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1
Kristiansen, Anne James. "Giovanni Bellini's "The Blood of the Redeemer" : a public image for a private patron." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28094.
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Giovanni Bellini's The Blood of the Redeemer has been traditionally approached in terms of its style and iconography. The two separate lines of investigation have shown the painting to be a complex image that participates in the traditions of both private and public Christ imagery. This thesis will focus on the painting with regard to both the function that it served and the Venetian context in which it was produced. The purpose of the study will be to show the work as a private devotional painting in which the public Christ type has been adapted to fulfill the needs of contemporary Venetian meditations.
Chapter One will deal with the two distinct ways in which the work has been discussed and the particular problems that exist in approaching suffering Christ imagery in terms of context. Chapter Two will focus on the development and function of the full-length bleeding Christ in the private and public spheres within the context of Christ-centred piety in the fifteenth century. Chapter Three will discuss Venetian devotions to Christ with particular regard to the impact of historical events. Chapter Four will focus on the adaptation of the public Christ type in The Blood of the Redeemer. The appropriation will be discussed in terms of the liturgical resonances that are brought to the image and with regard to the use of public types in Bellini's other private Christ images. In addition, the importance of northern graphics will be examined as well as the civic associations with which the Christ type had become imbued in northern Italy. The location of the image within a particular social strata will be effected through considering the way in which it addresses contemporary intellectual issues in Venice.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Pham, Van Khanh. "Theatricality in Tintoretto's religious paintings." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22618.
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Tintoretto, one of the great Venetian masters of the sixteenth century, is renowned for his compositional innovations. The painter also worked as a stage and costume designer for the Compagnie della Calza. As a result, he selected and combined elements of other disciplines in his pictures.This thesis focuses on the fusion of the arts in Tintoretto's imagery. A comprehensive analysis of this interdisciplinary aspect reveals the subtlety of Tintoretto's creative mind. The challenge is to discover Tintoretto as a stage designer who conceived pictures as theatrical performances. Instead of the traditional preparatory sketch, he built a miniature stage in order to visualize the scene in tangible forms existing in light and space. The design of the setting, the gestural choreography of his personages and the distribution of lighting were analysed and then translated into painted illusion. With this unusual methodology, Tintoretto invented forceful mise-en-scenes which induce the spectator to perceive the imaginary as real. A substantial knowledge of stagecraft also enabled him to bring to vibrant life the dramatic episodes of the Bible on canvas. Through such artfully constructed theatrical illusion, Tintoretto not only re-creates a vision for his audience, but above all, conveys the depth of his spiritual experience.
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McFaddin, Read Godard 1984. "Mystical and Evangelical Reform in Tintoretto's Sala dell'Albergo." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9880.
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xiii, 142 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Tintoretto's four-painting Passion cycle in the Sala dell'Albergo of the Scuola Grande di San Rocco in Venice has generated dramatic and affective responses from artists and critics since its completion in the late 1560s. While scholars have addressed the cycle's formal qualities that stimulate such responses, the context surrounding the cycle has not been fully explored. The city was a refuge for reformers and the printing center for potentially heretical writing in the sixteenth century. Tintoretto maintained relationships to members of the reformist poligrafi, and the Passion cycle responds to the mystical theologies propagated in widely disseminated works from Ignatius of Loyola's officially sanctioned treatise, Spiritual Exercises, to the more controversial work of Don Benedetto and Marcantonio Flaminio, the Beneficio di Cristo. This thesis constructs a strong relationship between Tintoretto' s work in the Sala dell'Albergo and contemporary mystical and evangelical reformative theology and activity in the city.
Committee in Charge: Dr. James G. Harper, Chair; Dr. Lauren G. Kilroy; Dr. Kate Mondloch
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Cheuk, Ka Chi. "Protest literature : aesthetics and race politics in Toni Morrison's historiographic trilogy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1515.
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Baillargeon, Philippe. "Circulation des discours dans Le Moyen de parvenir de B. de Verville." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64126.pdf.
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Economides, Aliki. "Everything comes from everything, and everything is made out of everything, and everything returns into everything : Leonardo's analogical (re)search." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29559.
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This thesis explores the foundations of the complex and multifaceted work of Leonardo da Vinci as a whole. What underscores the universality of his research and transcends the artificial divisions of his vast body of work into modern categories of specialization, is the operation of analogy, which is grounded in a mimetic imagination. Leonardo's search is ultimately one of understanding the underlying causes that animate the universe and through analogy, his work and his world hold together. Central to my investigation of the continuity of Leonardo's analogical mode of thinking and making, are questions pertaining to the body, architecture and representation. I put forth that only by appreciating the analogical nature of Leonardo's (re)search, can one access the meaning and value of his efforts and contribution.
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Gesme, Janet Leigh. "Martin Luther's "Two Kingdoms Theory": An Analysis through the Lens of Dietrich Bonhoeffer's Religionless Christianity." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1508.
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The following work is an analysis of Martin Luther's Two Kingdoms Theory. This influential and controversial theory was introduced in his 1523 treatise, Von weltlicher Obrigkeit--Secular Authority. Although this document was written almost 500 years ago and takes its cue from the writings of St. Augustine and the Bible, it continued to have a significant effect on German society in both the political and religious realm well into the present day. Based on an analysis of the text and on the culture and literature that led Luther to write Von weltlicher Obrigkeit, this thesis evaluates various interpretations and applications of the Two Kingdoms Theory. The specific effects of Luther's teaching during the Nazi era are examined politically and theologically. Dietrich Bonhoeffer's Religionsloses Christentum--Religionless Christianity and Martin Luther's Zwei-Reiche-Lehre--Two Kingdoms Theory will be compared to demonstrate that they illuminate the same truth from different vantage points: neither people nor their rules are viable substitutes for God. A brief introduction explains the means of analysis used in this thesis, which is based on Dietrich Bonhoeffer's call for a new religionless language as described in letters written during his imprisonment by the Nazi regime.
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Calabrese, Filomena. "Il Bestiario : scienza e letteratura in Leonardo da Vinci." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82691.
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Le Bestiaire de Leonard de Vinci (datable aux alentours de 1493-1494) est une oeuvre qui s'inscrit dans le cadre de la complexe tradition litteraire-scientifique tout en etant, de plusiers facons, differenciee par rapport au corpus a facettes des ouvrages de Vinci. L'analyse des sources (le Fiore di virtu, l'Acerba de Cecco d'Ascoli, l'Histoire naturelle de Pline, et d'autres textes inspires au Physiologus grec) constitue la premiere partie de l'etude, ou grande place est donnee aux innovations de Leonard. Dans la deuxieme partie les aspects scientifiques et litteraires, qui sont presents simultanement dans l'oeuvre, viennent ainsi examines minutieusement dans l'intention de demontrer que le Bestiaire ne constitue pas simplement un emprunt aux sources, mais est plutot une contribution originale a la tradition dont elle fait partie et dont on ressent la touche creative de Leonard et l'universalite de sa pensee.
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Minard, Scott David. "Francis Bacon and composition." CSUSB ScholarWorks, 1987. https://scholarworks.lib.csusb.edu/etd-project/396.
