Dissertations / Theses on the topic '1812-1889 Criticism and interpretation'
To see the other types of publications on this topic, follow the link: 1812-1889 Criticism and interpretation.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 49 dissertations / theses for your research on the topic '1812-1889 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
Plamondon, Marc. "Music in the poetry of Robert Browning." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26304.
Full textAbstract:
This thesis attempts to characterize the musicality of Robert Browning's poetry. There has been much debate about whether or not Browning may be said to be a musical poet, but neither side has effectively characterized the musicality or lack thereof in his poetry. This study does not concentrate on Browning's "philosophy" of music, nor on the musical allusions in his poetry. Instead it attempts to identify aspects of Browning's art that share an affinity with music.First, the state of music in nineteenth-century England is briefly discussed, followed by a discussion of Browning's musical background and an attempt to identify some general characteristics of musical poetry. The balance of the study is devoted to a discussion of the musicality of ten poems, among them "A Toccata of Galuppi's" and "Master Hugues of Saxe-Gotha". Emphasis is placed on these last two poems' ability to approximate a musical form: the toccata and fugue in the first, and the fugue in the second. The study concludes with a more general discussion of music in Browning's poetry.
2
Pendlebury, Kathleen Sarah. "Reading nonsense a journey through the writing of Edward Lear." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002249.
Full textAbstract:
In this thesis I have addressed some of the problems that have arisen in critical approaches to the nonsense works of Edward Lear from the late nineteenth century. I have entitled it “Reading Nonsense” because my central concern is with how best to apprehend the paradoxes inherent in literary nonsense, which inevitably raises interpretative questions. Because nonsense is a “basic type of communication” whose essence is “unresolved tension between [the] presence and absence of meaning” (Tigges, Anatomy 51), we are called upon either to “make sense of” that which claims to offer up no meaning or to surrender ourselves to meaninglessness. Broadly, critical approaches to nonsense fall into two classes: those that maintain that nonsense is not, in fact, “not sense”, but rather a kind of symbolic language that can be reconciled into meaning; and those which uphold the nonsensicality of nonsense, maintaining that certain ambiguities and paradoxes cannot be accounted for, and it is inappropriate to try to do so. In addition, Lear’s texts are situated in various traditions of writing for children and adults and in the distinctive setting of the Victorian era; and these cultural and literary influences play an important role in the interpretation and misinterpretation of nonsense. My first chapter comprises a mise en scène of the genre of literary nonsense; while in Chapter 2 I turn to the cultural backdrop of Lear’s nonsense in particular, and examine one of the claims frequently made in nonsense criticism: that Lear’s literary nonsense is distinctively “Victorian”. Chapter 3, “How to Read a Learian Limerick”, rests on the exegesis of nonsense that appears in Chapter 1, for here I propose a technique for reading Lear’s limericks that preserves both their “sensical” and nonsensical elements in contrast to critical analyses that attempt to reconcile the nonsense into a code. In Chapter 4 I examine Lear’s songs from the critical perspectives of nonsense and of romanticism. Finally, in conclusion, I consider the role and significance of humour in nonsense, and gesture towards further possible explorations, including in the appendix my essay on the nonsense poetry of South African writer Philip de Vos.
3
David, Lucie. "La fortune critique de Paul Morin, 1908-1958 /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56946.
Full textAbstract:
The poetical works of Paul Morin are not very well known, and are rarely ever read today. And yet, he was the successor of Emile Nelligan and Albert Lozeau. Paul Morin is one of the first French Canadians to publish his works in France and it was said of his collection of poems Le Paon d'email that it was the spark that ignited the famous "Querelle des regionalistes et des exotiques" in French Canada. Unfortunately, the negative reactions of some of his first critics, were to determine for a long time those of future generations.This thesis focuses on the critical reception of Paul Morin's first two published books: Le Paon d'email (1911) and Poemes de cendre et d'or (1922), and attempts as well to retrace their critical fortunes up until the beginning of the sixties.
4
Cunningham, Thomas Robert. "The continuity of Wittgenstein's critical meta-philosophy." Thesis, University of Stirling, 2008. http://hdl.handle.net/1893/1055.
Full textAbstract:
This thesis investigates the continuity of Wittgenstein’s approach to, and conception of, philosophy. Part One examines the rule-following passages of the Philosophical Investigations. I argue that Wittgenstein’s remarks can only be read as interesting and coherent if we see him, as urged by prominent commentators, resisting the possibility of a certain ‘sideways-on’ perspective. There is real difficulty, however, in ascertaining what the resulting Wittgensteinian position is: whether it is position structurally analogous with Kant’s distinction between empirical realism and transcendental idealism, or whether philosophical ‘therapy’ is meant to dissolve any drive towards such idealism. I argue that both of these readings of Wittgenstein are found in the work of McDowell. Part Two argues that related issues arise in respect to the Tractatus Logico-Philosophicus and the question of realism. In the Tractatus Wittgenstein rejects the possibility of a certain ‘sideways-on’ perspective. Again, I argue, it is unclear whether Wittgenstein embraces a form of transcendental idealism or, on the contrary, ultimately reveals the idealist position to be empty. Part Three connects ‘sideways-on’ glances with the threat of idealism by introducing a philosophical ‘measure’. I argue that the measure is a useful tool in assessment of the Tractatus, and shows that Wittgenstein was no idealist, but is less useful as an assessment of the Investigations. It yields the result that Wittgenstein succumbed to idealism, but in doing so may overlook the ‘therapeutic’ nature of Wittgenstein’s later philosophy.
5
Prpić, Maya. "Jean Cocteau : la morale du poète." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59382.
Full textAbstract:
The work of Jean Cocteau (1889-1963), the poet, while extremely diverse, presents nonetheless a coherence and a unity of tone which transmit his artistic vision and at the same time reveal his creative process.Three works in particular, Opium--Journal d'une desintoxication, La difficulte d'etre et le Journal d'un inconnu, permit us to retrace his poetic course.
Cocteau's art rests on the notion he has of poetry. With the help of the example set by Erik Satie, Raymond Radiguet and Pablo Picasso, he understood at an early age that poetry resided within him and that only by exploring himself and by following a set of morals--in this instance, morals signifies behaviour which conforms to the demands of poetry--would he attain a level of pure poetry.
All of this is evident as much in the ideas the poet conveys as in his style. The personality of the poet, his "ligne" to use Cocteau's words, becomes apparent the more the idea is accurate and the word chosen significant. As a result of this "ligne", of its presence in the work, the poet approaches immortality.
According to Cocteau, the work of a poet cannot flourish within human limits. The poet must transcend such limits to embody universal activity. It is for this reason that the poet must redefine religion and create for himself a personal mythology, that he must reconstruct the world starting from a play of spatial and temporal perspectives. His role thus proves essential to human survival. In effect, the poet fills the cosmic void in which man is evolving.
6
Smith, Karl A. "Dickens and the unreal city : the metropolitan symbolism of the mystery story." Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/14710.
