To see the other types of publications on this topic, follow the link: 1809-1849 Criticism and interpretation.
Dissertations / Theses on the topic '1809-1849 Criticism and interpretation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 22 dissertations / theses for your research on the topic '1809-1849 Criticism and interpretation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Brackeen, Stephanie E. (Stephanie Ellen). "Edgar Allan Poe's Use of Archetypal Images in Selected Prose Works." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501065/.
Full textAbstract:
This study traces archetypal images in selected prose fiction by Edgar Allan Poe and shows his consistent use of such imagery throughout his career, and outlines the archetypal images that Poe uses repeatedly throughout his works: the death of the beautiful woman, death and resurrection, the hero's journey to the underworld, and the quest for forbidden knowledge. The study examines Poe's use of myth to establish and uphold archetypal patterns. Poe's goal when crafting his works was the creation of a single specified effect, and to create his effects, he used the materials at hand. Some of these materials came from his own subconscious; however, a greater portion came from a lifetime of study and his own understanding of the connections between myth and archetypal images.
2
Kessenich, Veronica L. "Odilon Redon, the visual poet of Edgar Allan Poe : a study of the lithographic album 'A Edgar Poë'." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14486.
Full textAbstract:
Odilon Redon, The Visual Poet of Edgar Allan Poe: A Study of the Lithographic Album A Edgar Poe argues that the album A Edgar Poe, published in 1882, fundamentally alters Redon's artistic career. The thesis advocates the importance of Poe's writing to Redon's development, contending that the lithographic album confirms nineteenth-century literary and artistic interest in Poe. The thesis maintains that, while Redon subsequently attempted to disassociate himself from the American writer, his art was recognized and admired for its Poe-esque visions. Chapter One examines Edgar Allan Poe's influence on the nineteenth-century French artistic and literary avant-garde. The chapter argues that the artistic and spiritual resemblance between Poe and Redon facilitates the design the lithographic album A Edgar Poe, a work Redon uses to promote his own standing as an artist. Through examination of the original plates of the lithographic album A Edgar Poe at The Art Institute of Chicago, Chapter Two illustrates Poe's centrality to the evolution of Redon's art. Chapter Three argues for the importance of A Edgar Poe in Redon's oeuvre, contending that subsequent albums and commissions show the important role of literary art in Redon's artistic growth. The chapter demonstrates the significance of Redon's work to the Symbolist avant-garde of Brussels. Utilizing Andre Mellerio's notes, essays, collected letters and writings in the Ryerson & Burnham Library at the Art Institute of Chicago, the thesis argues that the album A Edgar Poe represents a pivotal stage in Redon's career through its dedication to a literary artist and the unification of art and poetry. Contending that the album develops themes prevalent in the noirs, the thesis illustrates the artistic resemblance and relationship between Poe and Redon and emphasizes the crucial role of Poe's work in Redon's progression and acceptance as an artist.
3
Torrence, Avril Diane. "The people's voice : the role of audience in the popular poems of Longfellow and Tennyson." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32172.
Full textAbstract:
At the height of their popularity in the mid-nineteenth century, a vast transatlantic readership conferred on Longfellow and Tennyson the title "The People's Poet." This examination of Anglo-American Victorian poetry attempts to account for that phenomenon.
A poetic work is first defined as an aesthetic experience that occurs within a triangular matrix of text, author, and reader. As reception theorist Hans Robert Jauss contends, both the creator's and the receptor's aesthetic experiences are filtered through a historically determined "horizon of expectations" that governs popular appeal.
A historical account of the publication and promotion of Longfellow's and Tennyson's poetry provides empirical evidence for how and why their poetic texts appealed to a widespread readership. This account is followed by an analysis of the class and gender of Victorian readers of poetry that considers the role of "consumers" in the production of both poetry and poetic personae as commodities for public consumption.
The development of each poet's voice is then examined in a context of a gendered "separate-sphere" ideology to explain how both Longfellow's and Tennyson's adoption of "feminine" cadences in their respective voices influenced the nineteenth-century reception of their work.