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Rosshandler, Michelle. "A historiography of idealized portraits of women in Renaissance Italy : the idea of beauty in Titian's La Bella." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83147.
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Renaissance art historians concur that women were characteristically depicted as ideal types in Renaissance portraiture. Nonetheless, the historiography of portraits of women in Renaissance Italy reveals generational shifts between scholars. Male scholars writing in the nineteenth-century to the mid twentieth-century applied formalist and cultural historical methodologies. Recent scholars raise issues that were previously neglected, such as social historical and feminist concerns. Following this rationale, I argue that the changing interests of scholars have altered the interpretations of portraits of Renaissance women. Moreover, this historical difference is split along gender lines in the historiography of Titian's La Bella. A critical review of the literature on this painting shows that male scholars, such as John Pope-Hennessey, Harold E. Wethey, and Charles Hope define the work in formal terms, such as "charming" and "pretty," whereas female scholars such as Elizabeth Cropper, Patricia Simons and Rona Goffen concur the work to be a synecdoche for the beauty of painting itself. A historiography of Titian as a portrait painter confirms that recent scholars have shifted focus from formal studies to an assessment of the social context, conditions of patronage and the feminist issues surrounding the artist's portraits.
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Casagrande, Giuliano Tommasini 1980. "Deus, a alma imaterial e a dúvida global : as ¿Meditações¿ cartesianas à luz da crítica de Schlick e Carnap aos enunciados metafísicos." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281922.
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Orientador: Enéias Júnior ForlinDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Nas Meditações, Descartes faz uso de todos os argumentos céticos imagináveis com o objetivo de abalar as crenças em que se baseia a visão natural de mundo e descobrir se há alguma verdade infensa à dúvida. Após constatar a existência indubitável do eu pensante e determinar sua natureza, Descartes procura salvar, por meio da demonstração da existência de um Deus veraz, o valor objetivo das idéias sensíveis. Neste trabalho, partindo da premissa de que o único subjetivismo autêntico é originário de uma dúvida cética como a cartesiana, investigaremos a hipótese de que tal solo da subjetividade é desprovido de sentido porque a atitude crítica de avaliação do conhecimento de que ele resulta pressupõe uma ordem de generalização e de abrangência naturalmente insustentáveis. Para tanto, utilizaremos a crítica de Schlick e Carnap às proposições externas (globais). Com efeito, a dúvida cartesiana não diz respeito a uma parcela do mundo, mas ao mundo em sua totalidade. O problema estaria na extensão da dúvida e no caráter espiritual atribuído ao ego. De maneira análoga, o conceito de um Deus metafísico (indiferente aos elementos do sistema do mundo empírico) estaria sujeito à mesma acusação de falta de sentido formulada por Schlick-Carnap
Abstract: In his Meditations, Descartes employs all imaginable skeptical arguments in order to shake the beliefs that ground the natural worldview and to find if there is some truth beyond doubt. After discovering the indubitable existence of the thinking self and determining its nature, Descartes tries to save, by demonstrating the existence of a truthful God, the objective value of sensible ideas. In this work, assuming that the only genuine subjectivism comes from a skeptical doubt like Descartes', we will investigate the hypothesis that such subjectivism is devoid of any sense, because the critical attitude of evaluation of knowledge from where it results presupposes a naturally unsustainable generalization and scope. In order to do that, we will employ the critique of external (global) propositions developed by Schlick and Carnap. Indeed, the Cartesian doubt is not related to a part of the world, but to the world as whole. The problem would lie in the extent of doubt and in the spiritual character assigned to the ego. In the same way, the concept of a metaphysical God, indifferent to the elements of the empirical framework, would be subjected to the same accusation of lack of sense formulated by Schlick-Carnap
Mestrado
Filosofia
Mestre em Filosofia
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Garfinkle, Elisa Shari. "The Barberini and the new Christian Empire : a study of the history of Constantine tapestries by Pietro Da Cortona." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30168.
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This study traces the genesis and development of the History of Constantine tapestries designed by Pietro da Cortona and woven on the looms established by Francesco Barberini shortly after his return from France in December 1625. The circumstances surrounding the creation of the series provide a foundation and a framework for exploring its meaning and purpose. Though inspired by an earlier Constantine suite of tapestries designed by Rubens, the "Cortona" panels should be read as an independent entity, the significance of which can only be fully appreciated within the context of the gran salone of the Palazzo Barberini, which I propose was their intended destination. This conclusion is supported by the many links between the tapestries and Barberini ideology, papal politics, the palace and the ceiling fresco in the Salone. Like the Divine Providence fresco, the "Cortona" series is a summa of the virtues and religious, political, intellectual and social initiatives of the family. The series emerges finally as a promotionally Italian endeavour, a showcase of Italian art and culture.
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Kelly, Robert Louis. "In search of Michelangelo's tomb for Julius II : reconstructing that for which no fixed rule may be given." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38494.
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In early 1505, at twenty-nine years of age, Michelangelo began work on a massive tomb for Pope Julius II. The formal, temporal, and constructional intertwinings of this project are plumbed to create the foundation of this text. Finding its only full manifestation in the narratives of Vasari and Condivi, this tomb was the site of Michelangelo's first engagement with the making of architecture. The execution of this project would go on to intermittently occupy nearly half of Michelangelo's lifetime, making it a pivotal and paradigmatic work in the understanding of his opera. Explored as an embodied architectural treatise, the tomb reveals Michelangelo's dynamic process of creative making. Problematic issues in the prevailing Twentieth Century analyses and reconstructions of the tomb are called into question and alternative approaches to establish a deeper understanding of the project are proposed. Conjectures on the relevance of history, the hegemony and limits of analysis, the physical manifestation of ideas, what it means to "finish" a project, and what constitutes a "work," are projected from the foundations of the tomb onto the making of architecture today.
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Criswell, Christopher C. "Networks of Social Debt in Early Modern Literature and Culture." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc799514/.
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This thesis argues that social debt profoundly transformed the environment in which literature was produced and experienced in the early modern period. In each chapter, I examine the various ways in which social debt affected Renaissance writers and the literature they produced. While considering the cultural changes regarding patronage, love, friendship, and debt, I will analyze the poetry and drama of Ben Jonson, Lady Mary Wroth, William Shakespeare, and Thomas Middleton. Each of these writers experiences social debt in a unique and revealing way. Ben Jonson's participation in networks of social debt via poetry allowed him to secure both a livelihood and a place in the Jacobean court through exchanges of poetry and patronage. The issue of social debt pervades both Wroth's life and her writing. Love and debt are intertwined in the actions of her father, the death of her husband, and the themes of her sonnets and pastoral tragicomedy. In Shakespeare’s The Merchant of Venice (c. 1596), Antonio and Bassanio’s friendship is tested by a burdensome interpersonal debt, which can only be alleviated by an outsider. This indicated the transition from honor-based credit system to an impersonal system of commercial exchange. Middleton’s A Trick to Catch the Old One (1608) examines how those heavily in debt dealt with both the social and legal consequences of defaulting on loans.
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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.
