Dissertations / Theses on the topic '1854-1900 Criticism and interpretation'
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Sheety, Roger. "The sanctified lie : form and content in the art of Oscar Wilde." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0002/MQ43948.pdf.
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MacLeod, Kirsten. "Walter Pater, Oscar Wilde, and audiences of aestheticism." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20442.
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By examining the process of production and reception of the works of Walter Pater and Oscar Wilde, this thesis explores the ways in which both conceptions of audience and actual audiences shaped these works. As proponents of "aestheticism," a philosophy which required the development of a highly specialised mode of perception and critical awareness, Pater and Wilde wrote with a fairly select audience in mind. Confronted, however, with actual readers who did not always meet the "aesthetic" criteria (even if they were supporters), they were forced to rethink their conceptions of audience. Pater's and Wilde's developing understandings of audience can be traced in their works, as they experiment with style and genre in an attempt to communicate effectively with their readers. Although at base Pater and Wilde advocated a similar "aesthetic" philosophy, their distinct conceptions of audience played a significant role in determining the nature of their particular versions of aestheticism.
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Tucker, Amanda. "Godot in Earnest: Beckettian Readings of Wilde." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4248/.
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Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.
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Ku, Ting-chee, and 顧婷芝. "Confessing the impossible: Bataille,Foucault, Rimbaud, and transgression." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227417.
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Bromling, Laura Cappello, and University of Lethbridge Faculty of Arts and Science. "From the pens of the contrivers : perspectives on fiction in the nineteenth-century novel." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2003, 2003. http://hdl.handle.net/10133/154.
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This thesis investigates the way that moral and aesthetic concerns about the relationship between fiction and reality are manifested in the work of particular novelists writing at different periods in the nineteenth century, Chapter One examines an early-century subgenre of the novel that features deluded female readers who fail to differentiate between fantasy and reality, and who consequently attempt to live their lives according to foolish precepts learned from novels. The second chapter deals with the realist aesthetic of W. M. Thackeray; focusing on the techniques by which his fiction marks its own relationship both to less realistic fiction and to reality itself. The final chapter discusses Oscar Wilde's critical stance that art is meaningful and intellectually satisfying, while reality and realism are aesthetically worthless: it then goes on the explore how these ideas play out in his novel, The Picture of Dorian Gray.iv, 120 leaves ; 28 cm.
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Van, der Merwe Stephen Gareth. "Generic engineering : a study of parody in selected works of Oscar Wilde, James Joyce and Tom Stoppard." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49971.
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Thesis (MA)-- Stellenbosch University, 2004.Full text to be digitised and attached to bibliographic record.
ENGLISH ABSTRACT: The following thesis develops a theory of parody as a multifunctional practice in relation to selected works of Oscar Wilde, James Joyce and Tom Stoppard. The study discusses parody as a mode of generic engineering (rather than a genre itself) with ideological ramifications. Based on an understanding of literary and non-literary genres as social institutions, this thesis describes the practice of parody as one of engineering generic or discursive incongruity with a particular cultural purpose in mind. In refiguring generic conventions, the parodist simultaneously reworks their implicit ideological premises. Parody hence comes to serve as a means of negotiating with "the world" through generic modification, and the notions of parodic social agency and cultural work are consequently central to this thesis. Focusing on The Picture of Dorian Gray and The Importance of Being Earnest respectively, Chapters Two and Three discuss Wilde's use of parody, and especially parodic "word-masks", for subverting the aesthetic and social conventions of Victorian England, and covertly propagating a gay subculture through parodic injokes. Word-masks - central to Wildean parody - entail the duplicitous use of an object text / genre as a cover under which a parodist hides other meanings. If Wildean parody might be described as claiming a covert agency, Joycean parody must, in contrast, be acknowledged as expressing deep-seated political ambivalence. Chapters Four and Five of this thesis discuss Joyce's Ulysses with specific reference to his use of parody to conflate, relativize and problematize the dominant aesthetic and Irish nationalist discourses of the early twentieth-century. Joycean parody also demonstrates parodic ambivalence and this is especially evident in what might be called his "parodic patriotism". In contrast to Wilde's and Joyce's use of parody for the expression of subversive or progressive political views, Stoppard's parodies confirm conservative English values not only in their reification of the English canon but also in terms of the ideological premises with which they invest their hypotexts. Chapters Six and Seven examine how parody can serve as one of the ways in which modem artists have managed to come to terms with tradition. Focusing on Stoppard's Rosencrantz and Guildenstern Are Dead and Travesties respectively, these chapters explore parody's capacity to function as tribute or homage to the writers of the past being parodied. Ultimately this thesis aims to demonstrate the continuum of parodic cultural work or effects of which parody, as a mode of generic engineering, is capable.
AFRIKAANSE OPSOMMING: In hierdie tesis word daar - met verwysing na geselekteerde werke van Oscar Wilde, James Joyce en Tom Stoppard - 'n teorie van parodie as multi-funktionele praktyk ontwikkel. Parodie word bespreek as 'n vorm van generiese manipulasie (eerder as 'n genre op sigself) met ideologiese implikasies. Op die basis van 'n vertolking van literêre en nie-literêre genres as sosiale instellings, beskryf hierdie tesis die praktyk van parodie as die bewerkstelling van generiese en diskursiewe ongelyksoortigheid met 'n besondere kulturele oogmerk in gedagte. In die herfigurering van generiese konvensies is die beoefenaar van parodie terselfdertyd besig om hulle geïmpliseerde ideologiese aannames te herbewerk. Parodie word dus 'n metode om met behulp van generiese modifikasie in omgang met "die wêreld" te verkeer; en die idee van die sosiale agentskap en kulturele aksie van parodie staan dus ook sentraal tot hierdie tesis. Hoofstukke Twee en Drie fokus onderskeidelik op The Picture of Dorian Gray en The Importance of Being Earnest. In hierdie twee hoofstukke word Wilde se gebruik van parodie bespreek, met besondere aandag aan sy parodiese "woordmaskers" om die estetiese en sosiale konvensies van Victoriaanse Engeland te ondermyn, asook sy bedekte propagering - deur middel van parodiese binne-grappe -- van 'n gay subkultuur. Sentraal tot Wilde se parodie is woordmaskers wat 'n dubbelsinnige gebruik van teks en genre inspan as 'n dekmantel waaronder die beoefenaar van parodie ander betekenisse verskuil hou. As Wilde se parodie beskryfkan word as bedekte bemiddeling oftussenkoms (covert agency), moet Joyce se parodie - as teenstelling - identifiseer word as 'n uitdrukking van diepliggende politiese ambivalensie. In Hoofstukke Vier en Vyf word Joyce se Ulysses bespreek met spesifieke verwysing na sy gebruik van parodie om dominante estetiese en Ierse nasionalistiese diskoerse van die vroeë twintigste eeu saam te voeg, te relativiseer en te bevraagteken.. Joyce se parodie illustreer ook parodiese ambivalensie - 'n aspek wat duidelik blyk uit wat sy "parodiese patriotisme" genoem kon word. In teenstelling met Wilde en Joyce se gebruik van parodie as uitdrukking van ondermynende of pregressiewe gesigspunte, bevestig Stoppard se parodie konserwatiewe Engelse waardes nie net in hulle vergestalting van Engelse kanoniese tekste nie, maar ook in terme van die ideologiese aannames wat hulle aan hul hipotekste toeskryf. Hoofstukke Ses en Sewe ondersoek hoe parodie kan dien as een van die weë waarlangs moderne kunstenaars daarin geslaag het om hulleself te versoen met tradiese. In Hoofstukke Ses en Sewe - waar daar onderskeidelik op Rosencrantz and Guildenstern Are Dead en Travesties gefokus word - word ook aandag geskenk aan die vermoë van parodie om te funksioneer as huldeblyk of eerbetoon aan skrywers wie se werke geparodieer word. Hierdie tesis poog om die kontinuum van parodiese kulturele werk te illustreer waartoe parodie, as 'n vorm van generiese manipulasie, in staat is.
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Cavendish-Jones, Colin. "Pavilioned on nothing : nihilism and its counterforces in the works of Oscar Wilde." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3515.
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This thesis explores the role of Nihilism in Oscar Wilde's thought and writing, beginning with the depiction of Russian Political Nihilism in Wilde's first play; Vera, or the Nihilists and tracing the engagement with philosophical Nihilism in his fiction, drama and essays, up to and including De Profundis. It is argued that Russian Political Nihilism derives from the same sources and expresses the same concerns as the philosophical Nihilism discussed by Nietzsche in The Will to Power, and that Nietzsche and Wilde, working independently, came to a strikingly similar understanding of Nihilism. Philosophical Nihilism is defined in two ways; as the complete absence of values (Absolute Nihilism) and as a sense that, while absolute values may exist, they are unattainable, unknowable or inexpressible (Relative Nihilism). Wilde uses his writing to express Nihilism while simultaneously seeking aesthetic and ethical counterforces to it, eventually coming to see Art and the life of the Artist as the ultimate forms of resistance to Nihilism. Wilde's philosophical views are examined in the context of his time, and in the light of his exceptionally wide reading. He is compared and contrasted with Nietzsche, the philosopher who has done most to shape our view of what Nihilism means, in his ethical and aesthetic response to Nihilism. The conclusion also considers the reception of Wilde's expression of Nihilism and his employment of Art as the only superior counterforce in the first half of the twentieth century, with particular reference to the works of Gide and Proust. Their engagement with Nihilism is explored both in historical context and as a way of addressing a problem which has become uniquely pervasive and pressing in the modern era.