The final two chapters analyze select texts—lyric and narrative—to determine reasons for their popular appeal in relation to the level of active reader engagement in the poetic experience. Through affective lyricism, as in Longfellow's "Psalm of Life" and Tennyson's "Break, break, break," these poets demanded that their readers listen; through sentiment transformed into domestic allegory, as in Miles Standish and Enoch Arden, these poets demanded further that they feel.
While both Victorian poets were later decanonized by their modern successors, contemporary critics, mainly academic, have restored Tennyson to the literary canon while relegating Longfellow to a second-rate schoolroom status. The conclusion speculates on the possible reasons underlying the disparate reputations assigned to the two poets, both of whom, during their lifetimes, shared equally the fame and fortune that attended their role as "The People's Voice."<br>Arts, Faculty of<br>English, Department of<br>Graduate
4
Sowdon, Nancy, and Nancy Sowdon. "Mendelssohn's works for cello: a musical and technical analysis." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/624869.
Full textAbstract:
Felix Mendelssohn was a many-faceted individual. While known now primarily as a composer, in his time he was also important as a virtuoso pianist and conductor. His contribution to the musical life of his time and to posterity is significant.
As well as composing for nearly every genre (see Table 1) Mendelssohn was a popular soloist and dominated German conducting from 1830 until his death in 1847. Over the years his popularity has waxed and waned. The works of Mendelssohn were highly regarded during his lifetime and remained popular until about 1900.
Around 1900, however, there was a major shift in opinion. At this time, his music was considered to be mediocre. The rise of anti-Semitism in Germany during the twentieth century caused a further underrating of Mendelssohn's music in his
homeland. It is hoped that this, and other present-day studies, will offer a more objective view of his music.
As is true with most composers, in the body of Mendelssohn's compositions, one can find individual pieces to support either greatness or mediocrity. The music which is most familiar to the public: Italian and Scottish symphonies, the Hebrides and Overture and Incidental Music to A Midsummer Night's Dream orchestral overtures, and the String Octet in E-flat Major are undoubtedly some of Mendelssohn's best. On the other hand, his operas never have been effective. Even at the end of his life, he was still searching for the perfect libretto. But it is inconsistent writing within individual pieces which is the most frustrating aspect of Mendelssohn's music. The first cello sonata is one such example. Here a solid first movement is followed by two weak ones.
Included in the total number of pieces of chamber music on Table 1, are the four pieces that Mendelssohn composed for cello and piano. They consist of two short pieces and two sonatas, and were written over a sixteen year span (see Table 3, page 8). This paper aims to familiarize the reader with these cello works, investigate them in terms of the criticisms leveled at Mendelssohn's music, and examine their contribution and place in today's literature for the violoncello.
5
Louw, Denise Elizabeth Laurence. "A study of the numinous presence in Tennyson's poetry." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005891.
Full textAbstract:
From Preface: A reader looking to this study for a charting of the diverse religious views held by Tennyson at different periods in his life may be disappointed. My primary concern has been not with religious forms, but with the numinous impulse. However, though I approached the topic with a completely open mind, I find my own Christian convictions have been strengthened through the study of Tennyson's poetry. As the title indicates, I have not attempted to deal with the plays. To explore both the poetry and the plays in a study of this length would have been impossible. I have perhaps been somewhat unorthodox in attempting to combine several disciplines, especially since I cannot claim to be a specialist in the areas concerned. However, I felt it necessary to approach the subject from a number of points of view, and to see to what extent the results could be said to converge on some sort of central "truth". When I have despaired of being able to do justice to a particular aspect within the imposed limits, I have sometimes found comfort in the words of Alan Sinfield (The Language of Tennyson's "In Memoriam", p.211): "We can only endeavour continually to approach a little closer to the central mystery; the ma j or advances will be infrequent, but most attempts should furnish one or two hints which others will develop. "
6
Borda, Ann Elizabeth. "Nikolai Gogol's commedia del demonio." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26784.