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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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Bento, Regina Thaise Ferreira. "Um estudo das geometrias prática e teórica presentes em The Pathewaie to Knowledge de Robert Recorde: possíveis diálogos." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21657.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In this work we present the English mathematician Robert Record (1512-1558) and his treatise on geometry titled The Pathewaie to Knowledge, written in modern English and whose first edition was printed in the year 1551. We analyze in this treatise the presence and possible dialogue established between the geometric knowledge from ancient traditions linked to practice and the theoretical geometry that is studied in the universities and is based on the geometric treatise written by Euclides. To do so, we analyze the context in which the work and its author were inserted, identify what mathematical knowledge is present in this treatise and how they relate to the mathematical practices and the scholarly knowledge of the time. In addition, we sought indications that would allow us to evidence the presence of other geometric. This analysis was made use of the articulation between three spheres: the historiographical, the contextual and the epistemological. This combination gave us a broader look at the possible motivations that would have led Recorde to write the treatise in question. We find that Record was a man cultivated and attentive to the demands of his people and his time. Sixteenth-century England was at a time of social, political, and religious transformation; there was a great demand for investments in the practical-oriented sciences such as artillery, horology, navigation, and land measurement. Thus, professionals such as land surveyors and navigators assumed a determining role for the development of England and needed greater mathematical knowledge to advance their practices. However, access to education was restricted to most of the population and the little available material was written in Latin. This demand for mathematical knowledge practiced in this period, such as arithmetic, algebra, and geometry, made professionals who mastered their craft begin to produce materials written in the vernacular. Recorde, with his privileged background, was the first to produce a collection of textbooks in English with basic mathematics aimed directly at the interests of these professionals. The Pathewaie to Knowledge was the first treatise on practical geometry written in English. At that time practical and theoretical geometry were independent. With the results of this work it is concluded that in fact Robert Record established a dialogue between practical and theoretical geometries, contributing to the dissemination of speculative mathematical knowledge and the validation of geometry used for centuries by mathematicians. This analysis indicates that the understanding of the process that involves the construction of mathematical knowledge can effectively aid in a more critical learning by mathematical educators
Neste trabalho, apresentamos o matemático inglês Robert Recorde (1512-1558) e seu tratado sobre geometria entitulado The Pathewaie to Knowledge, escrito em inglês moderno e cuja primeira edição foi impressa no ano de 1551. Analisamos neste tratado a presença e possível diálogo estabelecidos entre os conhecimentos geométricos provenientes de antigas tradições ligadas à prática e a geometria teórica que era estudada nas universidades e baseada no tratado geométrico escrito por Euclides. Para tanto, analisamos o contexto no qual a obra e seu autor estavam inseridos, identificamos quais os conhecimentos matemáticos estão presentes nesse tratado e como se relacionam com as práticas matemáticas e o saber erudito da época. Além disso, procuramos indícios que nos permitissem evidenciar a presença de outras tradições geométricas. Esta análise utilizou-se da articulação entre três esferas: a historiográfica, a contextual e a epistemológica. Essa junção permitiu-nos um olhar ampliado sobre as possíveis motivações que teriam levado Recorde a escrever o tratado em questão. Verificamos que Recorde era um homem culto e atento às demandas de seu povo e de seu tempo. A Inglaterra do século XVI estava em um momento de transformação social, política e religiosa, havia uma grande demanda por investimentos nas ciências voltadas às questões práticas, tais como a artilharia, horologia, navegação e medição de terras. Assim, profissionais tais como os agrimensores e navegadores assumiram um papel determinante para o desenvolvimento da Inglaterra e necessitavam de maiores conhecimentos matemáticos para avançarem em suas práticas. Contudo, o acesso ao ensino era restrito para a maioria da população e o pouco material disponível era escrito em latim. Essa demanda por conhecimentos voltados às matemáticas praticadas neste período, tais como aritmética, álgebra e geometria fez com que profissionais que dominavam seus ofícios começassem a produzir materiais escrevendo-os na língua vernacular. Recorde, com sua formação privilegiada, foi o primeiro a elaborar uma coleção de livros textos em inglês com matemática básica voltada diretamente aos interesses desses profissionais. The Pathewaie to Knowledge foi o primeiro tratado sobre geometria prática escrito em inglês. Nesse período a geometria prática e teórica eram independentes. Com os resultados desse trabalho conclui-se que de fato Robert Recorde estabeleceu um diálogo entre as geometrias prática e teórica, contribuindo com a disseminação dos conhecimentos matemáticos especulativos e a validação da geometria utilizada há séculos pelos praticantes das matemáticas. Essa análise indica que a compreensão do processo que envolve a construção de conhecimentos matemáticos pode auxiliar de forma efetiva em uma aprendizagem mais crítica pelos educadores matemáticos
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Borges, Cassio. "A engenhosa bucolica seiscentista." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269891.
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Orientador: Alcir PecoraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Ao reler a Fábula de Polifemo y Galatea de Góngora, esta Engenhosa Bucólica Seiscentista, tendo em vista os regimes retóricos de representação letrada, assim como a especificidade aguda da preceptiva poética coetânea, procura delinear um viés interpretativo que se esquiva tanto do paradigma psico-sociológico, empreendido, de modo exemplar, na fortuna crítica de Góngora, por Robert Jammes, quanto da linhagem estilística postulada por Dámaso Alonso. Recuperando categorias interpretativas forjadas pelas principais Artes de Engenho, sobretudo as de Emanuele Tesauro e Baltasar Gracián, o presente estudo, em convergência com os novos trabalhos dedicados às retóricas ibéricas, como, por exemplo, o de Antonio Martí e o de Luisa López Grigera, examina a atualização gongórica da fábula greco-latina, atendo-se, por um lado, ao procedimento tropológico-analítico que particulariza a elocução de Góngora e, por outro, ao incremento cortês, que ali afeta o arranjo convencional do argumento fabular, concebendo ambos sob o signo de uma emulação, que, ao pressupor o aprimoramento da língua romance, empenha-se na institucionalização, via consenso erudito, de um decoro agudo, ou seja, de um uso que, ao restringir seus campos de interlocução, imagina uma companhia engenhosamente discreta.
Abstract: In reading once more the Góngora's Fable of Polyphemus and Galatea, having in mind the oratorical procedures of erudite representation, as well as the acute specificity of the coetaneous preceptive poetry, this Sixteenth-century-Ingenious Bucolic searches for delineating an interpretative bias that takes away as much from the psycho-sociological paradigm undertaken exemplarily by Robert Jammes' critical review of Góngora, as from the stylistic linage postulated by Dámaso Alonso. In recuperating the interpretative categories established by Emanuele Tesauro's and, above all, Baltasar Gracián's Artes de Engenho (Art of Inventiveness), the current research, along the new studies devoted to the sixteenth-century Iberian rhetoric, like those of Antonio Martí and of Luisa López Grigera, on the one hand it examines the Gongoristic review of the Greco-roman fable focusing on the tropologic and analytical procedure that particularizes the Góngora's elocution; on the other hand, it focuses on the courteous increment that affects the conventional arrangement of the fabled argument, conceiving both of them under the signal of a emulation that, in presupposing the improvement of the Romance language, it is committed to the institutionalization, via scholarly consensus, of an acute decorum, in other words, of a use that, in limiting its fields of interlocution, imagines a ingeniously discreet companionship.
