoric power and socio-historical relevance. The research examines the points of interaction between the frontier, the virtual, and recent technology, as well as the areas in which technology has been produced, distributed, and consumed, as a means of building on ‘virtual frontiers’ and the ‘technological state’ as original critical concepts. Chapter one, from a socio-cultural and historical perspective, develops the idea of California as the location where the frontier spirit dispersed, transferring to an extent from land to body. Rich in posthuman ambience, the state functions as a hub from which to negotiate the position of the body in relation to the frontier: to look at the body as a frontier in itself, its virtualisation, and the now perennial dialectic between the positive and negative effects of technology on human/non-human interactivity. From the ashes of the 1960s, pockets of urban youth living in America’s inner cities gave birth to a subculture that is now globally recognised as Hip Hop. Despite Hip Hop always being a potent reflective surface, chapter two assesses its development and continuing capacity as a virtual and technological form of expression. In the decades between Malcolm X’s assassination and the election of President Obama, how has Hip Hop changed as a virtual arena and mode of resistance, as it has simultaneously been incorporated into the American mainstream? Indeed, as a cultural object and virtual space with the potential to carry evocative messages across thresholds, did Hip Hop even survive this transition? And what were the ramifications of its transformation? The third chapter examines the shadows emanating from the terrorist attacks on the US in 2001. The narratives from 9/11 are considered while investigating a diverse selection of transnational texts that touch on the subject, including works from Don DeLillo, Amy Waldman, Martin Amis, and Frédéric Beigbeder. Also considered is the day’s social and historical significance, and its power as a virtual event. More specifically, the impact on time, perception, and narrative structure is observed, each element appearing in the shadows that stretch out from the decades before and beyond the events of that clear blue September morning. Through characters in recent fiction by William Gibson and Hari Kunzru, the final chapter scans American consumption and the representations projected out from its brands and advertising. Within technological states now transmitted globally, the chapter reflects on the consequences of consumer culture as we venture further into the virtual and its realities, drawn through what Jean Baudrillard calls an irreconcilable conflict between ‘total integration’ and the ‘dual form’.
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Coto-Rivel, Sergio. „Le roman centre-américain contemporain : fictions de l'intime et nouvelles subjectivités“. Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30031/document.
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L’Amérique centrale s’est trouvée au centre de l’attention médiatique pendant les années 80 à cause de l’embrasement produit par les conflits armés et du fait de l’intérêt pour les témoignages liés aux revendications politiques. Le temps est venu de s’interroger aujourd’hui sur les voies empruntées par la littérature centre-américaine une vingtaine d’années après la signature des traités de paix. Cette question se trouve à l’origine de la présente étude : nous essayons de comprendre de quelle manière le roman contemporain s’intéresse à la construction des nouvelles subjectivités, quelles sont les nouvelles modalités de représentation propres à la fiction. La littérature centre-américaine contemporaine se présente de manière générale comme un domaine d’une grande diversité ; nous pouvons y lire une remise en question des contradictions, des luttes sociales et des discours dominants des sociétés de l’Isthme. Ces questionnements sont, à notre avis, reliés au texte littéraire du fait de la position privilégiée accordée à la subjectivité. Celle-ci a différentes manières de définir l’individu contemporain afin de renvoyer au lecteur toute une série d’énoncés tantôt intimistes, tantôt politiques et transgresseurs, qui montrent une crise dans la représentation des identités aussi bien personnelles que nationales. Jusqu’à quel point pouvons-nous considérer que la littérature centre-américaine contemporaine présente un renouvellement concernant les positions des sujets représentés dans les romans ? De quelle manière ces changements interagissent-ils dans une région conflictuelle, une région qui peine encore à définir sa propre identité ? Nous nous efforçons dans la thèse d’approfondir l’analyse des positions subjectives et des procédés littéraires ainsi que la démarche philosophique permettant la construction de nouveaux sujets-personnages dans un corpus constitué de romans publiés entre 1998 et 2009 par les écrivains suivants : Horacio Castellanos Moya, José Ricardo Chaves, Maurice Echeverría, Jacinta Escudos, Mauricio Orellana Suárez, Milagros Palma, Roberto Quesada et Uriel Quesada. Nous nous intéressons de manière particulière aux procédés narratifs mettant en rapport l’intimité et la subjectivité, avec la représentation des espaces corporels dessinés dans les romans, ainsi que les espaces géographiques et les lieux de la violence. Ces éléments vont dévoiler de nouveaux engagements et de nouveaux discours à un moment qui paraît dominé par la subjectivitéCentral America attracted greatly the media attention during the 1980s because of the armed conflicts and the increasing interest in testimonies linked to the political vindications. Now is the time to question the paths taken by Central American literature twenty years after the peace agreements were signed in the region. This question is found at the beginning of the present study on which we try to comprehend in what way the contemporary novel is interested in the construction of new subjectivities and in new means of