Full textAbstract:
London is not only a backdrop in the novels of Charles Dickens. Its workings both conceal truth of various sorts from characters and push it into the open. This thesis claims that it is the primary symbolic means by which Dickens dramatizes the conflict between concealment and revelation which provides the driving force of his fiction. The first chapter discusses how the city extrapolates the gothic motif of the haunted castle - a built environment which attempts to cut off connections with the rest of the world, leading to a state of atrophy and death. The second particularly explores urban squalor as evidence that human relationships have been obscured and that death is the result. Chapter three explores the kind of concealments and deaths effected by London and explains that the regenerative revelation required as an antidote to them is both social and religious in character. Dickens conceptualizes it as a participation in a familial system of love relationships originating in God's love for his children. The fourth and fifth chapters deal with two parts of London's organisation that bring knowledge inexorably to light, the detective police force and the railway network. They are part of a city that hides truth and brings it to light according to a carefully laid plan. Chapters six and seven consider two sub-symbols, the Thames and the crowd, that reflect the city's dual role in bringing both death and regeneration, both concealment and discovery. Characters' immersion in these brings about a death to their old identity and often a re-emergence into a new identity, based on the scheme of interconnections, that is both a revelation and an induction into new life. The mysteries worked out by Dickens's symbolic London are therefore an imaginative engagement with Christianity as a mystery religion, promising revelatory regeneration through surrender to death in the modern world.
7
Dicks, Henry. "Being and earth : an ecological criticism of late twentieth-century French thought." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669967.
Full text
8
Morgentaler, Goldie 1950. "When like begets like : Dickens and heredity." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39968.
Full textAbstract:
This dissertation attempts to trace hereditary motifs in the novels of Charles Dickens and to relate these motifs to broader concerns--specifically Dickens's depiction of the formation of the self, his understanding of history and of the role of time Towards this end, I offer an historical overview of scientific and popular thinking on heredity, and suggest how some of these notions were translated into Dickens's fiction. The discussion of hereditary themes in the novels falls into two broad categories--the private and the public.In the first of these, I argue that Dickens tended to define positive moral qualities, such as goodness, as hereditable. At the same time, he was reluctant to portray negative characteristics, such as criminality or insanity as being amenable to hereditary transmission. This assumption of a moral basis to heredity had ramifications for Dickens's understanding of human nature which, in turn spill over into his depiction of the broader public issues associated with heredity--its relationship to class, to race, and to history.
The very last section of the thesis focuses on the Darwinian revolution. There I argue that Dickens's attitude towards the importance of hereditary endowment changed after the publication of Darwin's The Origin of Species in 1859. I suggest that Darwin's book prompted Dickens to rethink his earlier deterministic approach to the problem of human identity. After 1859, Dickens jettisons heredity entirely as a factor in the formation of the self and replaces it with environment and experience. The last novels displace the Dickensian metaphors of hidden kinship and universal connection--both of which are related to heredity--and put in their place, the thematics of dispersal and disintegration.
9
Lawrie-Munro, Brian. "The double in Dickens' final completed novels /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27950.
Full textAbstract:
This thesis is an examination of the double motif used by Charles Dickens in A Tale of Two Cities, Great Expectations, and Our Mutual Friend. There is a subtle shift that takes place in these last completed works, from a double motif which is used to prescribe individual behaviour along the lines of domestic or Christian ideology, to one which examines the social and psychological consequences of the individual's submission to such ideological imperatives. In fine, Dickens begins to distance himself from the stock, physical double he had inherited, turning instead to a double that finds its causes and ramifications firmly located in both the social and psychological spheres. This increasing complexity of the double motif is indicative of Dickens' gradually more sophisticated, less stereotypical view of the relationship between the individual and society than that suggested by his famous caricatures or his previous works.
10
Jennings, Maude M. J. "Studies in the poetry : the prosody and the poetic theory of Gerard Manley Hopkins." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/473721.
Full textAbstract:
This dissertation studies the prosody, poetic theory, theme, and affective nature found in the poetry of Gerard Manley Hopkins. The prosody, striking in his time, is still controversial; the theory employs the rhetorical principle of parallelism extensively, and the theme (which is the reason for the affective nature of his work) deals always with Christ: Christ in nature and Christ in man.The study lays emphasis on Hopkins' religious vision. These insights pervade all his work and are prime factors in his poetry. The vision gained from his religion appears throughout all his work.Although recent critics have suggested that the material of his great ode, "The Wreck of the Deutschland" was "recalcitrant" and that his symmetry was "laboured," explication of the poem reveals his early intense voice, sprung rhythm, and his use of the techniques of cynghanedd and dysfalu. His prosody reveals his sense of parallel structure (noted in his art work and in his journals as symmetry) which increased with "number and distinctiveness" with the rise of passion.His "dark night," noted in the sonnets written during 1884-85, have caused some readers to suspect a crisis of faith occurring. Hopkins experienced trauma, but the prolonged depression suggested by the present numbering of the sonnets is inconsistent with his unquestioned faith. The night becomes less dark if chronology is followed.Hopkins' deepest message was delivered in his poetry and throughout his life. As a Catholic priest, teacher, and poet, he sought Christ. Common knowledge informs us that emotional and physical hardships follow such seekers. Teilhard de Chardin's philosophy as ennobling is certainly applicable to any study of Hopkins' life and works. This philosophy provides supplementary confirmation of the poet. Hopkins' achievements surpass the prescriptive condemners of his art.
11
Lozowy, Eric. "Le réseau intertextuel dans le poème Primorskij Park Pobedy d'Anna Axmatova /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60563.
Full textAbstract:
Axmatova wrote the poem Primorskij park Pobedy in 1950 for Slava miru, a collection of verses that glorified Stalin. This poem was included in all her books that were published before her death (1966), apparently to please her censors. A few specialists that are trying today to establish a canonical and definitive version of her poetical works believe that Primorskij park Pobedy cannot be treated as a real Axmatova poem. The exclusion of a "parasitical" element seems unjustified if we conceive Axmatova's poetical works not as a complete Book, that is a definite and homogenous whole, but as a variable unity with undetermined limits.When we read Primorskij park Pobedy through an intertextual network, the superficial meaning of the poem cracks and collapses. The text becomes open: under a trivial and official meaning is concealed an infinity of possible meanings. Our thesis explores this polysemy by showing how Axmatova's poem can generate a system of intertextual relations.
12
Daly, Robyn Anne. "Asleep in a glass coffin: fairy tales as illuminating attitudes to women in the novels of Charles Dickens." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002270.