Universidade Estadual de Campi
Teoria e Critica Literaria
Doutor em Teoria e História Literária
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Hoyer, Steven. "Intention and interpretation." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68104.
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This thesis is in two chapters. Chapter one is about intentions. Literary theorists have, by and large, dismissed their relevance to interpretation, so it will be useful to consider what exactly is being ignored. Therefore, I devote chapter one to a clarification of the nature and role(s) of intention within the interlocking network of basic propositional attitudes. I argue that intentions incorporate both a functional and a representational dimension, triggering actional mechanisms and structuring the process of practical reasoning.Chapter two is about interpretation. I open the chapter with an examination of extreme conventionalist theses, arguing that their success depends on an unjustifiably strict demarcation between intentionality and textuality. Appropriating aspects of Donald Davidson's work in the philosophy of language, I argue for the recognition of linguistic communication as a form of intentional action. I then defend this thesis against more moderate conventionalist theories to offer a viable approach to the interpretation of literary works.
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Balista, Lígia Rodrigues 1985. "Auto e peregrinação = a metáfora da caminhada no "Auto da alma" e em "Morte e Vida Severina"." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270012.
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Orientador: Jeanne Marie Gagnebin de BonsDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo dessa dissertação de mestrado foi analisar a metáfora da caminhada, a partir da leitura comparativa entre duas obras: Auto da Alma, de Gil Vicente, e Morte e Vida Severina - Auto de Natal Pernambucano, de João Cabral de Melo Neto. Procurei investigar como essas produções desenvolvem, a partir do trabalho com poesia e com o auto, a caminhada como imagem central de construção do texto: em ambos, são personagens em deslocamento espacial e temporal que protagonizam os poemas. Partindo da revisitação a textos da tradição cristã e a textos literários que trabalham com a tópica da peregrinatio, levantei alguns temas e imagens comuns relativos à peregrinação, que guiaram minha leitura comparativa. Além da própria metáfora de vida como caminho e/ou peregrinação, há a questão da ajuda divina para essa realização, bem como os perigos de desvio e do cansaço; as paradas para descanso (e os diferentes valores atribuídos ao parar); a questão do nome/singularidade (ou possibilidade de representação de outros personagens) do peregrino central; as vestimentas que o viajante porta, ou das quais se desfaz ao longo da caminhada; a questão do alimento recebido (ou da falta dele) ao caminhar; assim como o que, intrinsecamente, constitui esse tipo de viagem: a partida e a chegada, e as dificuldades ao longo do caminho. As diferenças de contexto da produção de cada auto foram retomadas e discutidas, a fim de entender as diferenças de significação no aproveitamento que João Cabral faz do gênero através do qual Gil Vicente tanto escreveu. Um dos objetivos finais da pesquisa foi procurar entender por que o poeta brasileiro usa uma matéria cristã-católica em um texto de explícita crítica social. Encerrei, então, discutindo as implicações da construção de um auto natalino dentro do auto: como a afirmação de outra vida severina vem ao final do poema para mostrar o comprometimento coletivo com a caminhada
Abstract: The purpose of this reserach was to analyze the metaphor of the walk, by a comparative reading of two works: ?Auto da Alma?, by Gil Vicente, and ?Morte e Vida Severina - Auto de Natal Pernambucano?, by João Cabral de Melo Neto. It sought to investigate how these productions developed the walk as the central image of the text construction, by working with poetry and auto: both texts have characters in spatial and temporal displacement which star in the poems. Starting from revisiting the texts of the Christian tradition and literary texts that work with peregrinatio, it was raised some common themes and images on the pilgrimage, which guided my comparative reading. Beyond the metaphor of life as way, as pilgrimage, there is the matter of divine aid to fulfillment as well as the dangers of diversion and fatigue; the rest stops (and the different values assigned to the stop); the question of the pilgrim's name/singularity (or the possibility to represent others; the traveler's dressing (or disposes of them along the way); the question of food received (or lack of it) when walking; as well as what is inherently in a journey: departure and arrival, and difficulties along the way. The differences in the context of production of each auto were discussed in order to understand the significance of the use of this genre in João Cabral's poem - in which Gil Vicente wrote so much. One of the ultimate goals of the research was to try to understand why the Brazilian poet uses a Catholic-Christian's subject in a text with explicit social criticism. Then, we discuss the implications of building a Christmas auto within the auto: the affirmation of another severina's life comes at the end of the poem to show the collective commitment to walk
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Anger, Suzy. "Victorian hermeneutics and literary interpretation /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9374.
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Corry, Maya. "Masculinity and spirituality in Renaissance Milan : the role of the beautiful body in the art of Leonardo da Vinci and Leonardeschi." Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669816.
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Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.
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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
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Turner, Seth. "Revelation 11:1-13 : history of interpretation." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:57efe3b3-7c61-412f-9001-5269860a896d.
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The thesis provides a descriptive survey of the history of interpretation of Revelation 11:1-13. Prior to 1000 AD it aims to be comprehensive, but after this date concentrates on Western interpretation. Ch. 1 - Prior to 1000 AD. Rev 11:1-13 is examined in relation to the wider complex of traditions concerning Antichrist and the return of Enoch and Elijah. The commentary tradition on Revelation is examined, including an extensive reconstruction of Tyconius. The passage is applied in two ways: 1. to two eschatological figures, usually Enoch and Elijah. 2. to the Church from the time of Christ's first advent until his return. Ch. 2 -1000-1516 Exegesis similar to that of chapter 1 is found. There is new exegesis from Joachim of Fiore, who believes that the two witnesses will be two religious orders, and Alexander Minorita, who reads the entirety of the Apocalypse as a sequential narrative of Church history, arriving at the sixth century for 11:1-13. Ch. 3 -1516-1700 Protestants interpret the beast as the papacy/Roman Church, and the two witnesses as proto-Protestants prior to the Reformation, often interpreting their 1260 day ministry as 1260 years. Catholics respond by applying the passage either to the eschatological future or the distant past. Ch. 4 -1701-2004 Protestants continue to see the 1260 days as 1260 years, although this interpretation declines markedly in the nineteenth century. Both Catholics and Protestants apply the passage to the distant past of the early Church. Historical critical exegesis introduces a new exegesis, where John is regarded as having incorrectly predicted the return of two individuals shortly after his time of writing. Applications to the entirety of the time of the time of the Church increase in popularity in the twentieth century.
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Nicol, George Grey. "Studies in the interpretation of Genesis 26.1-33." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:8fff7ce7-9a50-4011-9f54-5776c84aa36a.