Full textAbstract:
Though it is not certain to what extent Gogol was familiar with Dante, it appears he may have regarded Dead Souls I (1842) as the first part of a tripartite scheme in light of La Divina Commedia. Interestingly, the foundations for such a scheme can be found in Gogol's first major publication, Evenings on a Farm near Dikanka (1831-1832) and, in the prose fiction and plays of 1835-1836, a definite pattern is revealed. The pattern that evolved in the works of this period involves the emergence of a demonic element which shatters any illusion of a Paradise which may have been established previously. Consequently, one is then drawn down through the awakenings of conscience - Purgatory and, finally, to realization in the Inferno.
The inversion of the Dante scheme which takes place, results in a "commedia del demonio". This "commedia" is particularly significant for both interpreting Gogol's works and for understanding the author himself. It forms a bridge between Gogol's early comic-gothic tales in Evenings and the mature style and humour of Dead Souls. Equally important is the fact that correlations with the literary devices and the religious thought of Dante's time can also be seen.
Such works as "Old World Landowners" (Mirgorod, 1835), "Viy" (Mireorod, 1835), "Nevsky Prospekt" (Arabesques, 1835) and the play The Government Inspector (performed in 1836) are especially representative of Nikolai Gogol's "commedia del demonio", and therefore form an integral part to this study. In connection with these and other works, certain links concerning the literary and historical heritage, and personal spirituality which exist between Gogol and Dante as reflected in both their own life and works will be examined as well. Thus the "commedia" scheme, and ultimately, Gogol as a writer of the human "soul" may be better understood.<br>Arts, Faculty of<br>Asian Studies, Department of<br>Graduate
7
Kalkwarf, Tracy Lin. "Questioning Voices: Dissention and Dialogue in the Poetry of Emily and Anne Brontë." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2571/.
Full textAbstract:
My dissertation examines the roles of Emily and Anne Brontë as nineteenth-century women poets, composing in a literary form dominated by androcentric language and metaphor. The work of Mikhail Bakhtin, particularly concerning spoken and implied dialogue, and feminists who have pioneered an exploration of feminist dialogics provide crucial tools for examining the importance and uses of the dialogic form in the development of a powerful and creative feminine voice. As such, I propose to view Emily's Gondal poetry not as a series of loosely connected monologues, but as utterances in an inner dialogue between the dissenting and insistent female voice and the authoritative voice of the non-Gondal world. Emily's identification with her primary heroine, Augusta, enables her to challenge the controlling voice of the of the patriarchy that attempts to dictate and limit her creative and personal expression. The voice of Augusta in particular expresses the guilt, shame, and remorse that the woman-as-author must also experience when attempting to do battle with the patriarchy that attempts to restrict and reshape her utterances. While Anne was a part of the creation of Gondal, using it to mask her emotions through sustained dialogue with those who enabled and inspired such feelings, her interest in the mythical kingdom soon waned. However, it is in the dungeons and prisons of Gondal and within these early poems that Anne's distinct voice emerges and enters into a dialogue with her readers, her sister, and herself. The interior dialogues that her heroines engage in become explorations of the choices that Anne feels she must make as a woman within both society and the boundaries of her religious convictions. Through dialogue with the church, congregation, and religious doctrine, she attempts to relieve herself of the guilt of female creativity and justify herself and her creations through religious orthodoxy. Yet her seeming obedience belies the power of her voice that insists on being heard, even within the confines of androcentric social and religious power structures.
8
Soucy, Jean-Philippe. "Six French composers’ homage to Haydn : an analytical comparison enlightening their conception of tombeau." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104366.