Full textAbstract:
The field of research of this thesis covers three main areas: the novels of Charles Dickens; fairy tales and storytelling; and notions of women as reflected in feminist literary theory. A reading of selected novels by Dickens provides the primary source. That he copiously drew on fairy tales has been explored in such notable works as Harry Stone's, but the thesis concentrates on Dickens 's propensity in his creation of female protagonists to give them a voice which is vivified through fairy tale. The analysis of fairy story through narrative theory and feminist literary theory functions as the basis of an exploration of the role female narrative voices play in a reading of the novels which reveals a more sympathetic vision of the feminine than has been observed hitherto. The context of this study is Victorian attitudes to women and that modem criticism has not sufficiently acknowledged Dickens's insight into of the condition of women; much of this is discovered through an examination of his use of fairy tale wherein the woman is bearer of imaginative and emotional capacities magically bestowed. The research aims to counter the view of Dickens's novels as being sexist, through the iIluminatory characteristics of fairy tale. Dickens activates his women characters by means of their often being tellers of tales replete with fairy tale imagery, and their tales are almost always seminal to the novelist's moral purpose.
13
Galvin, Terrance. "Gravity and light : looking through the architecture of Jean Cocteau." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60066.
Full textAbstract:
The thesis examines a select amount of poesie by the artist Jean Cocteau, and through interpretation, explores the architecture of his work. This process of interpretation poses two questions: What is the role of the architect today, compared with his role as understood throughout history? How does the production of architecture today reflect the mechanisms of capitalism with its division of knowledge and labour, compared with an architecture which is inclusive and reconciliatory?A clear message emerges from Cocteau's Poesie as a response to the two aspects of Orpheus: the first is represented by the processes of individual creativity, and the second by the collective realization of a project, whether it be a work of theatre, the production of a film, or the design and realization of a building.
A work does not end in handing it over for someone else to finish.
14
Fitzsimmons, John Francis. "The construction of meaning in narrative : Dickens and the stereotype /." Title page, contents and abstract only, 1995. http://web4.library.adelaide.edu.au/theses/09PH/09phf562.pdf.
Full text
15
Crowe, Julian. "Money and character in the novels of Charles Dickens." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15063.
Full textAbstract:
This thesis discusses the relationship between money and character in the novels of Charles Dickens, concentrating mainly on the later novels, from Dombey & Son onwards. Money is extremely important in Dickens's social criticism, and he is always conscious of money-related motives in his conception of character. However, despite its importance and omnipresence, money ought not to be elevated into the key explanatory principle in Dickens's thought. Dickens has been valued for different qualities over the years. Many who value him as an entertainer with a powerful poetic imagination tend to undervalue his social criticism and moralising, and to treat those aspects as non-essential or as belonging to a different side of his life and work. On the other hand those who value him as social and moral critic have combined this with exaggerated claims of thematic coherence. This thesis suggests that we can dispense with such claims while still regarding Dickens's novels as serious contributions to the moral and social debates of his day. A close consideration will be given to most of the later novels, with the intention of placing the money themes alongside other themes, so as to emphasise the many-sidedness of Dickens's social and moral criticism. Other themes explored in the thesis include marriage and the home, and hypocrisy and self-deception. The thesis seeks to do justice to Dickens's thorough-going ambivalence towards money, and to his capacity for revisiting characters and themes from one work to another. The bias of the thesis is towards the personal and individual, but money is inevitably a social topic. Much consideration is therefore given to Dickens's fictional and non- fictional responses to contemporary social problems and attitudes, and also to material not written by Dickens but published by him in Household Words and All the Year Round.
16
Sadet︠s︡kiĭ, Aleksandr. "The poetics of indeterminism : M. E. Saltykov-Shchedrin, the dynamics of the aesthetic object." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76580.
Full text
17
Hoedekie, Nelson G. U. (Nelson Gustaaf Urbain). "Naar analogie van schaduwen aan de wand : een wijsgerige interpretatie van 'de schaduw als kunstwerk' aan de hand van Plato's grotvergelijking." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53511.
Full textAbstract:
Thesis (MPhil)--University of Stellenbosch, 2003.ENGLISH ABSTRACT: In this thesis, 'shadow' is investigated as an object of thought and (analogically connected to this) of perception. This dialectical process is structured through means of a series of experiments and Plato's allegory of the cave, which is interpreted as a process directed towards selfconciousness. This process is further explained through thinkers such as, Blumenberg, Heidegger, Levinas en Voegelin. The purpose of this study is to break with the self-evident way in which 'shadow' is 'normally' treated and to bring back about a sense of astonishment for it.
AFRIKAANSE OPSOMMING: In hierdie tesis word die 'skaduwee' as waarnemingsobjek en (analogies verwant daaraan) as denkobjek ondersoek. Hierdie dialektiese proses word gestruktureerd met behulp van 'n aantal eksperimente en Plato se grotgelykenis, wat geinterpreteer word as programmaties van die proses van selfbewuswording. Hierdie proses word verder toegelig aan die hand van denkers soos Blumenberg, Heidegger, Levinas en Voegelin. Die doel van die ondersoek is om die vanselfsprekendheid waarmee daar met die fenomeen van die skaduwee omgegaan word te deurbreek en weer verwondering daarvoor op te roep.
NEDERLANDSTALIGE SAMENVATTING: In deze thesis wordt de 'schaduw' als waarnemingsobject en (analogisch verwant daaraan) als denkobject onderzocht. Dit dialectische proces wordt gestructureerd met behulp van een aantal experimenten en Plato's grotvergelijking, die geïnterpreteerd worden als een proces gericht op zeltbewustwording. Dit proces wordt verder toegelicht aan de hand van denkers zoals, Blumenberg, Heidegger, Levinas en Voegelin. Het doel van het onderzoek is om de vanzelfsprekendheid waarmee met het fenomeen van de 'schaduw' omgegaan wordt, te doorbreken en er opnieuw verwondering voor op te roepen.
18
Panjvani, Cyrus. "Rule-following : conventionalism, scepticism and rationality." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/12950.
Full textAbstract:
The thesis argues, in lie main, for both a negative and positive agenda to Wittgenstein's rule-following remarks in both his Philosophical Investigations and Remarks on the foundations of Mathematics. The negative agenda is a sceptical agenda, different than as conceived by Kripke, that is destructive of a realist account of rules and contends that the correct application of a rule is not fully determined in an understanding of the rule. In addition to these consequences, this negative agenda opens Wittgenstein to Dummett's charge of radical conventionalism (a charge that also, but differently, applies to certain mid-period views and this is addressed in the first chapter). These negative consequences are left unresolved by Kripke's sceptical solution and, notably, are wrongly assessed by those that dissent from a sceptical reading (e.g., McDowell). The positive agenda builds on these negative considerations arguing that although there is no determination in the understanding of a rule of what will count as a correct application in so far unconsidered situations, we are still able to follow a rule correctly. This seems to involve an epistemic leap, from an underdetermined understanding to a determinate application, and, in respect of this appearance, involves what Wittgenstein calls following a rule "blindly" in an epistemic sense. Developing this view, of following a rule blindly, involves developing an account of an alternative rational response to rule instruction, one that need not involve a role for interpreting or inferring, but all the same allows for correctness in rule application in virtue of enabling agreement in rule application.
19
Ma, Ying. "Charles Dicken's search for an image of ideal women : a case study of Florence Dombey in Dombey and Son." Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2586640.
Full text
20
Gabrielson, Jeremy. "Paul's non-violent Gospel : the theological politics of peace in Paul's life and letters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1889.
