Dissertations / Theses on the topic '1805-1864 Criticism and interpretation'
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1
Folkerth, Wes 1964. "Nathaniel Hawthorne's subversive use of allegorical conventions." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56665.
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The literary and socio-political environments of early nineteenth-century America demanded from Hawthorne a new formulation of the allegorical mode, which in turn afforded him means to critique that same historical situation. His metonymic and realistic uses of allegorical techniques invert the emphasis of traditional allegory, permitting him subversively to critique the idealist principles of contemporary historiography and the Transcendentalist movement. Hawthorne's discontent with antebellum historiography's conflation of the Puritan colonists and the Revolutionary fathers, and with Transcendentalism's disregard for the darker side of human nature, led him to critique these idealisms in his fictions. His appropriation of allegorical conventions allowed him to enact this critique subversively, without alienating the increasingly nationalistic American reading public. This subversive program exerts a global influence on Hawthorne's work. The first chapter of this thesis defines my use of the term "allegory." The second situates Hawthorne within the allegorical tradition, the third within the American ideological context. The last two chapters identify and discuss Hawthorne's appropriations of the allegorical conventions of personification and procession as they are found in each of the three forms in which he most commonly wrote: the sketch, the tale, and the historical romance.
2
SHAUGHNESSY, MARY AGNES. "HAWTHORNE'S SENSE OF AN ENDING: THE PROBLEM OF CLOSURE IN THE FRAGMENTS AND THE ROMANCES." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183986.
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This dissertation examines the problem of narrative closure in Hawthorne's major romances in the light of the unfinished manuscripts he was working on immediately before his death. Despite the sense of formlessness the mass of material itself sugests, these manuscripts bear striking similarities to his earlier works. The problems of reading and writing, of concealment and revelation, of searching for one's origins and being shaped by one's past, the figure of the storyteller whose manner and difficulties usurp the story itself in importance--these are materials Hawthorne returned to time after time as if unable to locate precisely or exhaust completely their implications. The majority of Hawthorne's tales and romances are fragmentary. For Hawthorne, reality is always beyond man's ability to perceive except as bits and fragments. Throughout his work he asserts his awareness that man can perceive and express only a minuscule part of the immense, inexhaustible reality within and outside of his own mind. Every expression is, therefore, incomplete, and the artistic process becomes one of piecing together, by retelling and reshaping, the fragments of both imagination and perception. To study the problem of closure in narratives that have grown out of this view of the relationship between human experience and its artistic expression is to consider not only the formalistic dimension of the problem (how stories end) but the relationship between the narrative's ending and the ending of human experience in death. It is to consider the relationship between the forms of closure and the formlessness and absence of death. In viewing Hawthorne's romances retrospectively one repeatedly encounters his ironic sense that death both gives meaning to life and renders it ridiculous and that death both generates narrative and demands its ending. Hawthorne's allegory causes him to place himself within his texts in a way that makes them expressive of the design of his own life artistically woven into the texts of his career. By thus inverting the glass and reversing the cycle as suggested in "The Dolliver Romance," the reader effects the reliving of the author's life through art. (Abstract shortened with permission of author.)
3
Smith, Grace Elizabeth. "The Opened Letter: Rereading Hawthorne." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278343/.
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The recent publication of the bulk of Hawthorne's letters has precipitated this study, which deals with Hawthorne's creative and subversive narration and his synchronic appeal to a variety of readers possessing different tastes. The author initially investigates Hawthorne's religion and demonstrate how he disguised his personal religious convictions, ambiguously using the intellectual categories of Calvinism, Unitarianism, and spiritualism to promote his own humanistic "religion." Hawthorne's appropriation of the jeremiad further illustrates his emphasis on religion and narration. Although his religion remained humanistic, he readily used the old Puritan political sermon to describe and defend his own financial hardships. That jeremiad outlook has significant implications for his art.
4
Wellige, Rainer. "Elemente der illuminatischen Ideologie in einigen vorklassischen Werken von Goethe und Schiller." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21277.
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This Master's thesis analyses the connection between the Illuminati ideology and the sociopolitical ideals contained in pre-classical works---contemporary to the existence of the order---of Johann Wolfgang Goethe and Friedrich Schiller. The first chapter examines the creation, the development and the eventual collapse of the Illuminati Secret Society (Geheimbund der Illuminaten) founded in 1776 by Adam Weishaupt in the context of the Enlightenment. The second chapter explores the ideological similarities between the young Goethe and this secret society through the analysis of his works Gotz von Berlichingen (1771--1773), Egmont (1775--1784) and Der Gross Cophta (1791). The third chapter expounds Schiller's ideological opinion of the Illuminati through Don Carlos (1787), and discusses their republican visions of freedom and human rights. The conclusion integrates the findings made in each chapter and demonstrates, through both authors' discussed works, the similar ideals of both authors and Illuminism.
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Raab, Angela R. "Mangled Bodies, Mangled Selves: Hurston, A. Walker and Morrison." Thesis, Connect to resource online, 2008. http://hdl.handle.net/1805/1628.
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Thesis (M.A.)--Indiana University, 2008.Title from screen (viewed on July 1, 2008). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Missy Dehn Kubitschek, Jennifer Thorington Springer, Tom Marvin. Includes vitae. Includes bibliographical references (leaves 109-114).