representation specific to fiction. Contemporary Central American literature presents itself generally as a space of great diversity. We can read in it an important questioning of the contradictions, of the social struggles, and of the dominant discourses of isthmian societies. These questionings are, in our opinion, articulated on the literary text thanks to the privileged position given to subjectivity. It uses different ways to define the contemporary subject with the purpose of confronting the reader to a series of statements, intimist as well as political and transgressive, which express a crisis on the representation of national and personal identities. How far can we consider that contemporary Central American literature shows an important displacement related to the positions of the subjects represented in the novels? In what way said displacements interact in a conflictive region, a region which still has difficulties to define its own identity? On this thesis we make an effort to delve in the analysis of the subjective positions and in the literary and philosophical strategies which allow the construction of new subject-characters, in a corpus constituted of novels published between 1998 and 2009 by the following writers: Horacio Castellanos Moya, José Ricardo Chaves, Maurice Echeverría, Jacinta Escudos, Mauricio Orellana Suárez, Milagros Palma, Roberto Quesada, and Uriel Quesada. We are particularly interested in the narrative processes which relate intimacy and subjectivity with the representation of corporal spaces in the novels, as well as the geographical spaces and violence spaces. These elements will demonstrate new commitments and new discourses in a time that seems dominated by subjectivity
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Raimbault, Elodie. „Figures de l'espace et de la frontière dans la fiction de Rudyard Kipling“. Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030128.
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Voyageur durant toute sa vie, connaisseur de l’Inde, des États-Unis, de l’Afrique du Sud et du Sussex, défenseur de l’Empire britannique quand sa stabilité territoriale est menacée, Rudyard Kipling possède une expérience de l’espace mondial directe et physique qu’on retrouve problématisée sur les plans thématique, narratif et stylistique dans sa fiction. La notion de frontière produit à tous niveaux des relations de différentiation et d’opposition mais aussi de contact et d’échanges : le voyage se fait conquête, aventure ou vagabondage, le rapport à l’espace est politique ou poétique. L’espace impérial est nécessairement délimité et Kipling conçoit un Empire agent fédérateur d’une mosaïque de nations. Stylistiquement, la phrase de Kipling parvient de même à fédérer des langues et registres variés sans nuire à l’unité textuelle et la narration se fonde sur l’articulation entre les éléments individuels et l’ensemble. L’instance narrative crée des lignes de convergence qui relient entre eux les récits en créant des réseaux d’œuvre à œuvre, aboutissant à la construction partielle d’un monde cohérent et à une possibilité d’ouverture dans cet espace balisé. L’économie interne des œuvres les révèle en tant qu’objets composites et unifiés, faisant jouer poèmes et illustrations au sein de recueils de nouvelles, intrigue principale et micro récits dans les romans. Le texte est figuration à part entière lorsqu’il inclut une carte annotée et qu’il crée un espace typographique signifiant et moderne. Mettant en regard l’espace représentant et l’espace représenté, l’agencement du texte et celui du monde narratif qu’il peint, l’espace littéraire kiplingien fonctionne de façon dynamiqueRudyard Kipling was a traveller all his life and a champion of the British Empire at the time when its territorial stability was put at risk; he knew India, the U.S.A., South Africa and Sussex intimately. His direct and physical experience of the globe frames the thematic, narrative and stylistic characteristics of his novels and short story collections. Through the notion of borderline, relationships of differentiation, opposition, contact and exchange are built up thematically, in the narrative and in the style: the traveller is represented as a conqueror, an adventurer or a wanderer and global space is apprehended either politically or poetically. Imperial space is necessarily delineated and Kipling conceives of an Empire federating a mosaic of nations. Likewise, Kipling’s sentences stylistically patch up diverse languages, dialects and registers without endangering their textual unity and his narration hinges on the relation between separate elements and the whole text. The narrative authority creates converging lines between stories and networks appear between books, building up a coherent fictional world which suggests the possibility of an opening in this highly demarcated space. In their internal organisation, the books are at once composite and unified, the main narrative interacting with poems and illustrations in the short story collections and with micro narratives in the novels. Text becomes truly figurative in the annotated maps and when the typographical space is modern and significant. Kipling’s literary space dynamically confronts physical territories and a linguistic representative space, the textual organisation and the narrative world it depicts
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Lhote, Florence. „Poétique de la distance: la guerre d'Algérie et les lettres françaises, 1987-2010“. Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209009.
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Notre thèse a pour enjeu la poétique de la distance dans les fictions de dix écrivains français et francophones de la seconde génération de la guerre d'Algérie (1954-1962), c'est à dire à distance de cet événement. Leurs fictions, publiées entre 1987 et 2010, interrogent la transmission et la filiation.Doctorat en Langues et lettres
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