Full textAbstract:
This thesis advances a claim for the centrality of a politics of peace in early Christianity, with particular focus given to the letters of Paul and the Gospel of Matthew. In brief, I argue that Paul’s task of announcing the gospel to the nations involved calling and equipping assemblies of people whose common life was ordered by a politics (by which I mean, chiefly, a mode of corporate conduct) characterised by peaceableness, and this theological politics was a deliberate participation in the political order announced and inaugurated by Jesus of Nazareth. To this end, there are three main components of the thesis. Chapter Two is focused on the Gospel of Matthew, particularly the way in which violence (and peace) are constructed by the evangelist. Chapter Three bridges the first and third components of the thesis, attending to the important question of the continuity between Jesus and Paul on the issue of non-violence. The third component involves two chapters. Chapter Four attempts to identify the trajectory of violence and peace in Paul’s biography and in the “biography” of his Galatian converts (as he portrays it), and the fifth chapter traces the presence of this non-violent gospel in (arguably) Paul’s earliest letter. The intended effect is to show that a politics of non-violence was an early, central, non-negotiable component of the gospel, that its presence can be detected in a variety of geographical expressions of early Christianity, that this (normally) “ethical” dimension of the gospel has a political aspect as well, and that this political dimension of the gospel stands in stark contrast to the politics of both the contemporary imperial power and those who would seek to replace it through violence.
21
Yuningsih, Yeni Ratna. "The mystical element in Mīkhāīl Nuaymah's literary works and its affinity to Islamic mysticism /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29848.
Full textAbstract:
This thesis investigates the mystical elements in Mikha'il Nu`aymah's literary works and their affinity to Islamic mysticism, elaborating in particular on the notions of oneness of being and the transmigration of soul. These two themes are the more prevalent ones in Nu`aymah's mystical thought when compared to such other themes as love and asceticism, which can also be found in his works.However, the notion of oneness of being seems to be the basis of his mystical concepts as well as the goal to which other themes are directed. The notion of the transmigration of soul is therefore developed by Nu`aymah in the context of the idea of oneness of being. The mystical thoughts of Mikha¯'il Nu`aymah concerning the two notions above, are to be found in a number of his works, such as Zad al-Ma'ad, al-Marah&dotbelow;il, The Book of Mirdad, Liqa', his autobiography Sab`un and his collections of poems Hams al-Jufun .
22
Simkin, Stephen John. "Gerard Manley Hopkins : critical perceptions of his relation to poetic tradition to 1970." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/15092.
Full textAbstract:
The aim of this thesis has been to make an accurate assessment of the developments in Hopkins criticism up until 1970, with overriding emphasis on perceptions of his relation to poetic tradition. The chosen methodology involves a chapter by chapter discussion of Hopkins' perceived relation to individual poets or groups of poets. Generally, each chapter opens with an examination of Hopkins' published correspondence, scrutinizing his own criticism of the poet or poets in question, and proceeds in a chronological survey of the ways in which critics and reviewers have related him to the predecessor in question. Material covered in the thesis includes major published works on Hopkins; articles and reviews in scholarly periodicals, as well as more popular journals and some newspapers; and other critical works where Hopkins receives some degree of attention. The 'cutoff' point of this study is 1970, although a final chapter has been appended with a less detailed survey of the developments from 1970 to the present day. On certain occasions, I have ventured to investigate more fully some areas of Hopkins' literary genetics that seem not to have received the attention they deserve. In general, however, the focus of the thesis is upon the perceptions of the critics, and attempts are made to assess the ways in which Hopkins' fluctuating critical standing has altered these perceptions and vice versa. One of the most frequently recurring demands has been the need to try and determine why Hopkins has been related to different poets and different poetic traditions at different times. To provide a more 'three-dimensional' perspective, two chapters are devoted to exploring the ways in which Hopkins has been perceived as an influence on twentieth century poetry, in general terms, and in specific cases. In conclusion, a 'map' of the territory of Hopkins' criticism charting the perceived relations between his oeuvre and poetic tradition is proposed. And, with a necessary emphasis on the provisional (particularly with the post-1970 study taken into account), some suggestions are made for new directions in this area of study.
23
Jones, Chris. "A deeper "Well of English undefyled" : the role and influence of Anglo-Saxon in nineteenth- and twentieth-century poetry : with particular reference to Hopkins, Pound and Auden." Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/14708.
Full textAbstract:
This thesis challenges the assumption that Chaucer is the father of the living English poetic tradition. Nobody would deny that poetry existed in a form of English before the fourteenth century, but it is commonly assumed that linguistic and cultural changes have made Anglo-Saxon poetry a specialist area of concern, of no use or interest to modern poets. It is demonstrated that during the nineteenth century, advances in linguistic and textual scholarship made Anglo-Saxon poetry more widely available than had been the case, probably since the Anglo-Norman period. Knowledge of Anglo-Saxon literature is subsequently communicated to poets, particularly after the subject is institutionalized in English departments at British and American universities. Chapter One charts this rise in awareness of Anglo-Saxon poetry and considers its effects on several nineteenth-century poets (William Barnes, Henry Longfellow, Alfred Tennyson and William Morris). Major studies then follow of Gerard Hopkins, Ezra Pound and W. H. Auden and the uses that they make of Anglo-Saxon in their own poetry. It is argued that through these writers Anglo-Saxon has had a more important impact on modern poetry than has been thought previously. Moreover, Anglo-Saxon is often included as part of a poetics that might be called 'modernist'. For each of the three poets under study, the nature of their contact with Anglo-Saxon poetry is determined from documentary evidence (whether at university, or via secondary literature), and different stylistic debts are examined by close readings of a number of poems. No previous work has attempted a detailed analysis of the uses to which these three writers put Anglo-Saxon poetry. This thesis offers such an analysis and synthesizes the different approaches to Anglo-Saxon in order to provide an overview of this phenomenon in nineteenth- and twentieth-century poetry.
24
Coats, Jerry B. (Jerry Brian). "Charles Dickens and Idiolects of Alienation." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277905/.
Full textAbstract:
A part of Charles Dickens's genius with character is his deftness at creating an appropriate idiolect for each character. Through their discourse, characters reveal not only themselves, but also Dickens's comment on social features that shape their communication style. Three specific idiolects are discussed in this study. First, Dickens demonstrates the pressures that an occupation exerts on Alfred Jingle from Pickwick Papers. Second, Mr. Gradgrind from Hard Times is robbed of his ability to communicate as Dickens highlights the errors of Utilitarianism. Finally, four characters from three novels demonstrate together the principle that social institutions can silence their defenseless constituents. Linguistic evaluation of speech habits illuminates Dickens's message that social structures can injure individuals. In addition, this study reveals the consistent and intuitive narrative art of Dickens.
25
Das, Gupta Kalyan. "Christopher Caudwell, Raymond Williams and Terry Eagleton." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25578.