6
Sitz, Shirley Ann Ellis. "Children and Childhood in Hawthorne's Fiction." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc279294/.
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7
Grodd, Elizabeth Stafford. "The Love Poems of John Clare and John Keats: A Comparative Study." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4907.
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This study addresses lesser known works of romantic poets John Clare and John Keats--Clare's Child Harold and Keats's poems to Fanny Brawne--which I refer to as their love poems because the works are informed by intense feelings the poets had for women they loved. Although these works have been the brunt of negative criticism because Clare was considered insane at the time of the composition of Child Harold and Keats was accused of using the poems to give vent to his personal sufferings, nonetheless I argue that the love poems are significant for several reasons. They are a reflection of the poets' personal experiences and also demonstrate their remarkable and surprisingly similar creative abilities in the way they use poetry as a means of devising new strategies for dealing with the painful realities of their disturbing lives. And because I feel it is important to understand Clare's and Keats's feelings for the women they love in order to understand their poetry (since the poetry is, after all, based on real life experiences), I provide chapters describing the poets's lives and loves, as well as their poetic processes, to serve as a framework for examining the poems. In the remaining chapters, I show how the poets incorporate highly sophisticated metaphor in attempting to reconcile the apparent conflicts the speakers in their poems are experiencing between their subjective responses to, and their rational assessment of human existence. In the process, the speakers experience various states of emotional upheaval ranging from what I refer to as periods of limbo, purgatory, and paradise, and they create personal thresholds and undergo differing states of self-awareness. In the final chapter I provide a summary of how these different emotional states are metaphorically effected, and then attempt to explain the value of Clare's and Keats's poetic achievements in the poems from a current perspective.
8
Francis, Kurt T. "Gothic Elements in Selected Fictional Works by Nathaniel Hawthorne." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc503867/.
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Gothicism is the primary feature of Nathaniel Hawthorne's fiction, and it is his skill in elevating Gothicism to the level of high art which makes him a great artist. Gothic elements are divided into six categories: Objects, Beings, Mental States, Practices and Actions, Architecture and Places, and Nature. Some devices from these six categories are documented in three of Hawthorne's stories ("Young Goodman Brown," "The Minister's Black Veil," and "Ethan Brown") and three of his romances (The Scarlet Letter, The House of the Seven Gables, and The Marble Faun). The identification of 142 instances of Hawthorne's use of Gothic elements in the above works demonstrates that Hawthorne is fundamentally a Gothic writer.
9
Kobler, Sheila F. (Sheila Frazier). "Postmodern Narrative Techniques in the Works of Nathaniel Hawthorne: Metafiction, Fabulation, and Hermeneutical Semiosis." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279048/.
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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Bruneau, Louise. "L'education des femmes dans les romans de Madame de Charrière." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59617.
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Education represents one of Isabelle de Charriere's favourite topics. In her novels, the author has expressed her concerns on the matter, but her comments refer particularly to women's education. The present study will therefore be dedicated to the gathering of these observations, in order to show the author's position regarding the education of women. Afterwards, it should be possible to see whether Madame de Charriere's ideas may be compared to those of her time. In the case of women, moral education is preponderant, but knowledge is also important. In addition to her pedagogical advice, the writer provides some thoughts on the status of women in general.
12
Reynolds, Diana Dial. "Signifying in Incidents in the Life of a Slave Girl: Harriet Jacobs' Use of African American English." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2195.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Susan C. Shepherd, Frederick J. DiCamilla, Stephen L. Fox. Includes vitae. Includes bibliographical references (leaves 48-50).
13
Williamson, Richard Joseph 1962. "Friendship, Politics, and the Literary Imagination: the Impact of Franklin Pierce on Hawthorne's Works." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277669/.
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This dissertation attempts to demonstrate how Nathaniel Hawthorne's lifelong friendship with Franklin Pierce influenced the author's literary imagination, often prompting him to transform Pierce from his historical personage into a romanticized figure of notably Jacksonian qualities. It is also an assessment of how Hawthorne's friendship with Pierce profoundly influenced a wide range of his work, from his first novel, Fanshawe (1828), to the Life of Franklin Pierce (1852) and such later works as the unfinished Septimius romances and the dedicatory materials in Our Old Home (1863). This dissertation shows how Pierce became for Hawthorne a literary device—an icon of Jacksonian virtue, a token of the Democratic party, and an emblem of steadfastness, military heroism, and integrity, all three of which were often at odds with Pierce's historical character. Chapter 1 provides an overview of the Hawthorne-Pierce friendship. The chapter also assesses biographical reconstructions of Pierce's character and life. Chapter 2 addresses Hawthorne's years at Bowdoin College, his introduction to Pierce, and his early socialization. Chapter 3 demonstrates how Hawthorne transformed his Bowdoin experience into formulaic Gothic narrative in his first novel, Fanshawe. Chapter 4 discusses the influence of the Hawthorne-Pierce friendship on the Life of Franklin Pierce, Hawthorne's campaign biography of his friend. The friendship, the chapter concludes, was not only a context, or backdrop to the work, but it was also a factor that affected the text significantly. Chapter 5 treats the influence of Hawthorne's camaraderie with Pierce on the author's later works, the Septimius romances and the dedicatory materials in Our Old Home. Chapter 6 illustrates how Hawthorne's continuing friendship with the controversial Pierce distanced him from many of the prominent and influential thinkers and writers of the day, including Ralph Waldo Emerson and Elizabeth Palmer Peabody. Chapter 7 offers a final summation of the influence of Pierce on Hawthorne's art and Hawthorne's often tenuous role as political artist. Finally, the chapter shows how an understanding of Hawthorne's relationship with Pierce enhances our perceptions of Hawthorne as writer.