Full textAbstract:
In 1909, the Revue musicale mensuelle de la Societe lnternationale de Musique (RSIM) asked six French composers (Debussy, Dukas, Hahn, d’Indy, Ravel and Wid or) to commemorate Haydn’s centennial anniversary of death by each creating a piano piece that incorporated a theme built with a letter-note correspondence on the word “Haydn”. In the context of the French fin-de-siecle search for musical identity, this collective tombeau represents a unique opportunity to discover what characteristics were important to them. My analysis of the pieces reveals five common elements: enharmonic reinterpretation as a means of exploration of foreign keys, large scale registral connections, dissonant chords for colour, ingenious means of creating unity, and use of past genres and form. The influence of Italian and German culture, as well as French music history and politics are also evaluated. The tom beaux reveal how central the concept of the music of the past was to French composers at the tum of the century and how it pointed the way to post-war neoclassicism.<br>En 1909, la Revue musicale mensuelle de la Société Internationale de Musique (RSIM) demanda à six compositeurs français (Debussy, Dukas, Hahn, d’Indy, Ravel et Widor) d’écrire chacun une pièce pour piano dans le but de commémorer le centième anniversaire de la mort d’Haydn. Leurs pièces devaient incorporer un thème imposé bâti via une correspondance entre des notes et les lettres du mot “Haydn”. Dans le contexte de la quête d’identité des Français de la fin du 1ge siècle, ce tombeau collectif représente une occasion unique de découvrir quelles caractéristiques musicales leur étaient importantes. L’analyse de ces pièces a permis d’isoler cinq éléments communs: réinterprétation enharmonique comme moyen d’exploration de tons éloignés, liaison de registres à grande échelle, utilisation d’accords dissonants dans le but d’obtenir une certaine couleur, moyens ingénieux de créer l’unité et usage de formes et de genres issus du passé. L’influence des cultures allemande et italienne ainsi que celle de l’histoire musicale de la France et de sa politique sont également évaluées. Les tombeaux révèlent l’importance qu’occupe la musique du passé pour les compositeurs français au tournant du 20e siècle et comment cette musique prépare l’avènement du néoclassicisme d’après-guerre.
9
Healey, Nicola. "Dorothy Wordsworth and Hartley Coleridge : the poetics of relationship." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/787.
Full text
10
Louw, Denise Elizabeth Laurence. "A literary study of paranormal experience in Tennyson's poetry." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.
Full textAbstract:
My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
11
Domareki, Sarah. "To Stay or to Go? A Literary and Historical Study of French-Canadian Emigration From Quebec to New England, 1820-1930." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/DomarekiS2005.pdf.
Full text
12
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/.
Full textAbstract:
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.
13
Pecastaing, Sandy. "Poe et Baudelaire : pour une hantologie du texte." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-00997440.
Full textAbstract:
Hantologie - terme composé, formé par Jacques Derrida - signifie : " ontologie (c'est-à-dire, science de l'être) de ce qui "hante" : les spectres, les fantômes " (Charles Ramond, Le Vocabulaire de Jacques Derrida). Le néologisme derridien est une paronomase, le paronyme d'un mot - ontologie -, dont il n'est pas un synonyme. L'hantologie est une " " catégorie [...] irréductible, et d'abord à tout ce qu'elle rend possible, l'ontologie, la théologie, l'onto-théologie positive ou négative ", écrit Jacques Derrida (Spectres de Marx). C'est une ontologie, l'ontologie de l'être du non-être et du non-être de l'être, de quelque chose ou quelqu'un qui " n'est pas là ", " comme tout fantôme digne de ce nom " (Ibid.). " Il n'y a pas de Dasein du spectre mais il n'y a pas de Dasein sans l'inquiétante étrangeté, sans l'étrange familiarité (Unheimlichkeit) de quelque spectre " (Ibid.) Il n'y a pas d'ontologie, donc, sans hantologie. Appliquée à l'étude des textes, l'hantologie derridienne n'est pas une nouvelle méthodologie de l'analyse littéraire. Elle vise moins à définir un texte qu'à se demander, d'abord, quelle question nous posons lorsque nous demandons : qu'est-ce qu'un texte ? S'agit-il d'une question d'ordre ontologique ? phénoménologique ? En demandant : qu'est-ce qu'un texte ?, nous disons déjà que le texte est quelque chose, quelque chose dont nous sentons bien qu'il n'est pas qu'une chose. Qu'il soit un objet, d'ailleurs, cela n'est pas sûr, et s'il l'est, il reste à savoir pourquoi et comment. Il l'est, si l'on souscrit au discours du structuralisme. Il ne l'est plus, si l'on adopte la définition barthésienne du texte comme productivité. L'hantologie du texte n'est pas un simple catalogue des fantômes de la littérature. Elle consiste surtout à étudier les hantises de l'écriture et de la lecture - les mots fantômes notamment (anagrammes, palindromes, etc.) et les textes fantômes (hypotextes, intertextes). C'est une recherche attentive au procès de signifiance du texte, appropriée aux œuvres de Poe et de Baudelaire, et dont la proposition critique est elle-même déductible de leurs créations. Notre thèse cherche à mettre en évidence les possibilités d'une telle déduction à travers des études comparées de leurs œuvres littéraires, poétiques, traductions de Poe par Baudelaire comprises, en portant une attention toute particulière aux figures et motifs de la revenance, à la problématique de l'image et du langage, laquelle intègre les questions de traduction (copie, fidélité à la lettre ou à l'esprit de la lettre, etc.).