Full textAbstract:
This dissertation politically analyses the principles of literary evaluation (here called "axiology") argued and applied by the English critics Christopher Caudwell, Raymond Williams, and Terry Eagleton. The paradoxical fact that all three claim to be working within a Marxist framework while producing mutually divergent rationales for literary evaluation prompts a detailed examination of Marx and Engels. Moreover, since Caudwell and Eagleton acknowledge Leninism to be Marxism, and, further, since Eagleton and I both in our own ways argue that Trotskyism--as opposed to Stalinism--is the continuator of Leninism, the evaluative methods of Lenin and Trotsky also become relevant.
Examined in light of that revolutionary tradition, however, and in view of the (English) critics' high political self-consciousness, the latter's principles of "literary" evaluation reveal definitive political differences between each other and with Marxism itself, centrally over the question of organised action. Thus, each of the chapters on the English critics begins with an examination of the chosen critic's purely political profile and its relationship to his general theory of literature. Next, I show how the contradictions of his "axiology" express those of his politics. Finally, with Hardy as a focus, I show the influence of each critic's political logic on his particular "literary" assessment of individual authors and texts.
The heterogeneity of these critics' evaluations of Hardy, the close correspondence of each critic's general evaluative principles to his political beliefs, and the non-Marxist nature of those beliefs themselves all concretely suggest that none of the three English critics is strictly a Marxist. I do not know whether a genuinely Marxist axiology is inevitable; however, I do admit such a phenomenon as a logical possibility. In any case, I argue, this possibility will never be realised unless aspiring Marxist axiologists seek to match their usually extensive knowledge of literature with an active interest in making international proletarian revolution happen. And, since it can only happen if it is organised, the "Marxist" axiologist without such an orientation will be merely an axiologist without Marxism.Arts, Faculty of
English, Department of
Graduate
26
Marais, Lodewikus Stefanus. "Die huis as betekenisvolle ruimte in enkele Afrikaanse gedigte, met spesifieke verwysing na die bewoningsfilosofiee van Heidegger, Bolnow en Bachelard en Vierluik." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/86862.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2008.ENGLISH ABSTRACT: The first section of this thesis aims at creating a reading strategy for the analysis of poetry thematically concerned with habitation and the space of the house. Selected Afrikaans poems, forming part of a newer house-poetry that breaks away from the idyllic, genial representation of the house in earlier Afrikaans poetry, are examined. The theoretical equipment utilised in this examination is the habitation philosophies of Martin Heidegger, Otto Friedrich Bollnow and Gustav Bachelard. Various related insights in the work of these philosophers are developed into a three-tiered model for the interpretation of house poetry. Supplementing the abovementioned framework is the socio-historical work of Joseph Rykwert and Ton Lemaire. Both these theorists explore the close connection between the space of the house and the realisation of mortality and transience. The application of the philosophical model facilitates, on the micro level of image and word choice, a fresh understanding of the selected poems, as well as a wider philosophical contextualisation of their thematic content. The reading strategy and the application thereof could also provide the means with which a new philosophical scrutiny of Afrikaans house-poetry can be achieved. The abovementioned formal essay is presented as coupled with a collection of original Afrikaans poems, entitled Vierluik, the creative section of this thesis. Vierluik examines, among other things, aspects of habitation in city, town and countryside, and reflects on descent, rootedness, displacement and the interconnection of space and identity.
AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis het as doel die daarstelling van ’n leesstrategie waarmee poësie wat tematies oor die huisruimte en bewoning handel, ondersoek kan word. Geselekteerde Afrikaanse gedigte, wat deel vorm van ’n nuwer huispoësie wat sedert die sestigerjare wegbreek van die idilliese, gemoedelike uitbeelding van die huis in vroeër Afrikaanse gedigte, word ondersoek. Die teoretiese apparatuur wat in hierdie ondersoek aangewend word, is die bewoningsfilosofieë van Martin Heidegger, Otto Friedrich Bollnow en Gustav Bachelard. Verskeie verbandhoudende insigte in die werk van hierdie denkers word ontwikkel tot ’n drieledige interpretasiemodel vir huispoësie. Hierby dien as aanvulling die kultuur-historiese werk van Joseph Rykwert en Ton Lemaire, waarin die noue band tussen die huisruimte en die doods- of verganklikheidsbesef uitgewerk word. Die toepassing van hierdie filosofiese begripsapparatuur fasiliteer op die mikrovlak van beelde en woordkeuse ’n vars verstaan van die vyf geselekteerde gedigte, asook ’n breër filosofiese kontekstualisering van hulle tematiese inhoud. Die leesstrategie en toepassings sou ook ’n filosofiese oopdek van die huispoësie in Afrikaans kon bemiddel. Hierdie akademiese gedeelte dien verder as ’n verbandhoudende oefening by die kreatiewe gedeelte van die tesis, naamlik ’n digbundel, Vierluik. Die bundel ondersoek, onder andere, aspekte van bewoning in stad, dorp en platteland, en bied ’n besinning aan oor herkoms, geworteldheid, verplasing en die verweefdheid van ruimte en identiteit.