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These Studies in the interpretation of Genesis 26.1-33 are concerned with a relatively brief and well defined section of biblical Hebrew narrative, and following an Introduction are divided into two parts reflecting literary and historical interests respectively. The Introduction takes note of the current interest among Old Testament scholars in the literary interpretation of the biblical materials and, after opting for an approach which will take account of both literary and historical-critical enquiry, outlines the procedure which will be followed. No logical priority is claimed for literary analysis, although it is considered appropriate that it should be pursued prior to any historical enquiry. In this way, it has been possible to avoid any suspicion that literary analysis of the type pursued here is a further development of the historical-critical method. Part One (Chapters One - Four) is concerned to construct a literary interpretation of the text of Gen 26.1-33. The interpretation consists of three main studies of the Isaac narrative which are followed by a brief discussion of certain aspects of the method involved. This interpretation has developed in the main from a reflection upon the relationship which appears to exist between the promise made to the patriarch by the deity and the surrounding narrative material. Beginning from a literary-structural analysis of the Isaac narrative, it has been possible to observe that a number of relationships of a literary and structural nature exist between the promise and the surrounding narrative materials. The exploration of these relationships discloses a series of tensions between the promise and the narrated events which in one way or another seem designed to bring the fulfilment of different aspects of the promise under threat, and each of these tensions are resolved in turn in the narrative. Thus, even even if the events narrated appear to run counter to the direction of the promise, it is in the exploration of this dialectic which is set up between promise and those narrative events which tend to threaten the fulfilment of the promise that the beginnings of a satisfactory literary interpretation of Gen 26.1-33 is to be found. The literary interpretation of the Isaac narrative is carried out in three stages. In the first stage (Chapter One), the extent of the material under consideration is narrowed down to Gen 26.1-33, and other material (notably Gen 25.19-26) is excluded. Once the narrative structure has been analyzed in terms of divine promise, threat, and (partial) resolution, a further brief examination of the narrative context of the other divine promise sections in Genesis 12-36 shows that the literary technique of juxtaposing these same three elements has in fact been applied more widely, even if it is most clearly evident in Gen 26.1-33. An analysis of the role Rebekah plays in the wife-sister episode shows that she is clearly a subsidiary character, and that in the narrative Abimelech the Philistine king of Gerar and Isaac's antagonist throughout is the character closest in importance to Isaac. Indeed, in many respects the narrative appears to explore the relationship which exists between Isaac and the Philistine king. A number of literary features which enhance the impression of unity which has already been gained from the structural analysis are examined. In particular, a number of narrative transformations are seen to take place between the beginning and the end of the narrative. These are largely concerned with the situation of Isaac in relation to Abimelech. At the beginning of the narrative Isaac comes to Abimelech at Gerar and is dependent on the latter's good will for his wellbeing. But at the end of the narrative, Abimelech comes to Isaac at Beersheba, in order to participate in the blessing enjoyed by the Patriarch. In the second stage (Chapter Two), the structure of each of the episodes which combine to form the Isaac narrative is examined, using a form of structural analysis used by Bremond in relation to the fairy tale, but which is also appropriate to the analysis of other simple forms of narrative. This examination, which I have used to determine whether the individual episodes maintain a comic or tragic function within the Isaac narrative, is carried out without prejudice to the assumption that the narrative is a unity at some level. One of the impressive features of the Isaac narrative is that the Patriarch does not achieve his good fortune at the expense of Abimelech and his people, but the Philistines also prosper, and it is seen that this effect has been achieved by means of paradox. The discussion of the individual episodes leads to the conclusion that the ability of the narrative as a whole to generate meaning is greater than the sum of its parts. In the third stage (Chapter Three), I have attempted to construct an appropriate 'narrative background' against which the text may be understood. This exercise involves the careful observation of such signals as are raised in the text and appear to direct one's attention to materials elsewhere in the tradition, and particularly among the narratives of Genesis 12-25, which may combine to serve as a background against which the Isaac narrative may be understood, and which might properly enrich one's understanding of the text. This undertaking begins from the point that no text may be properly understood from within a vacuum, and that while it is proper to begin such a literary-structural investigation as has been undertaken in this Thesis from a detailed study of the text itself, it has been considered necessary to go on from there and to provide a richer understanding of the text. The formation of a 'narrative background' is to be distinguished from the method of 'narrative analogy' (Miscall, Alter) so far as it takes the canonical ordering of the narratives more seriously. Part One is concluded with the discussion of a number of methodological issues in Chapter Four which forms an attempt to say something about the aims and validity of the analyses set out in Chapters One-Three. There is no concern, however, to resume systematically issues which have already been raised in the earlier chapters. In Part Two, I have addressed some of the more usual historical concerns of biblical studies. The first main part of Chapter Five is concerned with the form-critical discussion of the Isaac narrative. An examination of the form-critical studies of Lutz. and Coats is followed by an analysis of the structure and content of Gen 26.1-33. The analysis is then filled out by a broad discussion which is informed to some extent by the earlier discussion of Chapter One, particularly by the degree to which the various episodes were there seen to be related to each other. The fact that, apart from vv 1-6, the episodes all required assumption of information provided by one or another of the preceding episodes in order to appear coherent suggests that the unity of Gen 26.1-33 is perhaps more than the result of a collector stringing them together in terms of the common theme "Isaac and the people of Gerar". This observation sets an obvious limit against the usual formcritical criterion which holds that the most original units were concered to narrate only single episodes. Throughout this discussion the results of current studies in folklore which have led to much uncertainty concerning the stability of oral transmission so that it is no longer possible to be so confident in the antiquity of the pentateuchal tradition were taken for granted. The traditio-historical question of priority is examined, and it is concluded that Abraham is in fact prior to Isaac.
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Bennett, Richard. "Variations : influence intertextuality, and Milan Kundera, Jean Rhys, and Tom Stoppard." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26254.
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This thesis is in three chapters. Chapter one is about Harold Bloom's theory of the Anxiety of Influence. Bloom's argument is that literary history is shaped by the anxiety of "strong" poets at their belatedness. I show that he depends upon a subjective interpretation of literary production in order to defend a rigidly traditional canon.Chapter two deals with theories of intertextuality, principally those of Julia Kristeva and Michael Riffaterre. As alternatives to theories of influence, neither proves satisfactory. Both founder on the contradictory goal to explain all literature, at the expense of recognizing literary diversity.
Chapter three concerns literary variations. These are texts which are deliberately premised on pre-existing texts. I focus on three examples from this class of literary texts which is not satisfactorily dealt with by any of the theories I consider. I pursue a less wide-ranging approach in order to unearth important features of literary variations.
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Kilian, Monica. "The exile's experience : an examination of the poetry of Hilde Domin and Waclaw Iwaniuk." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26855.
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This thesis examines the effect of the experience of exile on the German poet Hilde Domin and the Polish poet Waclaw Iwaniuk. Their involuntary exile, their departure from their respective native cultures and languages has affected them profoundly, both as individuals and as poets. The exiled poet lives in the conflicting world of the exile: on the one hand, he attempts to maintain his close ties to his native language and culture, while on the other hand, he is constantly assailed by the demands of his new and alien environment. He is thus plunged into a crisis of identity. This thesis examines this crisis by concentrating on the aspect of language as a reference point of the poet's identity.