14
Moon, Sangwha. "Dickens in the Context of Victorian Culture: an Interpretation of Three of Dickens's Novels from the Viewpoint of Darwinian Nature." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279322/.
Full textAbstract:
The worlds of Dickens's novels and of Darwin's science reveal striking similarity in spite of their involvement in different areas. The similarity comes from the fact that they shared the ethos of Victorian society: laissez-faire capitalism. In The Origin of Species, which was published on 1859, Charles Darwin theorizes that nature has evolved through the rules of natural selection, survival of the fittest, and the struggle for existence. Although his conclusion comes from the scientific evidence that was acquired from his five-year voyage, it is clear that Dawinian nature is reflected in cruel Victorian capitalism. Three novels of Charles Dickens which were published around 1859, Bleak House, Hard Times, and Our Mutual Friend, share Darwinian aspects in their fictional worlds. In Bleak House, the central image, the Court of Chancery as the background of the novel, resembles Darwinian nature which is anti-Platonic in essence. The characters in Hard Times are divided into two groups: the winners and the losers in the arena of survival. The winners survive in Coketown, and the losers disappear from the city. The rules controlling the fates of Coketown people are the same as the rules of Darwinian nature. Our Mutual Friend can be interpreted as a matter of money. In the novel, everything is connected with money, and the relationship among people is predation to get money. Money is the central metaphor of the novel and around the money, the characters kill and are killed like the nature of Darwin in which animals kill each other. When a dominant ideology of a particular period permeates ingredients of the society, nobody can escape the controlling power of the ideology. Darwin and Dickens, although they worked in different areas, give evidence that their works are products of the ethos of Victorian England.
15
Volz, Jessica A. "Vision, fiction and depiction : the forms and functions of visuality in the novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4438.
Full textAbstract:
There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.
16
"胡培翬《儀禮》學研究". Thesis, 2011. http://library.cuhk.edu.hk/record=b6075434.
Full textAbstract:
陳曙光.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 326-360)<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Chen Shuguang.
17
"論阮元的學術思想及其對淸代學術的貢獻". 1990. http://library.cuhk.edu.hk/record=b5887253.