14
Sambati, Fabiana Almeida. "O Sertão de Coelho Neto revisitado e reeditado." Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2252.
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Acompanha: O Sertão de Coelho Neto revisitado e reeditadoNos últimos anos que precederam o século XX, surgiu, em meio às incertezas e inquietações frente à novidade da República, o que viria a ser o divisor de águas na trajetória literária de um autor que, até então, havia focado sua intensa produção nos cenários urbanos. As questões advindas do recém obliterado regime escravagista ainda fervilhavam nas esferas da vida social e, sobretudo na literatura, onde encontrou guarida para suscitar discussões e apontamentos diante do cenário que se desenhava. Foi nesse contexto que Sertão (1897), de Coelho Neto, inaugura sua fase regionalista e expõe uma faceta do autor mais voltada para as preocupações sociais de sua época. Severamente atacado pelos modernistas pelo seu estilo repleto de preciosismos da linguagem, o escritor deixou uma marca indelével com uma obra que traduz, possivelmente, as suas qualidades mais evidentes: a imaginação criativa e a capacidade de traduzir seus enredos inusitados em descrições meticulosas. Ainda assim, a tão notada habilidade de Coelho Neto ao manejar as palavras não parece ter sido o bastante para assegurar o devido reconhecimento de sua obra. A produção netiana encontra-se recentemente restrita apenas a alguns círculos literários, não havendo recebido a merecida atenção no decurso do tempo. A popularidade da qual usufruiu nos primeiros tempos não perdurou, em grande parte, senão principalmente, por questões ligadas ao cânone. Em consequência, as posteriores edições de muitas de suas produções, como é o caso do Sertão, não ultrapassaram a primeira metade do século XX. Nessa perspectiva, o presente trabalho busca propiciar a revitalização da coletânea de contos Sertão, por meio da reedição da obra, conforme as normas vigentes do Novo Acordo Ortográfico da Língua Portuguesa, constituindo-se no produto educacional aplicado. O estudo crítico sobre Coelho Neto, aqui apresentado possui o intento de divulgar a vasta produção artística do escritor.
In the last years which come before the twentieth century, emerged, among the uncertainties and concerns facing the novelty of the Republic, what would be the watershed in the literary trajectory of an author who until then, had focused his intense production in the urban scenarios. The issues arising from the recently obliterated slave regime still seethed in the spheres of social life, especially in literature, where they found shelter to raise discussions and observations on the scenario that was been drawn. It was in this context that Sertão (1897), by Coelho Neto, opened his regionalist phase and exposes a facet of the author more focused to the social concerns of his day. Severely attacked by modernists for his language style full of preciosity, the writer left an indelible mark with a work that reflects possibly his most manifest qualities: creative imagination and ability to translate his unusual plots in meticulous descriptions. However, the notable ability of Coelho Neto to handle the words does not seem to have been enough to ensure due recognition for his work. Coelho Neto‘s production is recently restricted to some literary circles and it has not received the deserved attention in the course of time. The popularity enjoyed in the early days did not last, largely, if not mainly, because of issues related to the canon. Consequently, the later editions of various of his productions, such as Sertão, did not exceed the first half of the twentieth century. In this perspective, this paper seeks to promote the revitalization of the collection of short stories, through reissue of the book, according to the current rules of the New Orthographic Agreement of the Portuguese Language, becoming the educational product applied. The critical study on Coelho Neto, presented here, has the intent to disseminate the vast artistic production of the writer.
15
Adams, Dana W. (Dana Wills). "Female Inheritors of Hawthorne's New England Literary Tradition." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.
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Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.
16
Miles, Donald Joseph. "Preservation of the Writing Approaches of the Four Gospel Writers in the Joseph Smith Translation of the Bible." Diss., CLICK HERE for online access, 1991. http://contentdm.lib.byu.edu/u?/MTGM,40877.
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Rodriguez, Sergio (Guitarist). "Comparison of the Méthode Pour La Guitare by Fernando Sor with the Méthode Complète Pour La Guitare Par Ferdinand Sor, Rédigée Et Augmentée De Nombreux Exemples Et Leçons Suivis D'une Notice Sur La 7e Corde by Napoléon Coste." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011789/.