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Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
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This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
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Kling, Jutta Cornelia. "On knowingness : irony and queerness in the works of Byron, Heine, Fontane, and Wilde." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11824.
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This thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along'.
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Fortin, Marcel. "La fortune critique d'Alain Grandbois, 1933-1963." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41326.
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Between 1933 and 1963, many Quebec critics followed with interest--some sporadically, others regularly--the works and career of Alain Grandbois (1900-1975). This thesis analyzes in systematic fashion the content and the evolution of their discourse.In addition to engaging in "dialogue" (via their reviews) with certain publishers, the critics reflected upon the problem of regionalism and universalism in Grandbois' "clear and simple" prose works, although in quite different ways with each new book. The collections of poems, on the other hand, because of their "hermetism", induced commentators to study the question of the intelligible and the unintelligible in poetry, a question closely linked to that of the meaning--or the absurdity--of existence. Moreover, these interpreters of Grandbois' works, in order to actualize them, read them into the social discourse of the time. Thus, some denounced them for reasons of dogma or of morality; others, more numerous, sought to make Grandbois' texts more "readable" by referring them to current events or phenomena, such as the Second World War, the immediate post-war period, or the "silent revolution" of the 1960s.
Products of the classical education system, Grandbois' exegetes drew their inspiration from the principal tendencies of European criticism. As well, they tended to compare Grandbois' prose works to those of French prose writers of the interwar years, and to link his poetry to that of European poets (the surrealists and those they influenced, among others), although occasional reference was made to local writers.
Over time, the critics came to construct the myth of Alain Grandbois, that "exceptional" literary and human being who acclimatized the "modern" poem to Quebec, after having roamed the world from 1925 to 1940. The history of Alain Grandbois' critical good fortune, in short, is that of a happy match between an "eminently" distinguished author and his grateful commentators, for whom he created the opportunity to say "new" things about man, art and life.
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Fortier, Anne-Marie. "La lecture à l'oeuvre : René Char et la métaphore Rimbaud." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34724.
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The purpose of this thesis is to analyse the function and the modulations of the figure of Rimbaud in the works of Rene Char, from 1927 to 1988 approximately.This analysis, which traces the passage---from the latent to the manifest---of the figure of Rimbaud through Char's works, is situated at the junction of two series of texts, one "interior" (Char's writings on Rimbaud), the other "exterior" (twentieth-century interpretations of Rimbaud). Intertexuality, understood to mean the influence of Rimbaud on Rene Char, emerges as a reading, that is a "critique" of Rimbaud, the elaboration of a "Rimbaldian" text of which Char himself is the legatee.
What is designated in this thesis as the "metaphore Rimbaud" in the work of Rene Char refers to a process of aesthetic conceptualization rooted in the figure of Rimbaud. The "conceptual metaphor" (a notion borrowed from the works of Judith Schlanger) constructs rather than describes an interpretation. The metaphor is thus a means of intellectual invention, a heuristic act and an instrument of investigation. For Char, the metaphorical Rimbaud is the space into which he projects and imagines the work to be created. Thus, the figure of Rimbaud, through a working and reworking of discrepancies and margins, is gradually transformed by the poet and becomes, finally, a true metaphor, that is, a conceptual hypothesis which is supple and ample enough to accommodate all of Char's poetry.
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Poulin, Marguerite. "Le discours mystificateur chez Alphonse Allais /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74299.
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Through the use of the texts published from 1893 to 1903 by Alphonse Allais, we analyse what we call the mystifying discourse, in other words the power of fiction. We show how the author succeeds to deceive the reader. We emphasize the artificial aspects of the language and the style used by Allais to make fun of his readers. This technical study of the writing of Allais allows us to compare with other kinds of works, notably the dreamlike images and the vaudeville.We study therefore the tricks and the traps of the language employed by Allais with the aim of laughing at our expectations. From this point, we will demonstrate that, most of the time, a rupture between the conclusion and the beliefs of the readers exists regarding the fiction which is presented in the tales. Emphasizing the absurd in the texts, we accentuate the various literary techniques. As a result, we illustrate how the humour of Alphonse Allais turns out to be a technical work.
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Daunais, Isabelle. "L'absurde comme élément comique dans les contes d'Alphonse Allais." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63958.
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Zhang, Zhaoyi. "Lu Xun : the Chinese "Gentle" Nietzsche = Lu Xun : Zhongguo "wen he" de Nicai." Frankfurt ; New York : Peter Lang, 2001. http://www.loc.gov/catdir/toc/fy02/2001038644.html.
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Séguin, Benoit 1966. "L'ennemi chez A. de Saint-Exupéry, suivi de, L'échec de l'idéologie moderne." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20466.
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The present master's thesis includes an essay and a fiction based on the theme of the ennemy. The essay relies on Antoine de Saint-Exupery's works: it shows the main three steps leading the warrior to a fall understanding of the meaning of his combat.First, the warrior must recognize and confront the outer ennemy, in order to attain certain virtues which will lead him to a first degree of personal growth. But the warrior who wishes to go beyond that limit must then point towards himself the faults attributed to the outer ennemy: he will thereby discover his own inner ennemy. Finally, the evacuation of hatred will be possible only if he accepts to challenge himself to the limit of his combat, by sacrifying himself for the sake of mankind.
The fiction tells the story of a young teacher who decides to declare war on his own principal for having done something absolutely immoral: the plagiarism of a philosophical essay in an editorial sent to the parents. Progressively, the troubling events that this teacher will go through will force him to admit that cowardness and dishonesty, faults first attributed to his boss, are in fact vices that he was never able to recognize in himself until then.
The discovery of his inner ennemy will change everything. The teacher won't accept anymore to fight in this war that has degenerated into hatred. Facing his responsibilities towards those who, just like him, challenged the principal and put themselves in a precarious situation, he will surrender to the only fraternal action left: his own sacrifice.
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Epstein, Heidi. "The nature of the relationship between music and theology according to Oskar Söhngen and Oliver Messiaen /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59296.
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This dissertation investigates a "universal" question--what the exact nature of the relationship between music and theology is--by examining two particulars: (1) the music and thought of the French Roman Catholic composer Olivier Messiaen, and (2) the theology of music of Protestant theologian/musicologist Oskar Sohngen.It should be emphasized, however, that the main focus of the paper is upon the "particulars," since the primary objective of this study is to demonstrate the remarkable similarity of thought which exists between the theory of Sohngen and the musical practice of Messiaen. After an exposition of Sohngen's three categories of relationship between music and theology (music as science, as worship, and as creatura) there is an extensive examination of Messiaen's compositional techniques which reveals the latter's implicit use of these same three categories.
In the final chapter of this work, after a discussion of several problems which are inherent in each of the particular approaches to music and theology, there is a return to the universal question, in response to which a precise, working definition is finally established.
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Biela, Stephan. "Vers une typologie de l'exil exupérien." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26677.
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Exile is a recurring theme in the writing of Antoine de Saint-Exupery; this master's thesis examines three forms--physical, psychological, symbolic--this leitmotif takes. The first chapter includes a review of Exuperian criticism and a discussion of the concept of exile; it also outlines the three critical approaches which frame our study of exile in the second chapter.Our analysis of "physical" exile borrows from the sociohistorical approach of "exile literature" to examine the portrayal of aviation as a world apart in Terre des hommes and Vol de nuit. We turn to feminist rereadings of Lacanian psychoanalysis to assist us in addressing "psychological" exile, which presents itself in the Lettres a sa mere as a constant conflict between the freedom of childhood and the restraints of adulthood. Finally, we examine "symbolic" exile, which arises from the failed relationships of women and men in Courrier sud, in the light of the Anglo-American concept of "gender".
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Paphitis, Sharli Anne. "Control and authenticity: reflections on personal autonomy." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002847.
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Currently the most influential accounts of personal autonomy, at least in the Englishspeaking world, focus on providing conditions under which agents can be said to exercise self-control. Two distinct accounts of personal autonomy have emerged in this tradition: firstly, hierarchical models grounded in the work of Harry Frankfurt; and secondly, systems division models most famously articulated by Gary Watson. In this thesis I show the inadequacies of both of these models by exploring the problematic views of the self and self-control underlying each model. I will suggest that the problems faced by these models stem from the fact that they endorse a problematic fragmentation of the self. I suggest that a Nietzschean account of personal autonomy is able to avoid these problems. The Nietzschean account can largely, I show, be drawn from Nietzsche’s understanding of both the ‘man of ressentiment’ and his opposite, the sovereign individual. On this picture wholeness of self – rather than fragmentation of the self – is required in order for us to be most fully autonomous. Furthermore, this wholeness of self requires the kind of integrity which is opposed to the problematic fragmentation endorsed by Frankfurt and Watson.
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Paphitis, Sharli Anne. "Control and vulnerability : reflections on the nature of human agency and personhood." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018671.