Through a close examination of a selection of the poetry of Domin and Iwaniuk, I have attempted to discover how they express their personal experiences of exile, which problems they are most concerned with, and, finally, how they attempt to solve these problems. Their poetry expresses similar concerns, such as feelings of insecurity, instability and loss, as well as a wish to recover a sense of security. Both Domin and Iwaniuk are aware of the danger of becoming poetic nonentities in their exile, because their link with their native language is threatened. Recognizing the poet's power to find security in his language (which in turn enables him to reassert his identity through his poetry), they both attempt, in different ways, to preserve their identities as poets by writing. Domin is on the whole more successful than Iwaniuk in defining herself through her language. She believes that language is an inseparable part of her, which naturally finds its expression through her writings. Iwaniuk, on the other hand, is more self-conscious about his language; the preservation of his native language as his poetic tool takes the form of struggle. This fact is not only reflected in the content of the two poets' poetry, but also in its form and style: Domin's language and poetry seem generally more spontaneous and harmonious, whereas Iwaniuk's language and poetry appear to be chiselled intellectually, as if it resisted the author's efforts.Arts, Faculty of
English, Department of
Graduate
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Graham, Catherine (Catherine Elizabeth). "Standpoints : the dramaturgy of Margaretta D'Arcy and John Arden." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60621.
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The political popular theatre which has developed in the West since the 1960s challenges the current hegemony in Western cultures by attacking its basic models of knowledge, yet little critical attention has been paid to the dramaturgies particular to this form. An application of the Possible Worlds theory, the concept of ludic framing, and feminist "standpoint" theory to the Irish stage plays written by Margaretta D'Arcy and John Arden after they left the "legitimate" stage, shows how the dramaturgy of this theater is a critical part of its strategic challenge to the status quo. This analysis shows how D'Arcy and Arden foreground the encompassing Theatre Possible World, within which the performance takes place, in order to cast doubt on the natural character of generally accepted meanings, and to induce the audience to consciously choose the frames within which it makes sense of action.
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Petersen, Jeffrey J. 1981. "Playful Conversations: A Study of Shared Dynamics Between the Plays of Paula Vogel and Sarah Ruhl." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10155.
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vii, 130 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Pulitzer Prize winning playwright Paula Vogel, playwright and educator, has blazed a trail in American theatre, opening new avenues for female playwrights. In 2005 Vogel's student Sarah Ruhl burst onto the scene with her play The Clean House. As one of the most produced playwrights of 2005, Ruhl has been celebrated as the new voice of American theatre. There are similarities, as might be expected between teacher and former student, but some of the similarities suggest something more: a dynamic shared between Vogel's and Ruhl's plays which suggests an ongoing theatrical conversation and may suggest directions for future American drama.
Committee in Charge: Dr. John Schmor, Chair; Dr. Jennifer Schlueter
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Murray, Jessica. ""Notes for the Manual Assembly"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157616/.
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A collection of poems that seeks the balance between imagination and reality that Wallace Stevens calls for in art, with a preface exploring Elaine Scarry's On Beauty and Being Just through the work of two contemporary poets.
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Bailey, Catherine Diana Alison. "Mending the web : a thematic study of Xu Dishan’s fiction." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25343.
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This thesis is a thematic study of the work of the early Twentieth Century Chinese writer Xu Dishan (Luo Huasheng) (1894-1941). The title, "Mending the Web," is at once a reference to a specific story by Xu and an indication of the importance he placed on spiritual values in a changing world. His work represents a modest search for a solution to the dislocation of his society - his own attempt to mend the broken web of modern China. In his work Xu promoted personal solutions and individual salvation rather than the whole scale transformation of society. He stressed the importance of working for change within a given framework - he was a reformer, not a revolutionary, a moderator searching for a synthesis based on universal values rooted in both the Chinese and Western traditions. The values upheld in his fiction are uncompromising - one must follow one' s conscience, accept duty and responsibility calmly, show charity and forgiveness
and, above all be true to oneself.
Xu1s stress on personal and spiritual solutions marks him out from the majority of his iconoclastic contemporaries who advocated wholesale social change. In Chapter One, I try to provide an historical and ideological context for Xu, a comparative background from which to examine him in relation to his contemporary writers and the times in which he lived.
The value Xu placed on a unifying framework, or a sense of order to replace chaos, is made apparent in Chapter Two, where I discuss his quest for values and the romance and mythopoeic modes which inform much of his work. In particular I look at the quest themes which influence the structure and message of his stories, concentrating primarily on an analysis of "Yuguan" and "A Daughter's Heart" based on an extrapolation of the "monomyths" of Joseph Campbell and Northrop Frye. I examine the influence of Christianity on Xu's work, his emphasis on a strongly moral vision and his search for an affirmation of life and the individual's potentiality for goodness.
In Chapter Three I analyse Xu's attitude to life and fate in relation to his use of the coincidence motif which acts in his stories as a catalyst and test for action. The coincidence makes the world small, and thus provides a testing ground for characters' actions. A vital element in this is the concept of baoying or requital, whereby an individual is responsible for his or her actions and is judged accordingly. Xu believed an individual has a responsibility to make the best of an unknown fate, but still to work within given limits to have an influence for the good. A strong moral grammar informs Xu's work, providing a framework for judging the acts of his characters.
In Chapter Four I look at Xu's use of female protagonists to embody his philosophy of life. Women like Yuguan and Chuntao represent Xu's ideals in their most specific form, embodying that sense of affirmation and hope so central to Xu' s work and offering models of human potentiality, an optomistic vision of life as it could be.
In the conclusion I touch on the role of morality in Xu's fiction. His work is deeply moral in orientation and offers an interesting contrast to that of his contemporaries equally engaged in writing fiction for a purpose. Xu's concern for spiritual values was almost unique among writers of that period. His fiction is primarily a fiction of ideas and his themes and messages dominate. He was searching for a solution to the dislocation of his society, as were his contemporaries,
but he did not suggest a radical social transformation
but rather to work within the existing framework. He looked for personal solutions, believing in the innate capacity of the human being to change for the better. He advocated change, but stressed that it must first come individually,
through the development of self-knowledge, on a modest scale, before the world can be transformed. His solution was modest yet profound, and filled with hope.Arts, Faculty of
Asian Studies, Department of
Graduate
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Loevlie, Elisabeth M. "Literary silences : saying the unsayable: an exploration of literary silence in the works of Pascal, Rousseau and Beckett." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365530.
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Marais, Susan Jacqueline. "(Re-)inventing our selves/ourselves : identity and community in contemporary South African short fiction cycles." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016357.
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In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.
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King, Noel. "Anxieties of commentary : interpretation in recent literary, film and cultural criticism /." Title page, table of contents and abstact only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09phk532.pdf.
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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.
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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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Wetzel, Rebecca L. "ADAPTATION AND INTERPRETATION: A STUDY OF THEATRICAL BANDE DESSINEE." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1563987098560659.
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Greenlee, Christine Lund Koch. "The Constantian orations : a contextual analysis of self-presentation in Libanius' 'Orr.' 59, 11, 61 and 31." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/15923.