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The nineteenth century presents a great increase in publications of guitar methods. Most authors of the time published several versions of their works. Fernando Sor, perhaps the most prominent guitar composers of the time—whose Méthode is regarded today as the most important of the period—only published one edition. However, Napoleon Coste took on the task to do a second account. The literature reviewed shows substantial existing information regarding background, type of text, tone, and contents of Sor's work, but comparisons to date are not substantial. Therefore, there is a need to compare these two texts side by side to yield a complete view of their pairing. The existing negative views of Coste's edition hinder the importance of Coste's work as reference to Segovia's publication of Sor studies, and as a clearer pedagogical application of many of Sor's concepts which are sidetracked by his response to criticism and his elaborations in matters beyond his main subject matter. I provide a comprehensive review of Sor's method, an outline and a consideration of his concepts. Then I offer a complete English translation of Coste's method which is inexistent until now. The comparison follows pointing at differences and similarities. Results show that Coste clarifies and complements many of the principles in less text and simpler language. He modifies certain others either to approach Sor's practice or to depart to a newer standard. He offers his own lessons and sections to apply Sor's concepts. Coste's text heads towards a pedagogical synthesis of Sor's method, but it is incomplete because he omits some concepts without leading the readers to consult Sor. Coste's pedagogical and practical relevance is fundamental for modern standard techniques.
18
Batista, Miguel. "Bildung and initiation : interpreting German and American narrative traditions." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.
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This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.
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Jeffrey, Johnson Kirstin Elizabeth. "Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1887.
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Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.
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"以劇寫「史」: 黃燮清《倚晴樓九種曲》研究." 2011. http://library.cuhk.edu.hk/record=b5894329.
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梁慧."2011年5月".
"2011 nian 5 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references.
Abstracts in Chinese and English.
Liang Hui.
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 史傳文學下的論述 --- p.1
Chapter 一、 --- 「史傳」與「文學」
Chapter 二、 --- 以劇寫「史」的意涵
Chapter 三、 --- 黃燮清筆下的「史劇」
Chapter 第二節 --- 研究目的 --- p.11
Chapter 第三節 --- 文獻回顧 --- p.15
Chapter 一、 --- 清末民初的迴響
Chapter 二、 --- 近代評論的主題
Chapter 三、 --- 既有研究的不足
Chapter 四、 --- 小結
Chapter 第四節 --- 研究方法 --- p.22
Chapter 第二章 --- 黃燮清與《倚晴樓九種曲》 --- p.24
Chapter 第一節 --- 黃燮清生平及其作品 --- p.24
Chapter 第二節 --- 黃燮清戲曲的創作緣起 --- p.26
Chapter 第三節 --- 結語 --- p.34
Chapter 第三章 --- "「藉古人啼笑,今人悲喜」一為司馬相如翻案及自喻的《茂陵絃》" --- p.37
Chapter 第一節 --- 前言 --- p.37
Chapter 第二節 --- 翻案史劇的提出 --- p.37
Chapter 一、 --- 「翻案劇」釋義
Chapter 二、 --- 「司馬相如事」的討論熱潮
Chapter 三、 --- 《史記》、《西京雜記》記載的「司馬相如事」
Chapter 四、 --- 《茂陵絃》簡介
Chapter 第三節 --- 「譜曲覓知音」一《茂陵絃》的旨趣 --- p.44
Chapter 第四節 --- 「惜青史之傳誣」一一黃燮清「翻案」的筆法 --- p.47
Chapter 一、 --- 《茂陵絃》與《琴心記》
Chapter 二、 --- 翻案的特色
Chapter 三、 --- 小結
Chapter 第五節 --- "以曲作賦,借古喻今" --- p.52
Chapter 第六節 --- 結語 --- p.59
Chapter 第四章 --- 以劇寫史《帝女花》中的抒情與歷史 --- p.62
Chapter 第一節 --- 前言 --- p.62
Chapter 第二節 --- 《帝女花》簡介 --- p.63
Chapter 第三節 --- "史家筆法:譜興亡之舊事,寫離合之情悰" --- p.64
Chapter 第四節 --- 《帝女花》的藝術構思 --- p.72
Chapter 一、 --- 腳色分派
Chapter 二、 --- 服飾穿戴
Chapter 三、 --- 時空安排
Chapter 第五節 --- 《帝女花》中的母題與象徵 --- p.80
Chapter 一、 --- 「帝女之花」與長平「兩起死」
Chapter 二、 --- 天命與人事
Chapter 第六節 --- 以劇寫史一一黃燮清的史心 --- p.91
Chapter 第七節 --- 結語 --- p.95
Chapter 第五章 --- 書寫「列女」內外的歷史一一女性入傳的《玉台秋》、《桃谿雪》 --- p.98
Chapter 第一節 --- 前言 --- p.98
Chapter 第二節 --- 為女性發聲的《玉台秋》及《桃谿雪》 --- p.101
Chapter 一、 --- 前言
Chapter 二、 --- 內容簡介
Chapter 三、 --- 黃燮清筆下的張宜人不和吳絳雪
Chapter 第三節 --- 典範女性的建立一一儼如私人「墓誌銘」 --- p.105
Chapter 第四節 --- 「節烈」一一正史《列女傳》的規範 --- p.111