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Following the writings of philosophers such as Harry Frankfurt, Gary Watson, and Alfred Mele, in this thesis I defend some central claims of the self-control view of human agency. However, I not only defend, but also supplement this view in the following two ways. First, drawing on work by Mary Midgley and Sigmund Freud I advance the claim that self-control requires the experience of internal conflict between an agent’s motivations and intentions. Second, drawing on insights from Simone de Beauvoir and Friedrich Nietzsche, as well as recent research in social psychology and cognitive science, I will argue in this thesis that self-control and vulnerability are inextricably intertwined with one another, and that as a result both are to be seen as constitutive of human agency. While it is the capacity for self-control that marks us out as human agents, I argue that it is also our uniquely human vulnerability which distinguishes our agency from the kind of agency which we might attribute to other potential or actual forms of sentience. Further, while the concepts of human agency and personhood are typically conflated in the analytic tradition of philosophy, in this thesis I will show that there are good reasons for understanding these two concepts as subtly distinct from one another. The term personhood, I will argue, can fruitfully be understood in substantive rather than purely formal terms. A person, in the superlative sense, is to be understood as someone who exercises their agency well; and, as such, persons are answerable to a number of normative prescriptions. Following Midgley, Nietzsche and Martha Nussbaum, I argue against Frankfurt’s normative prescription for personhood in the form of what he calls ‘wholeheartedness’, and offer four normative prescriptions for personhood of my own.
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Weber, Joseph John. "A Categorization of Form for Stephen Crane's Poetry." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501068/.
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This thesis presents four categories of form basic to all of Stephen Crane's poetry: antiphons, apologues, emblems, and testaments. A survey of previous shortcomings in the critical acceptance of Crane as a poet leads into reasons why the categorization of form here helps to alleviate some of those problems. The body of the thesis consists of four chapters, one for each basic form. Each form is defined and explained, exemplary poems in each category are explicated, and specifics are given as to what makes one poem better than the next. The thesis ends with an elevation of Crane's worth as a poet and a confirmation of the merits of this new categorization of form.
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Heterick, Garry R. (Garry Raymond) 1965. "Dethroning Jupiter : E.M. Forster's revision of John Ruskin." Monash University, English Dept, 1998. http://arrow.monash.edu.au/hdl/1959.1/8604.
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Santos, Juliano Viali dos. "O diálogo na educação em direitos." reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/3333.
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Esta pesquisa tem como tema principal o diálogo na Educação em Direitos, na perspectiva da hermenêutica filosófica de Hans-Georg Gadamer. Dessa forma, o objetivo principal investiga as contribuições da concepção de diálogo no processo formativo da Educação em Direitos, para que esse formato educativo detenha a estrutura de uma formação educativa. Com isso, o estudo investiga as possibilidades da Educação em Direitos nas projeções do duplo caráter trazido pelo Direito, o regulatório e o emancipatório, bem como as possibilidades do alcance da concepção do diálogo na hermenêutica filosófica de Gadamer e, por fim, indica possíveis ações educacionais que possam ser ungidas pelo aprofundamento teórico desse estudo no desenvolvimento da Educação em Direitos. O problema de pesquisa desta investigação justifica-se pela enormidade exclusão social na atualidade, com a fragilidade do acesso ou efetividade dos direitos, mesmo em um Estado Democrático de Direitos que proclama na sua matriz constitucional os objetivos da dignidade da pessoa humana e a diminuição das desigualdades sociais. A investigação pauta-se na exploração bibliográfica, com o método de abordagem fenomenológico-hermenêutico. No suporte teórico para os conceitos desenvolvidos neste estudo, além do autor estruturante – Hans-Georg Gadamer (1983, 1985, 1998, 2000, 2002, 2005, 2006, 2009, 2010, 2012, 2010) –, destacam-se, como autores principais, Freire (1987, 1996, 2000, 2001, 2007, 2011, 2013, 2014), Bobbio (2004, 2007, 2015), Paviani (2005, 2001, 2017, 2013, 2016), Flickinger (2009, 2010, 2011, 2014), Martins (1997, 2012, 2014, 2015) e Grodin (1999, 2012). Os resultados sinalizam a relevância da Educação em Direitos ser permeada pelo diálogo e possibilitar alternativas de aprendizagem para o educando promover o fortalecimento do acesso ao conhecimento e efetivação de direitos, bem como do respeito e da cidadania. As conclusões apontam que a Educação em Direitos é significativa na formação do educando, com a ampliação de possibilidades de reconfiguração e compreensão de sua realidade dentro do contexto social e histórico, altamente regido pelo Direito no atual Estado Democrático de Direito. O diálogo na concepção da hermenêutica filosófica de Gadamer é estruturante para, desde o nascedouro, realizar o desenvolvimento das dinâmicas e intervenções educacionais da Educação em Direitos.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2017-11-30T18:13:30Z No. of bitstreams: 1 Dissertacao Juliano Viali dos Santos.pdf: 2747556 bytes, checksum: 4087ad92372f1409b8d3fa3aa77c255d (MD5)
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The main aim of this research is the dialogue in Rights Education, from the perspective of the philosophical hermeneutics of Hans-Georg Gadamer. In this way, the main objective investigates the contributions of the conception of the dialogue in the educational process of Rights Education, so this educational format could contribute to an educational structure. Therefore, this approach takes into consideration the possibilities of Rights Education outcomes, considering the double character of the Law, its regulatory and emancipatory aspects, the scope of possibilities in Gadamerian conception of dialogue within language and understanding in philosophical hermeneutics as well as possible educational actions that could take place as a result of a theoretical deepening in this study in the development of Rights Education. The research problem is justified by an enormous social exclusion nowadays, with a lack of access or basic fundamental rights effectiveness, in a Democratic State of Rights, in which its constitutional law includes the principles and objectives of full respect for human dignity and social inequality reduction. The investigation is based on bibliographical exploration, with the phenomenological-hermeneutic method of approach. In the theoretical support for the concepts developed in this study, besides the structural author - Hans-Georg Gadamer (1983, 1985, 1998, 2000, 2002, 2005, 2006, 2009, 2010, 2012,2010) - as main authors stand out Freire (1987, 1996, 2000, 2001, 2007, 2011, 2013, 2014), Bobbio (2004, 2007, 2015), Paviani (2005,2001, 2017, 2013, 2016), Flickinger , Martins (1997, 2012, 2014, 2015), Grodin (1999, 2012).The results indicate the relevance of Education in Rights to be permeated by the dialogue in order to enable learning alternatives for students, to promote the strengthening of access to knowledge and effective rights, respect and citizenship. The conclusions indicate that Rights Education is important in learners formation, it contributes to an enlargement, reconfiguration and to a better understanding of their reality within their social and historical context, which is highly governed by legal norms in the current Democratic State of Law. The dialogue in the conception of the philosophical hermeneutics of Gadamer is structuring and essential, since the beginning, to provide the development of the educational dynamics and interventions of the Education in Rights.
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Hibler, Starla Dawn. "The Lyric, Elegiac, and Euphonic Qualities of Ernst Krenek's Compositional Style as Exemplified in the Early Toccata und Chaconne über en Chorale, "Ja, ich glaub an Jesum Christum," Op. 13: Together with Three Recitals of Selected Works of W.A. Mozart, F. Schubert, C. Nielsen, L.v. Beethoven, J. Brahms, F. Liszt, A. Berg and F. Martin." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330875/.
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Ernst Krenek is noted and often criticized for the diversity of his overall output. However, one finds that his entire output is held together by a unique temperament regardless of stylistic changes. It is significant to compare the piano works to one another as the piano was the instrument he repeatedly turned to while testing new stylistic ideas. In writing about Krenek's music, Glenn Gould states eloquently and concisely that three qualities prevail in all of Krenek's mature output: the lyric, elegiac, and euphonic. These qualities are present in the early Toccata und Chaconne uber den Chorale, "Ja, ich glaub an Jesum Christum," Op. 13. It is lyrical in that melody is of utmost importance. One finds that melodic writing prevails in the other piano works as well regardless of when they were written. The elegiac also permeates the work. The Toccata and Chaconne shares with other later works this quality of seriousness, repose, and deep meaning. The Toccata and Chaconne is also euphonic. Krenek's overall style is one which does not shock or offend an audience. In a detailed comparison of the Toccata and Chaconne to later piano works, one may clearly see what Krenek specifically does musically to create this sense of the lyric, elegiac and euphonic in his overall output.
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Hoch, Jonathan (Jonathan Leith). "Virtues versus the 'enlightenment project' : a critical appraisal of Alasdair Macintyre's raclaiming of the Aristotelian tradition in moral theory." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52607.
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Thesis (MA)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: This thesis seeks to evaluate MacIntyre's claim that recourse to the tradition of virtue ethics in the Aristotelian-Thomist sense is the only viable intellectual option, given the alleged demise of the so-called"Enlightenment Project". It raises a twofold question: First, is it coherent to argue that MacIntyre's reappropriation of an ancient moral tradition is possible? Does such a claim duly reckon with the conditions under which meaningful forms are understood? The first claim being defended is that MacIntyre does not sufficiently respect Gadamer's conditions under which understanding occurs. It is also argued that MacIntyre does not provide coherent conditions for rationally choosing between traditions in order to possibly vindicate them. As such, MacIntyre's re-appropriating of the Aristotelian tradition in moral theory is not coherent and convincing. Secondly, does the dichotomy of "Nietzsche versus Aristotle" represent the only viable alternatives for us in our efforts to continue the enterprise of moral theorising? The second claim being defended is that the dichotomy is not a coherent way of moral theorising. The third claim being defended is that Gadamer represents a viable alternative to the ultimatum in that his thought provides the possibility of a more coherent way of moral theorising than MacIntyre's.