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A total of sixty-four orations survive from the hand of Libanius. Four of these speeches were delivered under the reign of Constantius II (AD 337-361) and thus form a distinct chronological cluster in the Libanian corpus. The Constantian orations include Or. 59 To Constantius II and Constans (AD 346-9), Or. 11 The Antiochikos (AD 356), Or. 61 Monody on Nicomedia (AD 358), and Or. 61 For the teachers (AD 360-1). This study adopts a diachronic approach and analyses the historical and literary context of each Constantian oration with a particular focus on Libanius' self- presentation. The study suggests that Libanius' self-presentation was characterised by adaptability and versatility; it shows Libanius exploring a range of different genres and communicating with attentiveness to context and audience. The thesis also argues that Libanius' attitude to and engagement with Constantius' court fluctuated significantly from the delivery of Libanius' panegyric in the mid- to late 340s where Libanius supported Constantius after his defeat in the battle of Singara, over Libanius' encomium to Antioch in 356 where Libanius emphasised the strong connection between the Emperor and the city following the devastating reign of Gallus Caesar, to the delivery of For the teachers in 360-361, where Libanius publically voiced his criticism of the Emperor's cultural and religious policies after Libanius himself had lost imperial funding. Furthermore, the study displays the continued importance of oratory in Late Antiquity and emphasises the central role of sophists both as commentators and mediators in society.
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Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
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In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
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Pryor, Caitlin. "Vanishing Act." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801936/.
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This dissertation is comprised of a collection of poems preceded by a critical preface. The preface reconsiders the value of discontinuous poetic forms and advocates a return to lyric as an antidote to the toxic aspects of what Tony Hoagland terms “the skittery poem of our moment.” I consider poems by Wendy Xu, Kevin Prufer, Sharon Olds, and Stephen Dunn in depth to facilitate a discussion about the value of a more centrist position between the poles of supreme discontinuity and totalizing continuity. Though poets working in discontinuous forms are rightly skeptical of the hierarchies that govern narrative and linear forms, as Czesław Miłosz notes in The Witness of Poetry, “a poet discovers a secret, namely that he can be faithful to real things only by arranging them hierarchically.” In my own poems, I make use of the hierarchies of ordered perception in lyric and narrative forms to faithfully illuminate the collapsed structures of my own family history in the shadow of Detroit. I practice the principles I advocate in the preface, using a continuous form to address fractured realities in a busy, disordered age when poets often seek forms as fragmented as their perceptions. These poems are distinctly American, but because there is no true royalty in America, our great cultural and economic institutions—television, music, film, magazines, and big business—take the place of the castle (the book’s emblem) while Michael Jackson ultimately rises as the commanding dead king whose passing prompts contemplation of the viability of popular culture, family, history, and geography. The fallen structures that litter the work are many: the twin towers, chess rooks, bounce castles, nuclear families, the auto industry. However, the sole structure cohering the whole is that of a lyric voice whose authority is derived through lived experience and presented in rich, continuous poetic forms.
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Ingham, David Keith. "Mediation and the indirect metafiction of Randolph Stow, M. K. Joseph, and Timothy Findley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25819.
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In order to explore the range of indirect metafiction as presented in three exemplary novels, this dissertation begins by examining how the assumptions of "realism" on the one hand and "postmodernism" on the other relate to the paradigmatic triad of story-teller, story, and audience. From this context emerges the view that the range of metafiction is determined by how it reveals the processes and nature of fiction according to a spectrum of mediation: that of the writer between his "raw materials" and the text, that of the text between writer and reader, and that of the reader between the text and his interpretation.
Indirect metafiction (or "pretend realism") mediates between realism and postmodernism, revealing without breaking the illusions of realism.
Each of the next three chapters, after initially placing the key novel within the context of the author's work as a whole, discusses in detail a novel whose metafictional focus is on one of the three mediations. Accordingly, Chapter II focusses on Randolph Stow's The Girl Green as Elderflower (1980) and on the way it reveals the mediation of the author by presenting a writer's fiction as a synthesis of his personal and literary experiences. Chapter III notes how M. K. Joseph's A Soldier's Tale (1976) reflects the mediation of the reader by depicting a writer's interpretation and literary redaction of an oral tale. And Chapter IV shows how Timothy Findley's Famous Last Words (1981) demonstrates the mediation of the text by presenting a writer whose text "crystallizes" the illusions of fiction, then undercuts and exposes them. The analyses of the key texts employ both postmodern and traditional critical approaches, demonstrating them to be complementary; by noting the interpenetration of metafictional and traditional import and significance, the analyses also highlight the mediary nature of indirect metafiction.
The fifth chapter draws theoretical conclusions from ideas in the practical chapters: from metafictional revelations through the paradigm of mediation comes an "anatomy" of fiction, delineating its elements; from a sense of how the mind "structures" experience through "fictional" representations of both "reality" and fictional texts comes a "physiology," a sense of how fiction works through language. This discussion leads to definitions of realistic, unrealistic, and self-conscious fiction, and of metafiction, both direct and indirect; the dissertation concludes by remarking on the inter-relations of language, "fiction," and "reality."Arts, Faculty of
English, Department of
Graduate
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Scowcroft, Ann. "Escaping the hegemony of the written word : Canadian women writers and the dislocation of narrative." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61803.
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Léger, Ariane. "Le maître à écrire selon Valéry, Pessoa et Jaccottet /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115622.
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The main objective of this study is to understand how Valery, Pessoa and Jaccottet created or recreated the figure of the master. This figure has truly made its entry into the literary scene in the second half of the nineteenth century, and it contributed to impose a profane and more egalitarian vision of writing. In the writing of the three authors studied, the master is still seen as a strategy to develop a concept of creation, since it allows the writers to define their poetic. It is therefore a matter of maitres a penser (literally "thinking masters") or, better yet, maitres a ecrire ("writing masters").For Valery, the desire to make Mallarme his master is best explained by his search for mastery. Even if he is eager to understand what makes Mallarme an exceptional creator, Valery's quest is hindered by Mallarme's refusal to explain his poetic. This resistance seems to encourage Valery to make the creative act a major concern of his work.
By coming up with a "non-existent coterie" made up of imaginary writers, and by recognizing one of them as his own master, Pessoa hopes to fill the gaps in his literary filiation. In the concert of voices that compose his work, it is yet the master himself which undermines the very legitimacy of the master, and that is why Pessoa finally gets rid of his invention.
Finally, Jaccottet creates his masters for the learning they could provide to him: in Jaccottet's unique story, the character of the master fails, allowing the poet to take his distance from assumptions related with the romantic vision of creation; then, a "good master" whose agony is described by poems becomes a model whose wisdom is inseparable from a kind of ignorance.
The presence of the master generates a story elaborated from the writings of these writers: the development of their poetic requires not only the creation of a master figure, but also its removal. Ultimately, the maitre a ecrire is not only one who induces writing in a unique way, but also the one which should be written in order to succeed.
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Davies-Browne, Bankole P. "The significance of parallels between the 'Testament of Solomon' and Jewish literature of late antiquity (between the closing centuries BCE and the Talmudic era) and the New Testament." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2685.