Chapter 一、 --- 《桃谿雪》》與吳絳雪
Chapter 二、 --- 從典範到規範一一黃燮清筆下的吳絡雪
Chapter 第五節 --- 劇為史傳的筆法 --- p.123
Chapter 一、 --- 列傳的意圖
Chapter 二、 --- 「列女傳」的演變
Chapter 三、 --- "傳人兼傳史,借傳以存史"
Chapter 第六節 --- 結語 --- p.136
Chapter 一、 --- 以劇傳人的意義
Chapter 二、 --- 明清文人為女性寫墓誌銘的原因及情況
Chapter 三、 --- 史學與性別的思考一一創作的意涵
Chapter （一） --- 《玉台秋》的意圖
Chapter （二） --- 《桃谿雪》的關懷
Chapter 第六章 --- 清朝時事劇的復興一《絳稍記》和《居官鑑》 --- p.146
Chapter 第一節 --- 前言 --- p.146
Chapter 第二節 --- 影射時事的嘗試一一《絳稍記》 --- p.148
Chapter 一、 --- 《絳稍記》簡介
Chapter 二、 --- 影射時事的筆法
Chapter 三、 --- 《絳稍記》的可觀性
Chapter 四、 --- 小結
Chapter 第三節 --- 直寫時事的創作一《居官鑑》 --- p.157
Chapter 一、 --- 《居官鑑》簡介
Chapter 二、 --- 國事家事天下事一黃燮清筆下的現實
Chapter 三、 --- 黃燮清筆下的人物
Chapter 四、 --- 以筆載史一詩歌與戲文
Chapter 第四節 --- 結語 --- p.170
Chapter 一、 --- 從《茂陵絃》到《居官鑑》一一黃燮清白喻形象的轉變
Chapter 二、 --- 直刺史實的影響
Chapter 第七章 --- 結論 --- p.174
Chapter 第一節 --- 總結 --- p.174
Chapter 一、 --- "戲曲詩化以「緣,情」 ,r言志」"
Chapter 二、 --- 黃燮清以「史」為劇的發展進程
Chapter （一） --- 史劇中的人物與歷史的關係
Chapter （二） --- 劇中的「黃燮清」
Chapter （三） --- 巾幗不讓鬚眉的女性形象
Chapter （四） --- 從「聊以自娛」到「直刺時事」
Chapter 三、 --- 研究晚清戲曲的新進路
Chapter 第二節 --- 餘論一一黃燮清筆下的歷史與虛構 --- p.185
Chapter 一、 --- 從吳梅語「劇場惡套」說起
Chapter 二、 --- 黃燮清歷史劇中的虛構情節
Chapter 三、 --- 歷史與虛構的結合
Chapter （一） --- 尚實風氣的形成和重現
Chapter （二） --- 虛構情節一一文人作意好奇的意義
Chapter 四、 --- 黃燮清歷史劇的結局與不朽的聯想
參考書目
21
Cohen, Hazel Ann. "'Times portraiture' : the temporal design of hawthorne's shorter fiction." Thesis, 2015. http://hdl.handle.net/10539/16952.
Full textAbstract:
A study of the shorter fiction of Nathaniel Hawthorne reveals a rich
experimentation with narrative techniques, all working towards what
Edgar Allan Poe, Hawthorne's first critic, called a 'certain unique
or single effect'. The aim of this dissertation is to show how
Hawthorne's concern with the complex nature of man's temporal existence
governs both the theme and structure of his fiction. Time implies
both change and flux, and is inextricable from the historical, social
and psychological evolution of Hawthorne's characters. As theme,
time is used to disclose patterns of withdrawal and return, the problem
of the individual alienated from his society, and the tension between
the realm of art and the world of actuality. As structure, time is
used in various ways to govern the pace of a particular story and, most
certainly, to govern the unfolding sequence of events. Hawthorne
consciously experiments with different generic modes, with a diversity
of beginnings and endings, in order to explore the inexhaustible
manifestations of human time.
22
Morguson, Alisun. "All the Pieces Matter: Fragmentation-as-Agency in the Novels of Edwidge Danticat, Michelle Cliff, and Shani Mootoo." Thesis, 2013. http://hdl.handle.net/1805/3218.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)The fragmented bodies and lives of postcolonial Caribbean women examined in Caribbean literature beget struggle and psychological ruin. The characters portrayed in novels by postcolonial Caribbean writers Edwidge Danticat, Michelle Cliff, and Shani Mootoo are marginalized as “Other” by a Western patriarchal discourse that works to silence them because of their gender, color, class, and sexuality. Marginalization participates in the act of fragmentation of these characters because it challenges their sense of identity. Fragmentation means fractured; in terms of these fictive characters, fragmentation results from multiple traumas, each trauma causing another break in their wholeness. Postcolonial scholars have identified the causes and effects of fragmentation on the postcolonial subject, and they argue one’s need to heal because of it. Danticat, Cliff, and Mootoo prove that wholeness is not possible for the postcolonial Caribbean woman, so rather than ruminate on that truth, they examine the journey of the postcolonial Caribbean woman as a way of making meaning of the pieces of her life. This project contends that fragmentation – and the fracture it produces – does not bind these women to negative existences; in fact, the female subjects of Danticat, Cliff, and Mootoo locate power in their fragmentation. The texts studied include Danticat’s "Breath, Eyes, Memory" (1994) and "The Farming of Bones" (1999), Cliff’s "Abeng" (1984) and "No Telephone to Heaven" (1987), and Mootoo’s "Cereus Blooms at Night" (1996) and "He Drown She in the Sea" (2005).