AFRIKAANSE OPSOMMING: Hierdie tesis stel ten doel die evaluasie van MacIntyre se standpunt dat die deugde-etiek van die Aristoteliaanse-Thomistiestradisie die enigste blywende opsie is, aangesiendie sogenaamde"Verligtingsprojek" misluk het. Die tesis stel twee kernvrae aan die orde: Eerstens, is dit sinvol om te argumenteer dat MacIntyre se appropriasie van bogenoemde etiese tradisie moontlik is? Verleen so n aanspraak genoegsame waarde aan die kondisies waaronder sindraers verstaan word? Die eerste standpunt wat verdedig word, is dat MacIntyre nie genoeg ag slaan op Gadamer se opvatting oor die kondisies vir verstaan nie. Daar word verder ook geargumenteer dat MacIntyre nie koherente kondisies aandui vir 'n keuse tussen tradisies nie en as sodanig ondermyn dit die koherensie van sy werk. MacIntyre se appropriasie van die Aristoteliaanse tradisie in morele teorie is dus nie koherent of oortuigend nie. Tweedens, is die dichotomie van "Nietzsche of Aristoteles" die enigste moontlike alternatief vir die voortgaande studie van morele teorie? Die tweede aanspraak wat verdedig word, is dat die dichotomie nie 'n koherente wyse van morele argumentasie is nie. Die derde aanspraak wat verdedig word is dat Gadamer 'n werkbare alternatief verskaf vir die dichotomie. Sy denke voorsien 'n meer koherente wyse om met morele teorie om te gaan as die een wat MacIntyre verskaf.
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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.
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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.
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Merrow, Kathleen. "Nietzsche's "woman" : a metaphor without brakes." PDXScholar, 1990. https://pdxscholar.library.pdx.edu/open_access_etds/4099.
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This thesis reconsiders the generally held view that Friedrich Nietzsche's works are misogynist. In doing so it provides an interpretation of Nietzsche's texts with respect to the metaphor "woman," sets this interpretation into an historical context of Nietzsche reception and follows the extension of Nietzsche's metaphor "woman" into French feminist theory. It provides an interpretation that shows that a misogynist reading of Nietzsche is in error because such a reading fails to consider the multiple perspectives that operate in Nietzsche's texts.
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Barbosa, Arlindo Antonio Araújo. "Ressonâncias entre as máscaras do historiador, do médico e do psicólogo: metamorfoses nietzschianas." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20481.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This dissertation intends to delineate the task that Nietzsche gave himself and made the primary goal of presenting the “name” of Nietzsche. His act of rendering the project of transvaluation of all values effective, understood by the philosopher as the greatest demand yet made of humanity, considering that it provoked a deep cut in the history of Western man, was closely related to this approximation with the “name” of Nietzsche. Hence, the need for the philosopher to: make himself known. Still, how the author of Ecce homo “reveals” himself to humanity, fully distinguishing himself, is the way philosophers have presented themselves traditionally, in a type of presentation that distances itself from the idea of an autobiography. Thus, the author of Ecce homo presents himself through masks like the historian, the doctor and the psychologist, Nietzschean disguises that resonate with each other and are imbricated in the project of transvaluation of values. The thesis will demonstrate how some of the main aspects of his philosophy, such as forgetfulness, resentment, conscience, and values will be treated with these images, or by these masks put on by the philosopher
Nossa dissertação pretende esboçar a tarefa que Nietzsche atribuiu a si mesmo, a qual tinha como meta principal apresentar o “nome” Nietzsche. A efetivação do projeto de transvaloração de todos os valores, entendida pelo filósofo como a mais alta exigência já feita à humanidade, visto que provocava uma cesura na história do homem ocidental, perpassava por essa aproximação com o “nome” Nietzsche, daí, então, a necessidade do filósofo em: dar-se a conhecer. Todavia, o modo como o autor de Ecce homo se “revela” à humanidade, distingue-se, por completo, da forma como os filósofos se apresentavam tradicionalmente, isto é, trata-se de um tipo de apresentação que se aparta da ideia de uma autobiografia. Destarte, é a partir de máscaras como o historiador, o médico e o psicólogo, disfarces nietzschianos que ressoam entre si, e que estão imbricados ao projeto de transvaloração dos valores, que o autor de Ecce homo se apresenta. Tentaremos mostrar, ao longo do texto, como alguns dos aspectos principais de sua filosofia, como, por exemplo, o esquecimento, o ressentimento, a consciência, os valores, etc, serão tratados por essas imagens, ou por essas máscaras assumidas pelo filósofo
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Jeon, Eun Deok. "A Study of Neoclassical Elements in Ernst Krenek's George Washington Variations, op. 120." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849780/.
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The purpose of this study is to explore neoclassical elements present in Krenek’s George Washington Variations. By identifying the stylistic features associated with the eighteenth and twentieth centuries, the study will examine Krenek’s application of his neoclassical tendencies. Key neoclassical elements include musical form and structure, key relationships, melody and harmony, and chromaticism. Since at this time there is little research on Krenek’s piano works, and none on the George Washington Variations, the result of this examination provides pianists and instructors with historically constructive information about Krenek’s musical style, as well as a deeper understanding of Krenek’s Neoclassicism in his George Washington Variations.
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Lawrence, Anne. "Feminist Design Methodology: Considering the Case of Maria Kipp." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc5538/.
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This thesis uses the work and career of the textile designer Maria Kipp to stage a prolegomena concerning how to write about a female designer active during the middle of the twentieth century. How can design historians incorporate new methodologies in the writing of design history? This thesis explores the current literature of feminist design history for solutions to the potential problems of the traditional biography and applies these to the work and career of Kipp. It generates questions concerning the application of methodologies, specifically looking at a biographical methodology and new methodologies proposed by feminist design historians. Feminist writers encourage scholarship on unknown designers, while also they call for a different kind of writing and methodology. The goal of this thesis is to examine how these new histories are written and in what ways they might inspire the writing of Kipp into design history.
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Macedo, Isabela Carvalho 1985. "O sorriso e as lágrimas de Dioniso : ensaio sobre a figura de Dioniso a partir da leitura de As bacantes de Eurípides." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270009.
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Orientador: Jeanne Marie Gagnebin de BonsDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A principal questão deste estudo é pensar Dioniso como o sucessor de Zeus. A reflexão proposta sugere que no século V a.C. é Dioniso o soberano que irá ditar os nomoi, leis, que irão reger a vidas dos imortais e dos mortais. Para tal empreitada é proposta uma leitura sobre o dionisismo desde o século VII a.C., que é quando Dioniso retorna das suas viagens exterior para a Grécia trazendo o vinho, até V a.C. quando o deus se torna a divindade mais cultuada da pólis. A principal fonte para tal leitura é a tragédia As bacantes de Eurípides, pois ela narra o retorno de Dioniso e a sua afirmação como uma divindade poderosa e foi escrita no século V a.C. Os principais interlocutores teóricos para o estudo de As bacantes são René Girard e Friedrich Nietzsche ¿ em específico os livros A violência e o sagrado e O nascimento da tragédia. A metodologia apresentada é a seguinte: primeiro serão discutidas as particularidades divinas que convém a Dioniso. O deus foi gestado por uma mortal, devido a isso ele tem mais afinidade com os mortais que as demais potestades. Além disso, é um deus que passa por vários sacrifícios. A partir de tais argumentos é desenvolvida a relação entre o deus e os mortais tendo como ponto de partida os heróis da epopeia. Será defendida a hipótese de que Dioniso apropria-se do logos, um discurso que mede o tempo a partir dos homens e não dos deuses, para fortalecer-se como divindade. Uma vez esclarecido o vínculo de Dioniso com os mortais, será proposta uma interpretação de As bacantes tendo tal obra como o marco da soberania de Dioniso ¿ é ele quem sucederá Zeus. A elaboração de tal leitura levou à contestação da perspectiva teórica de Nietzsche sobre o confronto e a conciliação entre apolíneo e o dionisíaco, impulsos artísticos que Nietzsche usa para definir a religião grega, e também sobre a figura de Sócrates. Desse modo, na última parte será feito um debate teórico sobre a leitura de Nietzsche, será relativizada a perspectiva do filósofo de que entre o apolíneo e o dionisíaco houve uma conciliação. Além disso, será proposta uma imagem de Sócrates não como o principal inimigo de Dioniso, mas como uma das máscara do deus
Abstract: The main question our study poses is whether one can interpret Dionysus as being the successor to Zeus. Our project proposes that in the fifth century BC, Dionysus determined nomoi, the laws that governed the lives of both mortals and immortals. In this dissertation we explore different references to Dionysus that circulated from the seventh century BC, when Dionysus returned to Greece from his travels abroad bringing with him wine, to the fifth century BC,the point when he became the most worshiped God in polis. Our main literary source is Euripedes¿s The Bacchae, writen in the fifth century BC, this work discusses Dionysus¿s ascent to become one of the powerful gods in Greece following his return to the empire. The principal theorists we engage with in this work are René Girard and Friedrich Nietzsche ¿ specifically, Violence and the Sacred and The Birth of Tragedy.The fist part of the dissertation explores particular traits ascribed to Dionyusus as a result of having been gestated by a mortal. Due to this, Dionysus has more affinity with mortals than the other gods have. Moreover, Dionysus makes a number of sacrifices. It is from these interpretations that the relationship between God and mortals originates and it is this point that marks the creation of heroes.Our hypothesis is that Dionysus appropriates logos, which we can understand as a form of discourse that measures time from mortals, not for gods, which in turn is used by Dionysus to strengthen himself as a god. After describing the relationship between mortals and gods, we propose an interpretation of The Bacchaethat show how this text can be interpreted showing Dionysus status as a powerful god -it is he who succeeds Zeus. From here we dispute Nietzsche's interpretation on confrontation andreconciliation between Apollonian and Dionysian, artistic impulses that Nietzsche uses to define ancient Greek religion, not to mention Nietzche¿s treatment of Socrates. In the final section we engage with the theoretical debate through a close readin of Nietzsche. In it we relativize Nietzsche¿s understanding that a compromise existed between the Apollonian and Dionysian. Furthermore, we propose that Socrates was not an enemy of Dionysus, but rather he was a mask of Dionysus
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
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Bogoiavlenskaia, Anna. "Suggestioni dantesche nel sistema poetico, teologico e politico di Vladimir Soloviov." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33875.