27
Perez, José Antonio Mesquita. "A verdade enquanto movimento: entre possibilidades e limites segundo o pensamento heideggeriano." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20954.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-03T11:15:45Z
No. of bitstreams: 1
José Antonio Mesquita Perez.pdf: 813047 bytes, checksum: 3247753faae8851d0478175f91080b80 (MD5)Made available in DSpace on 2018-04-03T11:15:45Z (GMT). No. of bitstreams: 1 José Antonio Mesquita Perez.pdf: 813047 bytes, checksum: 3247753faae8851d0478175f91080b80 (MD5) Previous issue date: 2018-03-02
The dissertation has the aim to explore the truth as movement in the thought of the philosopher Martin Heidegger. The work it is divides in four parts. First of all, in the Introduction, we contextualize the research and present the questions that will be our guide in the course of the work. It is clarified that the relation between modern science and philosophy is our starting point for thinking the truth, but this isn’t our main focus. In the first chapter, Notions of Truth, we start clarifying the tradicional concept of truth and the tradition in which it is found, namely the metaphysical tradition; posteriorly, we analyze the concept of αλήθεια (alétheia), rescued by Heidegger to understand the essence of truth as unconcealment. In the second chapter, Being, Truth and Mystery, at first we see how the truth is inserted in the context of Being and Time, and then how the so-called turning (Kehre) alters the truth’s understanding, to undertake the task of analyze the truth as movement, taking into consideration the Clearing and the Mystery. The truth isn’t, but it is given, truth essentials itself, that is, truth is a movement that opens a space that allows the entities to be. Dasein essentially corresponds with this space that is open by the truth of Being, however, the truth itself ins’t predicated of human beings. If there is an opening there is also a limit: this is the relation between the Clearing and the Mystery. In a certain way, the truth doesn’t only illuminate (unconcealment), but it is limit as well (concealment). It is perceived that Heidegger’s gaze isn’t aimed to an logic understanding of the truth, but aimed to an ontological understanding of this phenomenon. Lastly, in the third and final chapter, Between possibilities and limits: final considerations, we return to what is at the beginning and trigger of the research subject: the relation between modern science and philosophy. The aim is to carry out some reflections and questionings about this relationship, thinking the possibilities and limits that both have. The truth is a fundamental question because it concerns, if we think in a heideggerian way, to what enables not only the entity but the knowledge itself. This understanding has consequences not only in philosophy, but also in “sciences”
A dissertação tem o intuito de explorar a verdade enquanto movimento no pensamento do filósofo Martin Heidegger. O trabalho se encontra dividido em quatro partes. Em primeiro lugar, na Introdução, fazemos uma contextualização da pesquisa e expomos as questões que serão guia no percurso do trabalho. É esclarecido que relação entre a ciência moderna e a filosofia é o nosso ponto de partida para pensarmos a verdade, mas não é o nosso foco. No primeiro capítulo, Noções de Verdade, iniciamos esclarecendo o conceito tradicional de verdade e a tradição na qual ela se encontra, a saber a tradição metafísica; posteriormente, analisamos o conceito αλήθεια (alétheia), resgatado por Heidegger para compreender a essência da verdade como desocultamento. No segundo capítulo, Ser, Verdade e Mistério, vemos, em um primeiro momento como a verdade se encontra inserida no contexto de Ser e Tempo e depois como a chamada viravolta (Kehre) altera a sua compreensão, para, assim, empreender na tarefa de analisar a verdade enquanto movimento, levando em consideração a Clareira e o Mistério. A verdade não é, mas ela se dá, ela se essencializa, isto é, verdade é um movimentar que abre um espaço que permite que os entes possam ser. Ser-aí corresponde essencialmente com esse espaço aberto pela verdade do Ser, no entanto, a verdade em si não é predicativo do ser humano. Se há uma abertura também há um limite: essa é a relação entre a Clareira e o Mistério. De certa forma, a verdade não só ilumina (desocultamento), mas ela também é limite (ocultamento). Percebe-se que o olhar de Heidegger não está voltado para uma compreensão lógica da verdade, mas para um entendimento ontológico da mesma. Por fim, no terceiro e último capítulo, Entre possibilidades e limites: considerações finais, nos voltamos para aquilo que se encontra no começo e disparador da temática pesquisada: a relação entre a ciência moderna e a filosofia. O intuito é de realizar algumas reflexões e questionamentos sobre essa relação, pensando as possibilidades e limites que ambas possuem. A verdade é uma questão fundamental porque ela diz respeito, se a pensarmos heideggerianamente, àquilo que possibilita não só os entes mas ao próprio conhecimento. Sua compreensão tem consequências não só na filosofia, como também nas “ciências”
28
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.
29
Teachout, Jeffrey Frank. "The importance of Charles Dickens in Victorian social reform." Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t035.pdf.
Full text
30
Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.
Full textAbstract:
ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature
31
Ok, Rebecca Jade. "Fated to Pretend?: Culture Crisis and the Fate of the Individual." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1509.
Full textAbstract:
The question of this thesis is whether the individual can resolve the problem of culture crisis in her own case. Culture crisis is a historical moment in which our culture leads us to expect a world drastically different from the one in which we find ourselves. This thesis will focus on the experience of Generation Y in the fall-out of the 2008 Recession. It will be argued that we need a Wittgensteinian view of language in order to account for the phenomenon of culture crisis. It will be suggested that our individual has to be a Nietzschean individual in order to resolve the problem of culture crisis in her own case. Potential incompatibilities between a Wittgensteinian view of language and the Nietzschean individual will be considered and rejected. It will be concluded that in order to resolve the problem of culture crisis in her own case the individual must change the way she lives.
32
Gutierrez, III Jose. "Investigating Kracauerian cinematic realism through film practice and criticism: Life-world series (2017) and selected films of Lino Brocka." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/525.
Full textAbstract:
This dissertation is an investigation on the realist film theory of Siegfried Kracauer. It was principally conducted through film practice as exemplified by the ten short films that compose the omnibus film project, Life-world Series (dir. Joni Gutierrez, 2017, 118 minutes). To supplement the study's examination of Kracauerian cinematic realism (KCR), film criticism of selected works of Lino Brocka was also accomplished. The methodology involved three components: (1) research-based production of Life-world Series; (2) textual analyses of the said film collection and selected Brocka films; and (3) meta-analysis of the scholarly criticism on the Brocka film. This dissertation is the first to use film-making practice which was a part of the research project and devised to investigate KCR, which avows that the cinematic experience of physical reality as an object of contemplation fosters an intuitive understanding of the Lebenswelt (life-world) and, in turn, brings about the redemptive potential of film vis-à-vis the modern condition. The emergent design of Life-world Series opened the study to a wide range of possibilities that it could not have encountered if it limited itself to applying a particular theory as a framework in doing film criticism of pre-existing works. This project - through both its film practice and criticism components - is an interweaving of key notions from Husserlian phenomenology and the seven KCR tropes identified in the study, namely: (1) the quotidian; (2) the transient; (3) the refuse; (4) the fortuitous; (5) the indeterminate; (6) the flow of life; and (7) the spiritual life itself. The phenomenological engagement of this investigation has provided opportunities for expanding the inventory of KCR tropes, to conceivably include characteristics of the Lebenswelt which form part of the project's overall findings; that is, the life-world as: (1) expansive; (2) multi-layered; (3) flowing; (4) in the process of becoming; (5) resonantly intersubjective; (6) a thing of beauty; (7) relating to essences; (8) cyclical; (9) transcendent; (10) meaning-laden; (11) fragmented; and (12) malleable. The dissertation explicates how its phenomenological approach in inspecting KCR led to the construction of a prospective model of cinematic realism - the integrated quadrant model of Kracauerian cinematic realism (IQMKCR) - and finally, determines the implications and prospects of using film practice as an instrument in interrogating KCR.
33
Searfoss, Kristin. "Hopkinsian influences on the poetry of Dylan Thomas." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59438.
Full textAbstract:
While often assumed, Gerard Manley Hopkins' influence on Dylan Thomas has needed substantiation. By placing the issue of Hopkins' influence on Thomas within critical, historical, and literary contexts, this study explores the issue and demonstrates Hopkins' influence. Summary and assessment of previous critical work on the issue of Hopkins' influence establish the ways in which this study continues, diverges from or completes work done in the past. Evidence from biographical work on Thomas, as well as his letters and prose, outlines his contact with Hopkins' poems. A discussion of Thomas' Welsh background relates his experience of Wales and Welsh prosody to Hopkins' corresponding experiences. The literary context of the issue of Hopkins' influence on Thomas is established by means of a two-part foundation. First, the possible influence of W. B. Yeats, Wilfred Owen, Hart Crane, and James Joyce on Thomas is distinguished from Hopkins' influence. Second, specifically Hopkinsian areas of influence on Thomas are discussed. These areas of influence serve as a critical framework within which six Thomas poems dating from 1934 to 1951 are analyzed.
34
Antolick, Matthew. "Deep ecology and Heideggerian phenomenology." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000104.