23
Goldfarb, Nancy D. ""Charity Never Faileth": Philanthropy in the Short Fiction of Herman Melville." Thesis, 2014. http://hdl.handle.net/1805/6298.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)This dissertation analyzes the critique of charity and philanthropy implicit in Melville’s short fiction written for periodicals between 1853 and 1856. Melville utilized narrative and tone to conceal his opposition to prevailing ideologies and manipulated narrative structures to make the reader complicit in the problematic assumptions of a market economy. Integrating close readings with critical theory, I establish that Melville was challenging the new rhetoric of philanthropy that created a moral identity for wealthy men in industrial capitalist society. Through his short fiction, Melville exposed self-serving conduct and rationalizations when they masqueraded as civic-minded responses to the needs of the community. Melville was joining a public conversation about philanthropy and civic leadership in an American society that, in its pursuit of private wealth, he believed was losing touch with the democratic and civic ideals on which the nation had been founded. Melville’s objection was not with charitable giving; rather, he objected to its use as a diversion from honest reflection on one’s responsibilities to others.
24
Johnson, Amy R. "Stranger in the Room: Illuminating Female Identity Through Irish Drama." Thesis, 2007. http://hdl.handle.net/1805/918.
Full textAbstract:
Thesis (M.A.)--Indiana University, 2007.Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)
25
Cristo, George Constantine. "Unraveling Walt Whitman." Thesis, 2007. http://hdl.handle.net/1805/899.
Full textAbstract:
Thesis (M.A.)--Indiana University, 2007.Title from screen (viewed on Apr. 27, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 65-70)
26
Middlemost, Thomas A. "Australian monotypes." Phd thesis, 2012. http://hdl.handle.net/1885/156396.
Full textAbstract:
While much has been published on Australian printmaking, the monotype is generally dealt with in a cursory manner and has never served as the subject of a detailed, dedicated study. This thesis sets out to fill this lacuna, both through a general history of monotypes in Australian art- with a comprehensive investigation of the various clusters of monotype artists that have appeared during the past 120 years of Australian art history-and through three case studies of prominent Australian artists for whom the monotype was an important part of their practice. The selected artists are Rupert Charles Wulsten Bunny (1864-1947), Margaret Rose Preston (1875-1963) and Bruno Leti (b. 1943). These case studies can be found in the Appendices. Four conceptual threads or arguments for the unique nature of the monotype wi ll be explored whilst documenting its history. In this thesis it is argued that there is an inner momentum unique to monotype clusters throughout Australian art history. Secondly, throughout the thesis it is argued that monotype gives an artist the freedom to express their individual sensibility, as a distinct voice, as opposed to other print mediums. Thirdly, the monotype is unique in printmaking because of its precarious balance on the cusp of both painting and printmaking, opening the door for painters to experience and feel comfortable using a print med ium. Lastly, the individual economics of the monotype in printmaking practice is revealed. As a unique print and therefore separate from multiple originals in printmaking, monotypes are aligned with painting and drawing, muddying their identity as prints and rendering their identity in an art market as translucent as 'ghost prints'. While the number of Australian artists who use the medium is extensive, this widespread use is rarely noted. The monotype has an almost invisible exjstence in general accounts of Australian art and even in histories of printmaking. The individual exhibiting histories are described in reference to the artist's oeuvre, their common art practice and their biographies. The purpose is to document an artist's inspiration for commencing or continuing to make monotype prints. Documentation of Australian monotypes is poor even though Australian artists have played and continue to play a significant role in the history of international monotype art. Roger Butler, Senior Curator of Australian Prints, Drawings and Illustrated Books at the National Gallery of Australia (NGA) notes that the best and most complete i nternational catalogue and exhibition on monotypes "is in no way definitive and does not include articles on the subject by the Australian artists Rupert Bunny and A. Henry Fullwood". This thesis marks the beginning of a process for an understanding of the great influence of monotype printmaking on Australian artists and their practice. Future research on monotypes in Australia can use this framework to build detailed studies of Australian artists' monotypes.
27
Heil, Katrina Marie 1976. "Modern tragedy in the absence of God : an analysis of Unamuno and Buero Vallejo." 2006. http://hdl.handle.net/2152/13116.