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The main scope of this study consists in analyzing how the poetic and ideologic universe of Dante is implanted and transformed in the Russian culture of the late XIXth---early XXth century. Particular emphasis is made on the role of Dante's heritage in the philosophy and poetry of the first Russian philosopher and symbolist poet---Vladimir Soloviov, as well as on the further impact of dantesche images on some major representatives of the Russian Symbolist movement.This analysis will be done through a demonstration of major point of interference between Soloviov and Dante: these can be examples of direct influence (as is the case with Theocracy) of appearance of the same archetypes (as is the case with Sofiology and theory of love).
Despite the clear and definite presence of dantesque motifs in Soloviov's heritage, no systematic analysis of the parallels between the two has been made up to date.
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Miller, Brenda. "Murky Impressions of Postmodernism: Eugene Gant and Shakespearean Intertext in Thomas Wolfe's Look Homeward, Angel and Of Time and the River." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5143/.
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In this study, I analyze the significance of Shakespearean intertextuality in the major works of Thomas Wolfe featuring protagonist Eugene Gant: Look Homeward, Angel and Of Time and the River. Specifically, I explore Gant's habits and preferences as a reader by examining the narrative arising from the protagonist's perspectives of Shakespeare's The Merchant of Venice, Hamlet, and King Lear. I examine the significance of parallel reading habits of Wolfe the author and Gant the character. I also scrutinize the plurality of Gant's methods of cognition as a reader who interprets texts, communicates his connections with texts, and wars with texts. Further, I assess the cumulative effect of Wolfe's having blurred the boundaries between fiction and reality, between the novel and drama. I assert, then, that Wolfe, by incorporating a Shakespearean intertext, reveals aspects indicative of postmodernism.
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Upchurch, Diane M. (Diane Marie). "Nineteenth Century Light and Color Theory: Rainbow Science in the Art of Frederic Edwin Church." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500448/.
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The purpose of this study was to investigate the depiction of rainbows in the art of Frederic Church in relation to mid-nineteenth century scientific developments in order to determine Church's reliance on contemporary concerns with light and color. An examination of four Church paintings with rainbows, three oil sketches, and nearly a dozen pencil drawings shows that Church's rainbow art represents a response to mid-century cultural values connecting science and art. Changes within Church's rainbow depictions occurred as the artist explored the visual representations of light, synthesizing the scientific knowledge of light and color available to him, and reconciling that information with the requirements of art.
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Souza, Ariane Carvalho [UNESP]. "Presença do naturalismo francês no romance epistolar O marido da adúltera, de Lúcio de Mendonça." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/94054.
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No romance epistolar O marido da adúltera, publicado em 1882 pelo escritor e jornalista Lúcio de Mendonça, encontram-se traços marcantes e inequívocos da estética naturalista desenvolvida, sobretudo, por Émile Zola. Neste trabalho, pretende-se verificar de que modo o idealizador da Academia Brasileira de Letras recebeu as ideias do Naturalismo e as inseriu em sua obra, verificando o processo de adaptação executado pelo autor brasileiro, que soube dialogar com a estética naturalista em voga na época, aplicando muitos de seus princípios, discordando de alguns deles. Cabe observar, igualmente, o fato de que Lúcio de Mendonça optou pelo romance epistolar, gênero pouco utilizado no Brasil do século XIX, mas fundamental para a construção desta obra. Esta pesquisa visa, portanto, analisar de que maneira o autor de O marido da adúltera utilizou-se do naturalismo francês para criar um romance epistolar brasileiro, publicado, originalmente, no periódico O Colombo, em forma de folhetim; característica, aliás, que se conserva no momento da publicação do romance em livro, em 1882
On the epistolary novel The adulterer’s husband, published in 1882 by the writer and journalist Lúcio de Mendonça, it‟s found distinctive features and unequivocal from the naturalist theory developed, especially, by Émile Zola. In the present paper, it‟s intended to verify what way the creator from the Brazilian Academy of Letters received the ideas of Naturalism and put them into his work, checking the adaptation process performed by the Brazilian author, who knew how to dialog with the naturalist aesthetics in common use that time, enforcing lots of his principles, disagreeing with some of them. It must be noted, equally, the fact that Lúcio de Mendonça chose the epistolary novel, a not very used gender in Brazil in XIX century, but something fundamental to this work to be made. Therefore, this research aims to analyze what way The adulterer’s husband’s author used the French naturalism to create the Brazilian epistolary novel, published, at first, by Colombo journal, as a soap opera; characteristics that, by the way, are preserved at the book‟s publishing moment, in 1882
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Salbayre, Sébastien. "Analyse stylistique des oeuvres de fiction d'Oscar Wilde. Approche énonciative." Toulouse 2, 2000. http://www.theses.fr/2000TOU20062.
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Un certain nombre de faits stylistiques, en leur qualite de facteurs d'elaboration d'un effet esthetique, caracterisent les uvres de fiction d'oscar wilde en mettant en valeur dualite et duplication. Dans ces uvres, la representation se fait sur le mode du couplage impliquant une phase d'identification et une phase de differenciation et souligne une alterite qui confere a la macro-structure et a la micro-structure des textes la complexite configurationnelle qui les caracterise. En matiere d'homogeneite textuelle, un certain nombre d'elements, en vertu de leur pouvoir eminemment liant, jouent un role des plus cohesifs au sein des uvres considerees, permettant au lecteur de mettre en relation - sur le mode de l'anticipation ou sur celui du rappel - les etapes essentielles de la quete desheros wildiens. Cette mise en relation intervient entre le paratexte et le texte, entre l'incipit et le corps du texte, et au sein du texte lui-meme : repetitions, parallelismes, echos intra-textuels multiples, construction de reseaux analogiques, construction de reseaux de correspondances facilitent l'anticipation et l'evocation de donnees essentielles a la comprehension d'uvres qui mettent en scene des etres stereotypes evoluant dans un univers stereotype. Du point de vue de l'heterogeneite enonciative, la distance entre personnages, narrateur et auteur implicite releve moins du dialogisme que du monologue fort peu differencie. Aussi la superposition des voix releve-t-elle de la polyphonie de voix presque identiques. L'heterogeneite enonciative revele l'alterite assimilee des textes consideres (emprunts marques, intertextualite, subversion, captation). En ecrivant un roman, des nouvelles et des contes qui celebrent l'ambivalence, wilde donna naissance a des uvres breves qui, parce qu'elles font cohabiter en leur sein des tendances contradictoires, regardent, dans le miroir deformant de leur propre structure, de leur propre construction, le reflet de leur propre image.
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Barros, Adelson Florêncio de. "Os papéis sociais dos negros e de seus senhores em casa-grande & senzala: representação textual-discursiva escravocrata ou abolicionista?" Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21014.