Full text
35
Robjant, David. "The river as a guide to Iris Murdoch." Thesis, University of Wales Trinity Saint David, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683256.
Full text
36
Colledge, Gary. "Revisiting the sublime history : Dickens, Christianity, and 'The life of Our Lord' /." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/422.
Full text
37
Silva, Hebe Cristina da. "Preludio do romance brasileiro : Teixeira e Sousa e as primeiras narrativas ficcionais." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270278.
Full textAbstract:
Orientador: Marcia Azevedo de AbreuTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-13T12:00:38Z (GMT). No. of bitstreams: 1 Silva_HebeCristinada_D.pdf: 7576093 bytes, checksum: 961472d63190c257c3f2fbf6b3de8933 (MD5) Previous issue date: 2009
Resumo: Este trabalho apresenta parte do processo de formação do romance brasileiro a partir da análise da trajetória e da produção de Antônio Gonçalves Teixeira e Sousa, autor considerado, por alguns especialistas, o primeiro romancista nacional. Na historiografia literária publicada no século XX, esse escritor é comumente referido como um prosador secundário que publicou narrativas carentes de qualidades estéticas. Entretanto, o número de edições e os comentários críticos eminentemente elogiosos que suas obras em prosa obtiveram ao longo do século XIX indicam que, apesar de seus problemas formais, os romances do autor foram bem recebidos por seus contemporâneos. A análise desses textos permite verificar que, neles, o escritor deu ênfase ao trabalho com os elementos mais valorizados pela crítica de romances da época e pelos primeiros prosadores nacionais: a moralidade e a cor local. O estudo da produção ficcional de Teixeira e Sousa permite conhecer parte das questões que estiveram em voga nos anos em que se deu a formação do romance brasileiro, bem como observar as dificuldades enfrentadas e as soluções encontradas pelos escritores brasileiros responsáveis pela produção das primeiras narrativas nacionais
Abstract: This thesis discusses part of the formation of Brazilian novel from the study of the works and trajectory of Antonio Gonçalves Teixeira e Sousa, considered, by many specialists, the first Brazilian novelist. In the twentieth-century literary historiography, this writer is usually referred as a secondary author whose published stories were lacking in aesthetic qualities. However, the number of editions and auspicious critics that his work obtained during the nineteenth century indicates that, despite the formal problems, Teixeira e Sousa's novels had a good reception by his contemporaries. The study of his texts helps us to verify that the author put the emphasis on the aspects greatly appreciated by the novel criticism of that period and by the first Brazilian writers: morality and local color. The analysis of Teixeira e Sousa's narratives allow us to know part of the issues in vogue during the period of the formation of Brazilian novel, as well as observe the difficulties faced by and the solutions found by the first Brazilian fiction writers in the first national narratives
Doutorado
Historia e Historiografia Literaria
Doutor em Teoria e História Literária
38
Brogly, Marie-Noëlle. "Pierre Reverdy : lyrisme de la réalité : poétique du visuel." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3413.
Full textAbstract:
This thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy's eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy's poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d'artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy's poetry.
39
Sriratana, Verita. ""Making room" for one's own : Virginia Woolf and technology of place." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3458.
Full textAbstract:
This thesis offers an analysis of selected works by Virginia Woolf through the theoretical framework of technology of place. The term “technology”, meaning both a finished product and an ongoing production process, a mode of concealment and unconcealment in Martin Heidegger's sense, is used as part of this thesis's argument that place can be understood through constant negotiations of concrete place perceived through the senses, a concept based on the Heideggerian notion of “earth”, and abstract place perceived in the imagination, a concept based on the Heideggerian notion of “world”. The term “technology of place”, coined by Irvin C. Schick in The Erotic Margin: Sexuality and Spatiality in Alteritist Discourse (1999), is appropriated and re-interpreted as part of this thesis's adoption and adaptation of Woolf's notion of ideal biographical writing as an amalgamation of “granite” biographical facts and “rainbow” internal life. Woolf's granite and rainbow dichotomy is used as a foreground to this thesis's proposed theoretical framework, through which questions of space/place can be examined. My analysis of Flush (1933) demonstrates that place is a technology which can be taken at face value and, at the same time, appropriated to challenge the ideology of its construction. My analysis of Orlando (1928) demonstrates that Woolf's idea of utopia exemplifies the technological “coming together”, in Heidegger's term, of concrete social reality and abstract artistic fantasy. My analysis of The Years (1937) demonstrates that sense of place as well as sense of identity is ambivalent and constantly changing like the weather, reflecting place's Janus-faced function as both concealment and unconcealment. Lastly, my analysis of Woolf's selected essays and marginalia illustrates that writing can serve as a revolutionary “place-making” technology through which one can mentally “make room” for (re-)imagining the lives of “the obscure”, often placed in oblivion throughout the course of history.
40
Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.
Full textAbstract:
The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
41
Zeske, Karen Marie. "Browning and Dickens: Religious Direction in Victorian England." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500704/.
Full textAbstract:
Many Nineteenth century writers experienced the withdrawal of God discussed by Miller in The Disappearance of God. Robert Browning and Charles Dickens present two examples of "Fra Lippo Lippi" and Great Expectations model effective alternatives to accepting God's absence. Conversely "Andrea del Sarto" accepts the void the other two heroes shun.
42
Pillay, Ivan Pragasan. "Recovered from obscurity : "structures of feeling" and discourses of identity and power relations through the peripheral characters in the novels of Charles Dickens." Thesis, 2011. http://hdl.handle.net/10413/8010.
Full textAbstract:
Many of Charles Dickens‟s peripheral characters have not received critical attention through a de-centered reading in a single, unified body of work. For reasons which are related largely to his biography, Dickens had a deep and abiding interest in the members of the lower classes who feature prominently in his novels. This thesis, on the eve of the bi-centennial anniversary of the author‟s birth, examines his representations of a selection of these characters that appear to have been, to a large extent, forgotten and lie in obscurity, submerged in the vast storehouse of his creations.
In his novels, Dickens vociferously champions the rights of the marginalised whilst he, simultaneously, evinces a discerning consciousness of their susceptibility to forms of conduct which he disapproved of. His empathy is, therefore, of a kind which is tinged with distrust, fear and, at times, repulsion. Central to this thesis is Dickens‟s ambivalence towards the proverbial small man/woman which is examined in terms of its genesis, development and resolution. In its engagement with these characters, this study draws, primarily, on the New Historicist (particularly the work of Stephen Greenblatt) and Cultural Materialist approaches to the reading of literary texts and is foregrounded in Raymond Williams‟s formulation of “structures of feeling”. Aligned to this, is Michel Foucault‟s conceptualizations of power.