Full text
28
Nyhuis, Jeremiah E. ""A field lately ploughed" : the expressive landscapes of gender and race in the antebellum slave narratives of Frederick Douglass and William Grimes." Thesis, 2013. http://hdl.handle.net/1805/3628.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)The complicated state wherein ex-slaves found themselves, as depicted in the narratives of Bibb, Jacobs, and others, problematizes the dualistic relationship between North and South that the genre’s structural components work to enforce, forging an odyssey that, although sometimes still spiritual in nature, does not offer the type of resolutions that might easily persuade fellow slaves to abandon their masters and seek a similarly ambiguous identity in the so-called “free” land of the North. For blacks and especially fugitive slaves, such restrictive legal provisions provided an “uncertain status” where, writes William Andrews, “the definition of freedom for black people remained open.” In those slave narratives that dare to depict the limits of liberty in the North, this “open” status is particularly reflected in the texts’ discursive terrain itself, which portends a series of candid observations and brutal details that actively work to deconstruct any sort of mythological pattern associated with the slave narrative genre, thereby offering a more expansive view of the experience for most fugitive slaves. The Life of William Grimes, a particularly frank and brutal diary of a man’s trials within and without slavery, is one such slave narrative, depicting a journey that, while more consistent with the general experience of ex-slaves in the antebellum U.S., often works outside the parameters of traditional, straight-forward slave narratives like Douglass’s. “I often was obliged to go off the road,” Grimes admits at one point in his autobiography, and although his remark refers to the cautious path he must tread as a fugitive slave, it might just as well describe the thematic and structural characteristics of his open-ended autobiography. Reputedly the first fugitive slave narrative, the publication of Grimes’s Life in 1825 initiated the beginning of a genre whose path had not yet been forged, which likely contributed to its fluid nature. At the time of his narrative’s publication, Grimes’s self-expressed testimony of injustice under slavery was about five years ahead of its time; it wouldn’t be until the 1830s that the U.S. antislavery movement would begin to consciously seek out ex-slaves to testify to their experience in bondage. Once this literary door was open, however, antislavery sentiment became for many early African American authors “a ready forum” for self-expression. Whereas in twenty years’ time Douglass would take full advantage of this opportunity by drawing inspiration from a number of already established narratives, Grimes as an author found himself singularly “off the road” and essentially alone in new literary territory, uncannily reflecting his sense of alienation and helplessness in the North after escaping from slavery aboard a cargo ship in 1815.
29
Kruidenier, Daniel E. "Peircean critique of and alternative to intentionalism about perceptual experience /." Thesis, 2007. http://hdl.handle.net/1805/680.
Full textAbstract:
Thesis (M.A.)--Indiana University, 2006.Title from screen (viewed on Apr. 30, 2007) Department of Philosophy, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 110-113)
30
Smith, Whitney Renee. ""Quiet as it's Kept": Secrecy and Silence in Toni Morrison's The Bluest Eye, Jazz, and Paradise." Thesis, 2011. http://hdl.handle.net/1805/2714.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)Secrets and silence appear frequently in the work of Toni Morrison. In three novels, The Bluest Eye, Jazz, and Paradise, she repeats a specific phrase that acts as a signal to the reader. Morrison three times writes, “Quiet as it’s kept” in her novels to alert readers to the particular significance secrets and silence play in these novels. Morrison portrays this secrecy and silence as a barrier to building strong communities and even a strong self-identity. While the phrase appears in the same form, with each subsequent appearance, Morrison takes the idea a step further. In each novel she demonstrates how breaking the silence and refusing to keep quiet is an act of healing or salvation and she expands this healing to be increasingly inclusive. What begins as a single voice breaking the silence in The Bluest Eye becomes a group of people sharing their secrets in Jazz, and finally an entire town coming to terms with the power of speaking up. This thesis looks at the secrets and their impact on characters in each novel and explores the progression of the power in refusing to keep quiet.
31
Jones, Stephen Matthew. "Frank Miller's Ideals of Heroism." Thesis, 2007. http://hdl.handle.net/1805/898.
Full textAbstract:
Thesis (M.A.)--Indiana University, 2007.Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 103-110)
32
Caldwell, Christine Sego. "IMAGINING THE OTHER: THE POSSIBILITIES AND LIMITS OF THE SYMPATHETIC IMAGINATION IN J. M. COETZEE’S RECENT FICTION." Thesis, 2011. http://hdl.handle.net/1805/2710.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)In three of J. M. Coetzee’s recent novels, Disgrace (1999), Elizabeth Costello (2003), and Slow Man (2005), the South African author explores notions of authorship and challenges the possibilities of the sympathetic imagination. The notion of the sympathetic imagination has roots in Romanticism, and it connotes inhabiting another in order to understand or interpret. Romantic poet John Keats described the poet as “continually in for [sic] and filling some other body” (Letter to Richard Woodhouse), and Coetzee addresses the notion of the sympathetic imagination in his work. There are two facets of the sympathetic imagination: that which governs social relations and that which authors and creative minds attempt to claim as a driving force behind their work. It is important not to conflate the two separate facets of the sympathetic imagination. The social facet encourages good citizenship and allows humankind to behave in humane ways. It counters one’s private desire for mastery and balances self-interest with self-sacrifice; the sympathetic imagination helps others attain their goals and places others’ needs alongside one’s own selfishness. A sympathetic imagination is an essential quality in society, yet it will always yield only partial success. It cannot achieve complete success because truly inhabiting and embodying another living person is simply impossible, but in fiction, Coetzee explores the possibilities and limits of the sympathetic imagination at the level of language and metaphor. The other facet of the sympathetic imagination is often claimed by authors, poets, and artists to allow them to inhabit the subjects of their creativity. Coetzee tests the limits of authorial claims that writing is accomplished by applying a sympathetic imagination. In doing so, he creates metaphysical frames in which his own author-characters interact with other characters to reveal that some characters resist being written. In these metaphysical frames of fiction, Coetzee suggests that an author’s sympathetic imagination will never have total success; he sets forth a notion of partial success that helps address what is gained when the sympathetic imagination runs up against limits. My argument is that the authors and characters in these three novels attempt acts of sympathetic imagination and recurrently encounter limits. Coetzee questions perceived notions of authorship and the possibilities of the sympathetic imagination without offering alternatives. He critiques common notions of authorship and character writing but offers no real solutions.