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This dissertation, based on the Critical Discourse Analysis, thematizes the social roles of the masters and their slaves in Casa Grande & Senzala. It is justified, for this work is studied and criticized by social scientists and not by a critical vision of the discourse. It is a textual-discursive analysis of this work. There are several published works, about this work, with sociological, anthropological, among others. The research is justified, because it aims to answer: Is the author of Casa Grande & Senzala a conservative enslaver or revolutionary abolitionist? The general objective is to contribute to the discursive studies of the work in question and to specific ones: 1. To verify, in Brazilian historiographical texts, which and how many social roles the black slaves did represent socially; 2. To ascertain which and how many social roles the slaves represent in the said work, comparing them with those of historiography, multimodal texts and newspaper advertisements; 3. Analyze the point of view projected by the author when focusing on slavery in the sugar zone of Pernambuco. The proposed research is qualitative and documental, with theoretical-analytical procedure. The results indicate that the ideological and cultural values that guide Freyre in writing this work result from the patron saint values of sugar planter from Pernambuco, aiming to construct the miscegenated origins of Brazilian culture and are those that are archived in his social memory, from the family institution. Therefore, they are conservative and enslaved values. The hypothesis of the investigation proved to be adequate, since Freyre is guided by an ideology of Pernambuco sugarcane rural power, canceling the cruelty, sadism and excessive exploitation of the slave labor force and privileges the role of the female slave, transmitter of Afro Brazilian cultural miscegenation, in order to build the myth of the sensuality of the black woman
Esta tese, fundamentada na Análise Crítica do Discurso, tematiza os papéis sociais dos senhores e seus escravos em Casa-Grande & senzala. Justifica-se, pois essa obra é estudada e criticada por cientistas sociais e não por uma visão crítica do discurso. Trata-se de uma análise textual-discursiva da referida obra. Há vários trabalhos publicados, sobre essa obra, com enfoque sociológico, antropológico, entre outros. A pesquisa justifica-se, pois busca responder: o autor de Casa-grande & Senzala é um conservador escravocrata ou revolucionário abolicionista? O objetivo geral é contribuir com os estudos discursivos da obra em questão e específicos: 1. Verificar, em textos historiográficos brasileiros, quais e quantos papéis sociais os escravos negros representaram socialmente; 2. Averiguar quais e quantos papéis sociais os escravos representam na referida obra, confrontando-os com os da historiografia, textos multimodais e anúncios de jornal; 3. Analisar o ponto de vista projetado pelo autor ao focalizar a escravidão na zona açucareira pernambucana. A investigação proposta é qualitativa e documental, com procedimento teórico-analítico. Os resultados indicam que os valores ideológicos e culturais que guiam Freyre, ao escrever essa obra, resultam dos valores patronais do senhor de engenho açucareiro pernambucano, objetivando a construção das origens miscigenadas da cultura brasileira e são esses que estão arquivados em sua memória social, a partir da instituição familiar. Logo, são valores conservadores e escravocratas. A hipótese da investigação mostrou-se adequada, pois Freyre é guiado por uma ideologia do poder patronal rural açucareiro pernambucano, cancelando a crueldade, o sadismo e a exploração excessiva da mão de obra escrava e privilegia o papel da escrava, transmissora da cultura afro na miscigenação cultural brasileira, de forma a construir o mito da sensualidade da negra
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Batista, Miguel. "Bildung and initiation : interpreting German and American narrative traditions." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.
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This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.
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Roodt, Vasti. "Amor fati, amor mundi : Nietzsche and Arendt on overcoming modernity." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019.1/1230.
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Gravem, Bruna Cardoso. "A game of appearances : the mask of Oscar Wilde." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/81374.
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Esta dissertação examina as formas como três instâncias se embaraçam na arte de Oscar Wilde: a pessoa, o autor e a obra. O objetivo da pesquisa é compreender como se dá o processo criativo desse escritor, cujas peças levitam entre o irreverente e o polêmico. O humor refinado e a sagacidade na análise do trato social, traços marcantes no estilo de Wilde, são aqui aproximados à habilidade demonstrada tanto pelo autor quanto por seus personagens de se adaptarem a diferentes circunstâncias através do uso de máscaras, ou personas, que lhes possibilitam contornar situações intrincadas. Apoio-me no pensamento de Carl Gustav Jung para as teorizações sobre o conceito de máscara. O trabalho se constrói em três capítulos, nos quais são analisados aspectos e circunstâncias da vida do autor que contribuem para forjar seu estilo único, e que se refletem nas obras por ele criadas. O primeiro capítulo trata sobre a pessoa de Oscar Fingal O’Flahertie Wills Wilde, e os movimentos que empreendeu para que sua personalidade forte e o rígido ambiente vitoriano em que vivia pudessem aos poucos se harmonizar. Abordo as formas como a sociedade em que cresceu o afetou, apontando aspectos em que ele também a influenciou em retrospecto. Ao longo desse processo, Wilde criou as máscaras que utilizaria, durante a vida, para transitar da maneira desejada entre os diversos grupos com que se relacionou. O segundo e o terceiro capítulos apresentam o autor Oscar Wilde e a sequência de diferentes tipos de obras por ele criadas, avaliando de que formas as circunstâncias da vida da pessoa se consolidaram formando o estilo do autor. Além da estética de Wilde, também é considerada a recepção de sua obra pelo público contemporâneo a ele. No segundo capítulo apresento os conceitos de máscara e de sombra, e como se refletem em sua obra e em sua vida pessoal. Ali são examinadas as primeiras tragédias e, a seguir, as obras que o tornaram um autor polêmico na Inglaterra Vitoriana: “The Portrait of Mr. W. H” e The Picture of Dorian Gray. No terceiro capítulo comento seu momento mais prestigiado, o da produção das comédias sociais, bem como o momento mais sombrio, o das obras escritas durante os anos de prisão, nos últimos anos de sua vida. Ainda discuto, no terceiro capítulo, o legado deixado por Wilde, comentando como as mudanças sociais levaram a uma nova recepção de suas obras, e como essas obras continuam relevantes tendo-se passado um século de sua criação. Nas considerações finais, reitero o propósito da pesquisa, que é contribuir com uma leitura sobre o estilo do grande escritor, com base na análise das relações que se deram entre esse irlandês excêntrico e a inclemente sociedade Vitoriana em que viveu.This dissertation examines how three strings tangle together in Oscar Wilde’s art: the person, the author and his literary works. The goal of this research is to understand the creative process of this author, whose plays go from irreverent to polemic. The polished humor and wit applied in his analysis of social behavior, trademarks in Wilde’s writing style, approximate the ability shown by the author, as well as by his characters, to adapt to different circumstances through the use of masks, or personas, that enable them to escape intricate situations. The concept of mask is supported on Carl Gustav Jung’s theory. This paper is constructed in three chapters, in which it is analyzed aspects and circumstances of the author’s life that contributed to his unique writing style and is reflected on his literary works. The first chapter deals with the person Oscar Fingal O’Flahertie Wills Wilde, and the movements that he partook in so that his strong personality and the strict Victorian environment could harmonize themselves in his life. This paper approaches the ways the society he was brought up into affected him, pointing out aspects in which he affected this society in return. Throughout this process Wilde created many masks that he would use his whole life to be able to navigate through different groups he was related to however he wished. The second and third chapters present the author Oscar Wilde and the sequence of different literary works written by him, evaluating how the circumstances in his personal life shaped him, creating the author’s writing style. Not only this paper considers the Aesthete in Wilde, but also the reception of his works by the public that was contemporary to him. In the second chapter it is presented the concepts of mask and shadow, and how they reflect on Wilde’s work and personal life. It is also examined his first tragedies and the literary works that made him become a polemic author in Victorian England: “The Portrait of Mr. W. H.” and The Picture of Dorian Gray. In the third chapter it is mentioned the brightest moments in his career, his comedies of society, as well as his soberest, with the work he wrote in prison and in the last few years of his life. Still in the third chapter, it is discussed the legacy left by Wilde, commenting on the social changes that led to a new reception of his works, as they continue to be relevant even a century after their creation. On my final considerations, I reiterate the goal of this research, which is to contribute with a reading on the style of this great writer, based on the analysis of the relation between this eccentric Irish man and the unmerciful Victorian society that he lived in.
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Toffoli, Tânia 1984. "O retrato de Dorian Gray : um romance em três tempos - circulacão entre Inglaterra e Brasil." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270141.
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Orientador: Orna Messer LevinDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo deste trabalho é comparar o contexto de publicação do único romance de Oscar Wilde, \O Retrato de Dorian Gray", na Inglaterra e no Brasil. A obra aparece pela primeira vez no Reino Unido e EUA em 1890 na Lippincott's. É editada em livro em 1891. A tradução do texto para o português, feita por João do Rio, circula no Brasil em folhetim no jornal A Noite, em 1911. A publicação em livro é feita pela Garnier, em 1923, após a morte do tradutor. A partir dessas informações, se faz relevante considerar alguns tipos de leituras que são possibilitadas nos dois casos. Para compreende-las, analisei dois aspectos ligados á estrutura do romance: o uso do narrador, pelo viés da narratologia de Genette, e a presença de descrições
Abstract: The purpose of this study is to compare the context of publication of the only novel by Oscar Wilde, \The Picture of Dorian Gray", in England and in Brazil. The work appears for the first time in UK and US in 1890 at Lippincott's. It is edited as a book in 1891. The translation of the text in Portuguese, by Joao do Rio, circulates in Brazil as feuilleton at the newspaper A Noite, in 1911. The publication as book is made by Garnier, in 1923, after the death of the translator. From this information, it is relevant to consider some types of readings enabled by these two cases. To understand them, I've analyzed two aspects concerning the structure of the novel: the use of the narrator, by bias of narratology of Genette, and the presence of descriptions
Mestrado
Historia e Historiografia Literaria
Mestra em Teoria e História Literária
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Robson, Julie-Ann. "Beneath the socratic cloak : Oscar Wilde and the art of criticism." Phd thesis, 2003. http://hdl.handle.net/1885/148762.
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Punchard, Tracy Kathleen. "Art, criticism, and the self : at play in the works of Oscar Wilde." Thesis, 1998. http://hdl.handle.net/2429/10928.