Full textAbstract:
胡志偉.<br>稿本(電腦打印本).<br>Thesis (M.A.)--香港中文大學歷史學部.<br>Gao ben (dian nao da yin ben).<br>Includes bibliographical references (leaves 175-177).<br>Hu Zhiwei.<br>Thesis (M.A.)--Xianggang Zhong wen da xue li shi xue bu.<br>Chapter 第一章 --- 緒論<br>Chapter (一) --- 引言<br>Chapter (二) --- 近代學界研究阮元概況簡述<br>Chapter (三) --- 本文研究方案<br>Chapter 第二章 --- 阮元學術思想述論<br>Chapter (一) --- 小引<br>Chapter (二) --- 阮元的論學要點述評及與其學術宗旨的關係<br>Chapter 1 --- 訓詁<br>Chapter 2 --- 求實<br>Chapter 3 --- 尚古<br>Chapter 4 --- 阮元論學之獨特處<br>Chapter 5 --- 阮元論學要點及其大旨的結構關係<br>Chapter (三) --- 訓詁的內容 、 理據及其限制<br>Chapter (四) --- 義理之層序和檢核標準<br>Chapter (五) --- 『訓詁明則義理明 』 的再檢討<br>Chapter (六) --- 小結<br>Chapter 第三章 --- 阮元的公平學<br>Chapter (一) --- 小引<br>Chapter (二) --- 阮元思想與公平學的接合處<br>Chapter (三) --- 阮元對公平學之態度旁證<br>Chapter (四) --- 阮著 《春秋公羊傳注疏校勘記》分析<br>Chapter (五) --- 小結<br>Chapter 第四章 --- 阮元與 『詁經精舍』<br>Chapter (一) --- 『詁經精舍』沿革述略<br>Chapter (二) --- 『詁經精舍』之創辦及立學大旨<br>Chapter 1 --- 《經籍纂詁》之修撰與『詁經精舍』之關係<br>Chapter 2 --- 『詁經精舍』之成立日的與講學宗旨<br>Chapter (三) --- 『詁經精舍』課習內容分析<br>Chapter 第五章 --- 阮元與『學海堂』<br>Chapter (一) --- 『學海堂』之立學緣起及與『詁經精舍』之關係<br>Chapter (二) --- 『學海堂』之立學宗旨與陳建《學部道辯》之關係<br>Chapter 第六章 --- 阮元與《皇清經解》<br>Chapter (一) --- 小引<br>Chapter (二) --- "《皇清經解》編修之緣起 ， 經過和續編<br>Chapter (三) --- 《皇清經解》作者群與阮元之關係<br>Chapter (四) --- 《皇清經解》的學術宗尚與阮元學術規模之關係<br>Chapter 第七章 --- 阮元與《十三經注疏》<br>Chapter (一) --- 重刊十三經的背景，緣起和經過<br>Chapter (二) --- 《十三經注疏》的輯校原則<br>Chapter (三) --- 《十三經注疏》簡評<br>Chapter 第八章 --- 結論<br>參考書目舉隅<br>後記
18
"王鵬運詞及其詞論研究". 2006. http://library.cuhk.edu.hk/record=b5896700.
Full textAbstract:
胡麗華.<br>"2006年12月"<br>論文(哲學碩士)--香港中文大學, 2006.<br>參考文獻(leaves 133-139).<br>"2006 nian 12 yue"<br>Abstracts in Chinese and English.<br>Hu Lihua.<br>Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006.<br>Can kao wen xian (leaves 133-139).<br>Chapter 第一章 --- 緒言 --- p.1<br>Chapter 第一節： --- 硏究緣起 --- p.1<br>Chapter 第二節： --- 前人研究述評 --- p.2<br>Chapter 第三節： --- 硏究目標及方法 --- p.8<br>Chapter 第二章 --- 王鵬運生平及治詞歷程 --- p.10<br>Chapter 第一節： --- 生平槪述 --- p.10<br>Chapter 第二節： --- 治詞歷程 --- p.17<br>Chapter 第三章 --- 王鵬運詞之題材內容 --- p.36<br>Chapter 第一節： --- 半塘詞各集名命意義及主題簡介 --- p.36<br>Chapter ´ؤ、 --- 各集命名意義 --- p.36<br>Chapter 二、 --- 各集主題簡介 --- p.38<br>小結 --- p.46<br>Chapter 第二節： --- 半塘詞分期 --- p.47<br>Chapter 一、 --- 初期-個人情志之作 --- p.47<br>Chapter 二、 --- 中期-憂時念亂、忠憤之志 --- p.50<br>Chapter 三、 --- 後期-南潛歸隱之作 --- p.58<br>小結 --- p.59<br>Chapter 第三節： --- 題材內容 --- p.60<br>Chapter 一、 --- 懷人之作 --- p.61<br>Chapter 二、 --- 贈別之作 --- p.67<br>Chapter 三、 --- 思鄉之作 --- p.72<br>Chapter 四、 --- 詠物之作 --- p.76<br>Chapter 