33
Resler, Johanna Elizabeth. "SARA’S TRANSFORMATION: A TEXTUAL ANALYSIS OF FRANCES HODGSON BURNETT’S SARA CREWE AND A LITTLE PRINCESS." Thesis, 2007. http://hdl.handle.net/1805/1614.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)Frances Hodgson Burnett’s life revolved around her love of story-telling, her sons, nature, and the idealized notion of childhood. Burnett had an ability to recapture universal aspects of childhood and transform them into realistic stories containing elements of the fantastic or fairy tales. Her ability to tell stories started at a young age when she and her sisters were given permission to write on old pieces of paper. Burnett’s love for storytelling, reading, and writing was fostered in her parents’ household, in which a young Burnett was given free reign to explore her parents’ book collection and also left unhindered to imagine and act out stories by herself and with her sisters and close friends. Later her love for telling tales became a means of providing for her family—beginning with short story submissions to magazines. Although Burnett did not necessarily start out writing for children her career ended up along that path after the success in 1886 of her first children’s book, Little Lord Fauntleroy. After this success, she was a recognizable author on both sides of the Atlantic. Sara Crewe; or, What Happened at Miss Minchin’s, the 1887–88 serial publication in St. Nicholas magazine and the 1888 short story publication both were titled the same, and the subsequent reworkings of Sara’s world in the forms of two plays, A little un-fairy princess (England, 1902), and A Little Princess; Being the Whole Story of Sara Crewe, Now Told for the First Time (United States, 1903), and the 1905 full-length novel which retained the American 1903 play’s title, outlines the creative process that Burnett undertook while exploring the world of Sara Crewe. By examining the above forms, readers and scholars gain an insight into not only the differences between the forms, but also a view of how the author approached adapting an already published work, and the influence of editors on an authors work. The examination of the development of Sara’s timeline will bring light onto Burnett’s growth as a writer and specifically her transition into her role as a children’s literature author.
34
Gallagher, Gina Marie. "TIME SKIPS AND TRALFAMADORIANS: CULTURAL SCHIZOPHRENIA AND SCIENCE FICTION IN KURT VONNEGUT’S SLAUGHTERHOUSE-FIVE AND THE SIRENS OF TITAN." Thesis, 2012. http://hdl.handle.net/1805/3085.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)In his novels Slaughterhouse-five and The Sirens of Titan, Kurt Vonnegut explores issues of cultural identity in technologically-advanced societies post-World War II. With the rise of globalization and rapid technological advancements that occurred postwar, humans worldwide were mitigating the effects of information overload and instability in cultural identity. The influx of cultural influences that accompany a global society draws attention to the fluidity and inevitability of cultural change. A heightened awareness of cultural influences—past and present—creates anxiety for the generation living postwar and before the dawn of the Information Age. This generation suffers from “cultural schizophrenia”: a fracturing of the psyche characterized by anxiety over unstable cultural identities and agency. With the characters of Billy Pilgrim and Winston Niles Rumfoord, Vonnegut explores the different reactions to and consequences of cultural schizophrenia. His unique writing style is an effective hybrid of science fiction conventions and the complexities of human culture and society. Ultimately, Vonnegut explores the dangers of detachment and the complicated nature of agency with novels that are both innovative and accessible.
35
Reeves, Nancee C. "Wrapped Up in Books: The Inner Life of Newland Archer in The Age of Innocence." Thesis, 2007. http://hdl.handle.net/1805/842.
Full textAbstract:
Thesis (M.A.)--Indiana University, 2007.Title from screen (viewed on Apr. 27, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 83-85)
36
Andrews, Chad Michael. ""Minds will grow perplexed": The Labyrinthine Short Fiction of Steven Millhauser." Thesis, 2014. http://hdl.handle.net/1805/4023.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.
37
Fleming, Alicia Ann-Marie. "CAMBIOS DIALECTALES E IDIOSINCRACIAS EN LA ENSEÑANZA DEL SEGUNDO IDIOMA A ESTUDIANTES MINORITARIOS A TRAVÉS DE LA POESÍA AFROCUBANA." Thesis, 2013. http://hdl.handle.net/1805/3201.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)Cotidianamente los profesores se hacen esta pregunta: ¿cómo pueden relacionarse mis estudiantes con la lección? Saben que si los estudiantes pudieran acoplarse con el contenido de la lección, entenderían y aprenderían con gran eficacia. En la mayoría de los distritos escolares urbanos de Indianapolis, Estados Unidos hay muchos estudiantes afroamericanos que están en clases de lengua extranjera que piensan que no existen atributos de conexión --como tradiciones y costumbres-- que tienen aspectos en común con sus propias culturas. Por otro lado, hay estudiantes afrolatinos que son nativos de esas lenguas pero a quienes no se les expone a elementos que pertenecen a su cultura o herencia. Esta investigación se enfocará en cómo los profesores pueden utilizar la poesía para enseñar una lengua extranjera; específicamente, cómo se puede utilizar la poesía afrocubana para vincular la lección a los estudiantes minoritarios y su cultura.