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The TSol is a Christian composition of late antiquity which narrates the story about how King Solomon built the Temple of God with the aid of demons he subjugated. Comparative analysis between the TSol and Jewish literature of late antiquity (between the closing centuries BCE and the Talmudic era), and the New Testament is primarily to establish any literary dependence and explore the nature of contact between the TSol and these materials; and also to isolate Jewish elements in the TSol. The Jewish materials discussed are the Hebrew Bible, the LXX, Tobit, Wisdom of Solomon, Pseudo-Philo, certain Qumran documents (11 PsApa and the Copper scroll), Josephus' Jewish Antiquities, Ecclesiastes, Proverbs, Song of Songs, rabbinic literature, and certain Aramaic incantation texts. My research has shown that parallels do exist between the TSol, the Jewish literature discussed and the New Testament. The parallels between the TSol and the aforementioned literature are twofold: verbal and conceptual. Verbal parallels occur in the form of technical terminology; quotations, allusions and echoes. The second type of parallels appears in the form of motifs, themes, structural elements and ideas. These parallels seem to dominate in my analysis. There is no need to explain the parallels between the TSol and the literature discussed in terms of literary dependence. I have attempted to demonstrate that these parallels in most of the literature are indicative of indirect influence through shared use of the biblical tradition: motifs, stories and themes regarding King Solomon; a common fund of oral tradition(s) regarding Solomon's magical power over demonic world; shared literary language, milieu, and cultural conventions. Moreover, the author of the TSol seems to have recycled Jewish materials pertaining to Solomon and related motifs in his work. Apart from the New Testament, the best case for a direct influence of a Jewish work on the TSol is Tobit.
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Hoedekie, Nelson G. U. (Nelson Gustaaf Urbain). "Naar analogie van schaduwen aan de wand : een wijsgerige interpretatie van 'de schaduw als kunstwerk' aan de hand van Plato's grotvergelijking." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53511.
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Thesis (MPhil)--University of Stellenbosch, 2003.ENGLISH ABSTRACT: In this thesis, 'shadow' is investigated as an object of thought and (analogically connected to this) of perception. This dialectical process is structured through means of a series of experiments and Plato's allegory of the cave, which is interpreted as a process directed towards selfconciousness. This process is further explained through thinkers such as, Blumenberg, Heidegger, Levinas en Voegelin. The purpose of this study is to break with the self-evident way in which 'shadow' is 'normally' treated and to bring back about a sense of astonishment for it.
AFRIKAANSE OPSOMMING: In hierdie tesis word die 'skaduwee' as waarnemingsobjek en (analogies verwant daaraan) as denkobjek ondersoek. Hierdie dialektiese proses word gestruktureerd met behulp van 'n aantal eksperimente en Plato se grotgelykenis, wat geinterpreteer word as programmaties van die proses van selfbewuswording. Hierdie proses word verder toegelig aan die hand van denkers soos Blumenberg, Heidegger, Levinas en Voegelin. Die doel van die ondersoek is om die vanselfsprekendheid waarmee daar met die fenomeen van die skaduwee omgegaan word te deurbreek en weer verwondering daarvoor op te roep.
NEDERLANDSTALIGE SAMENVATTING: In deze thesis wordt de 'schaduw' als waarnemingsobject en (analogisch verwant daaraan) als denkobject onderzocht. Dit dialectische proces wordt gestructureerd met behulp van een aantal experimenten en Plato's grotvergelijking, die geïnterpreteerd worden als een proces gericht op zeltbewustwording. Dit proces wordt verder toegelicht aan de hand van denkers zoals, Blumenberg, Heidegger, Levinas en Voegelin. Het doel van het onderzoek is om de vanzelfsprekendheid waarmee met het fenomeen van de 'schaduw' omgegaan wordt, te doorbreken en er opnieuw verwondering voor op te roepen.
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Robb, Stuart James. "To begin, continue and complete : music in the wider context of artistic patronage by Pope Alexander VI (1492-1503) and the hymn cycle of CS 15." Thesis, University of Manchester, 2011. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:122374.
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This thesis takes as its area of exploration the papal chapel choir and its repertory, alongside the papacy and its patronage of the arts at the end of the fifteenth century. It draws on previous research concerning the singers, polyphonic manuscripts and artistic culture of the Vatican, but places Pope Alexander VI as the central figure of the thesis, showing schemes of patronage that shaped his reign. The research presents a transcription and analysis of the hymn cycle contained within the manuscript Cappella Sistina 15, alongside an assessment of the polyphonic music collection and places these against accounts of music making and evidence of music copying at the papal chapel during Alexander’s reign. The thesis also considers the environment of secular music making at Alexander’s court. In order to provide a context in which to understand this information, the life of Alexander VI is examined, tracing his artistic patronage and involvement with music both prior to his election and afterwards. Of particular note is the engagement of the artist Pintoricchio to decorate the papal apartments. Here, the artist’s representation of music as part of the seven liberal arts is analysed, providing a unique, contemporary and important insight into music practices in Alexander’s court. Three classifications of patronage are identified for Alexander’s reign, while also showing that these were strategies that he had used before he became pope. The music culture at the papal chapel is shown to be part of this strategy, through the consolidation of old music and the introduction of new music into the repertory, ending a task that had taken approximately 60 years. It shows that Alexander’s reign was an important period musically, that instituted new musical traditions and created an environment that prepared the way for the golden ages of patronage of Julius II and Leo X.
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Fisher, Susan Rosa. "A genre for our times: the Menippean satires of Russell Hoban and Murakami Haruki." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25047.pdf.
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Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
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This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
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Selby, Don. "Bridging the gap? : a critical reading of Bhabha, Said and Spivak's postcolonial positions." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43947.pdf.
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Ocaña, Karen Isabel. "Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix Guattari." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26748.
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This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.
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Bourgon, Julie. "Création, éthique et vérité : Broch et Blanchot ; suivi de, En trompe-l'oeil." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37193.pdf.
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Lanthier, Lalita Bharvani. "Two outsiders in Indo-English literature : Ruth Prawer Jhabvala and Salman Rushdie." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56664.
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This thesis shows the condition of outsidedness in the fiction of two Indo-English authors: Ruth Prawer Jhabvala and Salman Rushdie. Ruth Prawer Jhabvala focuses on the intercultural encounter from the European perspective. Salman Rushdie writes from the expatriate's point of view. Astride the cultural frameworks of India and the West at once they examine the ironic similarities of prejudice and intolerance in both societies. These authors' novels are examined through concepts elaborated by the Russian literary theoretician, Mikhail Bakhtin, such as exotopy or outsidedness, heteroglossia, dialogism, etc. They confirm Bakhtin's contention that cultural confrontation is a potentially enriching source of literary and artistic creation. Jhabvala treats the intercultural encounter within the colonial and post-colonial frameworks and shows the fragile dialogue that does occur between her European characters and India. Rushdie on the other hand centres mainly on contemporary India although he does satirize certain aspects of colonial India. He uses a plethora of historical, literary, cultural and linguistic referents from both eastern and western traditions to subvert the hegemonic discourse of either and to celebrate cultural hybridity.