My Introduction defines the parameters within which this thesis is situated. The need for a study of this nature is outlined and an overview of the theoretical positions, intimated above, is presented. The central ideas which link Foucault, Greenblatt and Williams are clearly spelt out and their relevance to Dickens‟s peripheral characters is anticipated. Of the 14 novels discussed, David Copperfield, because of its strong autobiographical connections, is read as most crucial in the shaping of Dickens‟s attitudes towards the lower classes. Chapter 1 is therefore devoted, exclusively, to this novel which serves, initially, as a gateway to this thesis and, thereafter, as its nodal point. Chapter 2 (“Voices in the Crowd”) picks up the links from David Copperfield as it explores the realm of public space. It identifies and draws to the centre those characters that constitute the crowd, as it is seen in
everyday contexts. Chapter 3 (“The World of the Public-House”) takes the reader into the Victorian tavern – that microcosm of society where “social energies” are seen to “circulate” in complex configurations. Chapter 4 (“Servants and Dickens‟s Double Vision”) discusses the representatives of the lower classes as they are seen in their roles as servants – a crucial area of Victorian “cultural poetics” and one that was very near to Dickens‟s heart. In my Conclusion I revisit the question of Dickens‟s ambivalence and situate this in the context of the posthumously published, and relatively unknown, The Life of Our Lord.
It would seem that many commentators tend to allude to Dickens‟s ambivalence without actually offering a detailed examination of the peripheral characters, as they are seen in different contexts. In bringing together some of the smallest of the small in a unified body of work (for what may possibly be the first time), this thesis offers fresh insights into the ways in which the writer knew and understood the lower classes.Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.
43
Fitzsimmons, John Francis. "The construction of meaning in narrative : Dickens and the stereotype / by John Francis Fitzsimmons." Thesis, 1995. http://hdl.handle.net/2440/18655.
Full text
44
Keep, Carol Julia. "Insubstantial pageants fading : a critical exploration of epiphanic discourse, with special reference to three of Robert Browning's major religious poems." Diss., 1994. http://hdl.handle.net/10500/17061.
Full textAbstract:
This dissertation examines the nature of epiphanic discourse in
three of Robert Browning's religious poems, namely, 'Christmas-
Eve', 'Easter-bay' and 'La Saisiaz'.
Chapter 1 investigates epiphany from religious, historical
and theoretical perspectives, followed by a discussion of
Browning's developing Christian beliefs. Chapters 2 and 3
explore the epiphanic moment in the companion poems, 'Christmas-
Eve' and 'Easter-Day'. Chapter 4 explores how the double epiphany
initiated from Browning's personal experience recounted in 'La
Saisiaz', finds its resolution in 'The Two Poets of Croisic'.
Browning's 'good minute' or 'infinite moment' originates
in Romanticism and reverberates into the twentieth century mainly
in the writing of James Joyce, who first used the word 'epiphany'
in its literary sense.
Because Browning's faith allowed continual interrogation of
Christian doctrine, his experience and reading of epiphanic
moments avoid any attempt at closure. Thus they offer the reader
both a human image for recognition and a coded legend for
individual interpretationM.A. (English Studies)
M.A. (English)
45
Cottier, Penelope Susan. "The Victorian menagerie : the representation of animals and animal imagery in the works of Charles Dickens." Phd thesis, 2003. http://hdl.handle.net/1885/151764.
Full text
46
Gustafson, Amy Elizabeth 1981. "Tone production on the piano: the research of Otto Rudolph Ortmann." Thesis, 2007. http://hdl.handle.net/2152/3223.
Full textAbstract:
The purpose of this treatise is to discuss tone production on the piano, specifically focusing on the research of Otto Rudolph Ortmann, whose work marked a turning point in the history of piano pedagogy and set a new standard for piano-related scholarship. Writing in the early twentieth century, Ortmann, who was both an accomplished pianist and an avid scientist, was one of the first to consciously and meticulously combine the two fields. Today, Ortmann's books are mostly out of print and his research is little known by the average piano student or teacher. However, Ortmann's books greatly affected and influenced many of his contemporaries, and no matter how neglected today, they contain a wealth of information and practical advice highly relevant to any serious pianist. While his research spans a range of topics, including the science of piano acoustics, experiments and scientific explanations of piano technique, and even music education, his work focusing on piano tone production was perhaps the most controversial. In this treatise, Ortmann's concepts, experiments, and conclusions related to tone production will be discussed. Certain scientific elements related to tone production, such as the acoustics of sound, the mechanism of the piano, and the relevant aspects of basic physics, will serve as an introduction to this discussion. A historical overview of the pedagogical trends surrounding the subject will show how Ortmann's work has been sometimes overlooked and often misinterpreted. A thorough analysis of Ortmann's research will demonstrate its balanced approach and its indispensable relevance to the modern pianist and pedagogue. Finally, his work will be used as a vantage point to shed light on subsequent trends of piano pedagogy and to ask questions about the role of tone production in modern pianism.text
47
Campbell, Jane. "Dickens' angels : ambivalence and ambiguity in Dickens' portrayal of feminine virtue." Phd thesis, 1998. http://hdl.handle.net/1885/145132.
Full text
48
Donaldson, Jennifer. "An enduring spirit of the Victorian Era of Doubt." Diss., 2003. http://hdl.handle.net/10500/851.
Full textAbstract:
The focus of this study is upon Gerard Manley Hopkins~s literary opinions
about the state of affairs of Victorian England regarding its defence,
religions, science, politics, the economy, and other concerns. His claim to a
legitimate voice lies in the tremendous amount of erudite knowledge he
accumulated over the years, on many different subjects, and his classical
education. Major focus is on his pristine awareness of the Anglo-Saxons
and their language of Old English. Hopkins's unique style of writing poetry
and his contribution to Victorian philology is highlighted. The work also
deals, in some degree, with his mental state at various periods in his life, and
attempts to disclose an overcoming of the anguish and depression evident in
the poems. His enduring spirit under the grave swamping of Christianity by
destructive discourses is another major theme.ENGLISH STUDIES
M.A. (ENGLISH)
49
Boleko, Bienvenu Benketo. "From an epistemology of unerstanding to an ontology of understanding: Heidegger’s hermeneutical shift." Diss., 2018. http://hdl.handle.net/10500/25416.
Full textAbstract:
Text in EnglishThe current investigation explores the possibility of surpassing or subordinating epistemology to ontology by focusing on the hermeneutics of Heidegger. Based on his works, which consider the understanding as a way of being and therefore offering the foundation for all knowledge, this study will underline the decisive shift concerning the question of being (l’être) in the works of modern hermeneutics fathers. A critical move made by Heidegger's philosophical perspective underlines the epistemology of understanding. The question of the ontology of understanding is investigated differently from his predecessors Schleiermacher and Dilthey, and culminates in a revolution in hermeneutics. The understanding is not knowledge, but a behavioural Dasein. His main contribution to hermeneutics consists of subordinating the methodological and epistemological questions to the ontological ones. The problem of understanding is no longer linked to “other” but is extended to the world. There is therefore a mundanisation of understanding, which overlaps its depsychologisation. Understanding is a mode of being of Dasein that extends in interpretation, which leads to language. The interpretation is only a development of understanding, which is articulated in language. The phenomenological method and critical analysis are used for this investigation.
Philosophy, Practical and Systematic Theology
M.A. (Philosophy)