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This thesis explores the works of Oscar Wilde as they articulate and model an
aesthetic of play. I show that Wilde distinguishes between true and false forms--or what I
call models and anti-models--of play in a number of areas: art, criticism, and society,
language, thought, and culture, self and other.
My introduction establishes a context for the cultural value of play in the
nineteenth century. I survey the ideas of Friedrich Schiller, who treats play in the
aesthetic realm; Matthew Arnold, who discusses Criticism as a free play of the mind;
Herbert Spencer, who explores play in the context of evolution; and Johan Huizinga, who
analyses play in its social context. In my three chapters on Wilde's critical essays, I draw
upon their ideas to describe Wilde's philosophy of play and examine how the form of
Wilde's critical essays illuminates his aesthetic. My first chapter explores models and
anti-models of play in Art, as they are described by Vivian in "The Decay of Lying." By
exploring the role of "lying" in its aesthetic rather ethical context, Vivian demonstrates
the value of the play-spirit for the development of culture. My second chapter discusses
models and anti-models of play in Criticism as they are described by Gilbert in "The
Critic as Artist." By refashioning the traditions of nineteenth-century criticism, Gilbert
presents his own model of criticism as an aesthetic activity and demonstrates the role of
the play-spirit in the development of the individual and the race. My third chapter relates
models and anti-models of play in art, criticism, and social life to the modes of self-realization
described by Wilde in "The Soul of Man Under Socialism." I take up Wilde's
well-known paradox, that Socialism is a means of realizing Individualism, by showing
how Wilde plays with these terms in an aesthetic rather than a political context. In the
remaining chapters I read Wilde's fictional and dramatic texts in light of his aesthetics
and treat the characters as models and anti-models of the play-spirit. In The Picture of
Dorian Gray, I take the measure of play, not morality, as a guide for interpretation. In
this reading Lord Henry Wotton is the novel's critic as artist, while Dorian Gray, with his
literal-mindedness, his imitative instinct, and his ruthless narcissism, fails to achieve the
aesthetic disinterestedness that characterizes true play. My sixth chapter traces themes
related to play—game, ceremony, and performance—in Wilde's Society Comedies to
demonstrate how these plays both reflect and critique the spectacle of Society and the
conventions of nineteenth-century melodrama. My thesis concludes with The Importance
of Being Earnest as it presents a culmination of Wilde's play-spirit and his playful
linguistic strategies. I show how both the form and content of Earnest model the
paradoxical ideal of play itself—that through play we may realize the experience of being
at one with ourselves and on good terms with the world.
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Kinsella, Paul. ""We must return to the voice" : oral values and traditions in the works of Oscar Wilde." Thesis, 2002. http://hdl.handle.net/2429/13083.
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This study examines the literary career of Oscar Wilde as the formation and
expression of a sensibility exhibiting highly developed powers of both orality and
literacy. In other words, Wilde's work and life reveal the mind of both a talented writer
and a talker par excellence, and this inquiry explores the development and co-existence
of the two modes, in particular as they manifest themselves in Wilde's writing and in his
relations with the societies in which he found himself.
Chapter One discusses the balance between Wilde's talk and his writing as it was
experienced by W. B . Yeats, who emerges as a very persistent and perceptive biographer
of this aspect of Wilde's genius. The theoretical framework and terminology developed
by Walter J. Ong (1982) is also brought to bear on the discussion as a further illumination
of Yeats's accounts.
Chapter Two presents an outline of some aspects of the history and culture of
Ireland which might explain the formation of a dual sensibility such as Wilde's. In
Chapter Three this line of inquiry is extended further into the domestic circumstances in
which Wilde grew up, focussing in particular on the influence of his tutor at Trinity, J. P.
Mahaffy. A discussion of the links between Wilde and Mahaffy includes consideration of
the parallels between their written works, culminating in an interpretation, at the end of
the chapter, of the origins and dynamics o f Wilde's essay "The Decay of Lying."
Chapter Four continues to explore the links between Mahaffy and Wilde, but
shifts the focus to their mutual classicism, which also provides a lens through which to
view the further development of Wilde's dual oral/chirographic sensibility at Oxford,
symbolized in the person and the work of Walter Pater. I then offer a reading of "The
Critic as Artist" as an expression of Wilde's Oxford literary idealism, expressed through
his call to "return to the voice."
From there this study moves to a discussion of Wilde's subsequent life and work
in terms o f a combined orality and literacy. Chapter Five is devoted to an exploration o f
the power of the voice and the spoken word in The Picture of Dorian Gray, and Chapter
Six examines the spoken stories, Salome, and The Importance of Being Earnest through a
similar perspective. The Conclusion extends the analysis to Wilde's trial and prison
sentence, his last works including De Profundis, and his final years as a storyteller in
Paris.
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Beales, Brodie Jane. "Becoming-Dionysian : art, exploration and the human condition in the works of Rimbaud, Burroughs and Bacon / Brodie Beales." 2005. http://hdl.handle.net/2440/22229.
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Bibliography: p. 313-324.xii, 324 p., [31] leaves of plates : col. ill. ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, School of Humanities, 2005
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Chester, Blanca Schorcht. "Storied voices in Native American texts : Harry Robinson, Thomas King, James Welch and Leslie Marmon Silko." Thesis, 2000. http://hdl.handle.net/2429/11396.
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"Storied Voices in Native American Texts: Harry Robinson, Thomas King, James
Welch and Leslie Marmon Silko" approaches Native American literatures from within an
interdisciplinary framework that complicates traditional notions o f literary "origins" and
canon. It situates the discussion of Native literatures in a Native American context,
suggesting that contemporary Native American writing has its roots in Native oral
storytelling traditions. Each of these authors draws on specific stories and histories from
his or her Native culture. They also draw on European elements and contexts because
these are now part o f Native American experience. I suggest that Native oral tradition is
already inherently novelistic, and the stories that lie behind contemporary Native American
writing explicitly connect past and present as aspects o f current Native reality.
Contemporary Native American writers are continuing an on-going and vital storytelling
tradition through written forms.
A comparison of the texts o f a traditional Native storyteller, Robinson, with the
highly literate novels of King, Welch and Silko, shows how orally told stories connect
with the process o f writing. Robinson's storytelling suggests how these stories "theorize"
the world as he experiences it; the Native American novel continues to theorize Native
experience in contemporary times. Native writers use culturally specific stories to express
an on-going Native history. Their novels require readers to examine their assumptions
about who is telling whose story, and the traditional distinctions made between fact and
fiction, history and story. King's Green Grass. Running Water takes stories from Western
European literary traditions and Judeao-Christian mythology and presents them as part of
a Native creation story. Welch's novel Fools Crow re-writes a particular episode from
history, the Marias River Massacre, from a Blackfeet perspective. Silko's Almanac of the
Dead recreates the Mayan creation story o f the Popol Vuh in the context o f twentiethcentury
American culture. Each of these authors maintains the dialogic fluidity of oral
storytelling performance in written forms and suggests that stories not only reflect the
world, but that they create it in the way that Robinson understands storytelling as a form
of theory.
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"中德現代文化想像對話: 尼采思想在中國的詮釋." 2000. http://library.cuhk.edu.hk/record=b5895815.
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莊偉宏."2000年8月"
論文 (哲學碩士)--香港中文大學, 2000.
參考文獻 (leaves 89-97)
附中英文摘要.
"2000 nian 8 yue"
Zhuang Weihong.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (leaves 89-97)
Fu Zhong Ying wen zhai yao.