五、 --- 國是之作 --- p.80<br>小結 --- p.87<br>Chapter 第四章 --- 王鵬運詞之藝術采光 --- p.89<br>Chapter 第一節： --- 「芒角撐腸」、「獨來獨往」一一王鵬運詞之愁苦主調及其意象運用 --- p.89<br>Chapter ´ؤ、 --- 歌哭無端、墨痕和淚´ؤ煙 、塵´Ø淚之意象 --- p.89<br>Chapter 二、 --- 醉夢之間、尋找依歸-夢、醉之意象 --- p.92<br>Chapter 三、 --- 王氏詞悲苦主調的形成原因 --- p.96<br>小結 --- p.97<br>Chapter 第二節： --- 「流轉任風光」、「一笑襟塵灑」一一王鵬運詞別調之風格 --- p.98<br>Chapter 一、 --- 輕鬆歡愉之情 --- p.98<br>Chapter 二、 --- 開豁振作之意 --- p.99<br>小結 --- p.100<br>Chapter 第五章 --- 王鵬運詞論 --- p.101<br>Chapter 第一節： --- 詞學觀念 --- p.101<br>Chapter 一、 --- 「重」、「拙」、「大」之說 --- p.102<br>Chapter 二、 --- 體格 --- p.105<br>Chapter 三、 --- 詞體發展論 --- p.109<br>Chapter 四、 --- 聲律之說 --- p.111<br>小結 --- p.113<br>Chapter 第二節： --- 校讎詞籍體例 --- p.113<br>Chapter 一、 --- 版本考訂 --- p.114<br>Chapter 二、 --- 建立體例 --- p.117<br>小結 --- p.119<br>Chapter 第六章 --- 王鵬運於「臨桂詞派」創派之說 --- p.121<br>Chapter 第一節： --- 「臨桂派」之說起源 --- p.121<br>Chapter 第二節： --- 「臨桂詞派」及王鵬運創派之說 --- p.122<br>Chapter 一、 --- 臨桂詞人的活動聯繫 --- p.122<br>Chapter 二、 --- 創作取向 --- p.124<br>Chapter 三、 --- 理論建立 --- p.126<br>小結 --- p.128<br>Chapter 第三節： --- 臨桂詞人群與浙、常二派之分野 --- p.128<br>小結 --- p.130<br>Chapter 第七章 --- 總結 --- p.131<br>參考書目 --- p.133<br>附錄 --- p.140<br>附錄一：〈王鵬運生平簡表〉 --- p.140<br>附錄二：〈王鵬運交游詞作一覽表〉 --- p.154
19
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)<br>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.
20
Rzeczycki, Tomasz Sebastian. "Felix Mendelssohn's Sonata for cello and piano in D-major, Op. 58, its place in the history of the cello sonata and the influence of Beethoven." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3108501.
Full text
21
Reid, Zofia Tatiana. "Disempowered women? :." Diss., 2001. http://hdl.handle.net/10500/17606.
Full text
22
"The multiplicity of the detective thriller as literary genre." 2003. http://library.cuhk.edu.hk/record=b5896108.
Full textAbstract:
Kwok Sze-Ki.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.<br>Includes bibliographical references (leaves 131-138).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>摘要 --- p.iii<br>Acknowledgements --- p.v<br>Introduction The Genre of Detective Thriller --- p.1<br>Chapter Chapter One --- The Figure in the Carpet: Agatha Christie's The Murder of Roger Ackroyd --- p.33<br>Chapter Chapter Two --- """Thrillers are like life´ؤmore like life than you are"": Graham Greene's The Ministry of Fear" --- p.68<br>Chapter Chapter Three --- "Cultural and Metaphysical Mysteries: Paul Bowles's ""The Eye"" and Jorge Luis Borges's ""The Garden of Forking Paths""" --- p.99<br>Concluding Remarks --- p.127<br>Bibliography --- p.131