Chapter 一、 --- 引論 --- p.4
Chapter i. --- 現代槪念的構成 --- p.4
Chapter ii. --- 追求「現代」的文化史 --- p.6
Chapter iii. --- 理論結構 --- p.7
Chapter iv. --- 硏究限制 --- p.8
Chapter 二、 --- 中國現代化研究的重新審視 --- p.10
Chapter 1. --- 五四硏究的文獻回顧 --- p.10
Chapter i. --- 充滿意識形態的研究論題 --- p.10
Chapter ii. --- 反傳統主義論爭的由來 --- p.12
Chapter iii. --- 中心性硏究的批判 --- p.13
Chapter 2. --- 研究方法：哲學詮釋學 --- p.15
Chapter i. --- 效果歷史的形成
Chapter ii. --- 視界融合法則 --- p.17
Chapter iii. --- 詮釋的極限 --- p.19
Chapter 3. --- 現代文化想像的結構 --- p.21
Chapter 4. --- 「尼采與中國」的研究回顧 --- p.22
Chapter 5. --- 小結 --- p.24
Chapter 三、 --- 尼采在中國：視界融合的開始 --- p.26
Chapter 1. --- 尼采´ؤ與痛苦作戰的命途 --- p.27
Chapter i. --- 尼采的生平 --- p.27
Chapter ii. --- 尼采的思想 --- p.28
Chapter 2. --- 尼采在中國的歷史 --- p.31
Chapter 3. --- 五四知識份子詮釋尼采的特徵 --- p.34
Chapter i. --- 傳統成見下的詮釋：尼采作爲「反傳統」的符號 --- p.35
Chapter ii. --- 傳統成見下的詮釋：尼采作爲現代的符號 --- p.37
Chapter iii. --- 進化的呼喚 --- p.39
Chapter 4. --- 小結 --- p.40
Chapter 四、 --- 魯迅與尼采話語 --- p.42
Chapter 1. --- 魯迅與尼采的邂逅 --- p.43
Chapter i. --- 魯迅鬥爭的一生 --- p.43
Chapter ii. --- 前人的成果 --- p.44
Chapter iii. --- 尼采影響魯迅的程度 --- p.45
Chapter 2. --- 視界融合的準備：尼采與魯迅的現代文化藍圖 --- p.45
Chapter i. --- 魯迅的尼采話語 --- p.45
Chapter ii. --- 早期魯迅與尼采 --- p.49
Chapter iii. --- 精神戰士的讚歌 --- p.50
Chapter iv. --- 個人主義的疑惑 --- p.51
Chapter 3. --- 小結 --- p.53
Chapter 五、 --- 魯迅、尼采與傳統：從理解到融合 --- p.55
Chapter 1. --- 魯迅的尼采詮釋結構 --- p.55
Chapter 2. --- 進化論-雙重危機之下的超人「前見」 --- p.56
Chapter i. --- 尼采與終極關懷 --- p.57
Chapter ii. --- 魯迅的「前見」：虛無主義在中國 --- p.58
Chapter iii. --- 〈傷逝〉：終極關懷的雙重文本 --- p.59
Chapter iv. --- 呼喚力量的超人 --- p.62
Chapter V. --- 魯迅的超人心理意象：進化的超人 --- p.63
Chapter 3. --- 憐憫的弔詭-傳統「前見」下的超人 --- p.65
Chapter i. --- 超人與庸眾的矛盾 --- p.65
Chapter ii. --- 人道主義與超人的矛盾 --- p.66
Chapter iii. --- 超人與聖人的矛盾：一個心理分析 --- p.61
Chapter 4. --- 超人眼中的中國傳統 --- p.70
Chapter i. --- 超人和聖人之間的調和 --- p.70
Chapter ii. --- 〈狂人日記〉:庸眾與傳統 --- p.72
Chapter iii. --- 庸眾性心意圖象：魯迅文化心理的結構性分析 --- p.74
Chapter iv. --- 傳統徘徊於正負之間 --- p.75
Chapter v. --- 哀其不幸、怒其不爭：魯迅的現代文化意象 --- p.75
Chapter 5. --- 小結 --- p.80
Chapter 六、 --- 前瞻：尼采在中國一個未完的計劃 --- p.82
Chapter 1. --- 超人-一個被遺忘的現代想像 --- p.83
Chapter 2. --- 中國的後現代濫觴 --- p.84
Chapter 2. --- 傳統及現代 --- p.86
Chapter 2. --- 尼采在中國：一個未完成的計劃 --- p.87
參考書目 --- p.89
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Park, Mi Soo. "A psychoanalytic study of Buñuel’s cinema." Thesis, 2001. http://hdl.handle.net/2429/11585.
Full textAbstract:
The objective of this thesis is to attempt a semiotic- psychoanalytic reading of the cinema
of Bunuel. For this proposal we have selected three films of the director, An Andalusian dog,
Land without bread and The obscure object of desire. The criteria that has led to this particular
selection of films takes into account a wide range of variables to be contrasted to the
psychoanalytical determinants that, we propose, play a decisive role in the form and content of
the productions.
The different variables present in these films are: genre (Surrealist, documentary and
traditional narratives), thematics (surrealistic, erotic and socio-etnographic study), time of
creativity (early adulthood, senility) and socio-cultural conditions of production (Spain, France).
Our intended psychoanalytic study focuses on the creator's unconscious motivations that
regulate, in a rather compulsive way, the poetics of love or life indistinctively present in all these
cinematic creations.
In order to reach to this interpretative stance, we will follow the different methodological
steps of a semiotic reading of the texts that will discern their cinematographically denotative and
connotative devises and contents.
This way of illuminating art through psychoanalysis is reflected on the Freudian idea that
creativity constitutes one of the mysterious human manifestations in which the instincts channel
their conflicts in a socially disguised way, in order to pursue the desired gratification.
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"文藝與政治之間: 論洪深、田漢夏衍與中國現代戲劇的轉向 = Between literature and politics : a study of Hong Shen, Tian Han, Xia Yan and the transformation of modern Chinese drama." 2015. http://library.cuhk.edu.hk/record=b6115317.
Full textAbstract:
在中國現代文學中，文藝與政治之間有著密切而複雜的關係，此一問題在現代戲劇中尤其值得重視。過往戲劇研究長期位處邊緣，這與戲劇此一文類所獨具的綜合藝術特質不無關係，其橫跨文學、美術、音樂、表演等領域的跨藝術特徵，導致其複雜性實際上遠超純文學的範疇。另一方面，戲劇運動的集團性和政治性，亦導致論者對於中國現代戲劇發展較為簡單化的論述，戲劇史的書寫往往與時代話語緊密連繫。不論是純粹文藝化還是政治化的角度，皆很可能遮蔽了戲劇本身一體兩面的問題，導致研究單一化和簡單化。洪深 (1894-1955)、田漢 (1898-1968)和夏衍 (1900-1995)均是中國現代重要戲劇家，同時亦長期被定位為左翼文藝陣營中的重要成員。戲劇家和政治家的身分重疊，導致他們的研究情況往往與時代的意識形態掛鈎，而目前有關他們的研究更是受到冷落，與他們的文學成就並不相稱。本文以三位劇作家為研究對象，希望通過他們的不同面向，重新審視文藝與政治之間各種複雜關係的可能性。本文分為五章。第一章為導論，主要介紹本文的寫作理念、方法和背景。第二章以洪深為研究對象，重新探討他的現實主義戲劇創作和主張。洪深對改譯劇的主張和實踐，體現了他與晚清鴛鴦蝴蝶派文學和西方戲劇的深刻淵源，而他和蕭伯納之間的文學關係，反映了他對早期文明戲的戲劇改革和西方舞台的繼承，突顯了洪深如何在中西文化之間思索中國現代戲劇中的現實主義問題。第三章從西方唯美主義和先鋒文學運動的角度，重新探討田漢的創作和政治轉向。本章考察田漢對外國文學的譯介活動，當中包括英國唯美主義作家威廉．莫里斯、德國表現主義影劇、俄國和日本左翼劇場，反映了田漢戲劇運動的左翼國際主義特徵；然而田漢對日本作家佐藤春夫和谷崎潤一郎的翻譯，則體現了他對唯美主義的回歸。第四章以夏衍的戲劇創作為研究對象，重新探討夏衍的戲劇文學的獨特性。本章把夏衍此時期的劇作分為歷史劇和上海都市劇兩個角度作出分析，並將它們放在當時文學場域中與郭沫若的歷史劇、國防文學、現代派小說和左翼電影作一比較，並分析夏衍的現實主義與左翼現實主義的相異。第五章為結論，綜合前文各章的討論，重新思考三位劇作家的戲劇實踐，並重審中國現代戲劇中文藝與政治之間的複雜關係。
There is a complicated relationship between literature and politics in modern Chinese literature, especially in modern Chinese drama. As a result, the research of modern Chinese drama has long been placed at a marginal position. Drama is an integrated artistic form consisting of literature, art, music, and performance, and therefore presents a complexity that goes far beyond "pure literature". On the other hand, the history of modern Chinese drama is closely integrated with historical discourse as a result of the organizational and political characteristics of drama movements. This shows that either literary or political point of view may confine the interpretation of their inter-related complexity and interaction. Hong Shen (1894-1955), Tian Han (1898-1968) and Xia Yan (1900-1995) are three of the most important dramatists in modern Chinese literature, who were also regarded as representative members in the left-wing literary camp. Due to their dual identities as dramatist and politician, their images are often connected with historical and ideological discourses. This has also resulted in desolation in their researches, which is not commensurate with their literary achievements. This dissertation, therefore, focuses on the three dramatists by presenting different perspectives of their works and activities, with the aim to explore the possibilities of various relations between literature and politics.
There are five chapters in the dissertation. Chapter one introduces the framework, method and background of the research. Chapter two re-examines the realistic works and theories of Hong Shen. Hong’s adaptation reflects his literary relationship with both the Mandarin Ducks and Butterflies literature and the Western drama. Moreover, Hong’s literary relationship with Bernard Shaw reflects his succession of both the tradition of the civilized drama and the Western theatre. This highlights that the characteristics of Hong Shen’s realistic theories were adapted from both China and the West. Chapter three re-explores the political transformation of Tian Han from the Western literary movements of aestheticism and the avant-garde. This chapter demonstrates the characteristics of left-wing cosmopolitanism in Tian Han’s drama movements by studying his translation activities of international literature, which include the English poet William Morris, German expressionist cinema and theatre, Russian and Japanese left-wing theatre. In the meantime, Tian Han’s translations of Japanese writers Sato Haruo and Tanizaki Junichiro reflect his return to aestheticism. Chapter four discusses the uniqueness of Xia Yan’s literary works, including his historical drama and his modern drama centering on Shanghai. This chapter emphasizes the difference of Xia Yan’s realistic style from left-wing realism by comparing Xia’s works with National Defence Literature, modernist fictions, left-wing cinema, as well as the historical drama by Guo Moruo. Chapter five concludes the significance of the dramatic transformation by Hong Shen, Tian Han and Xia Yan, and reviews the relationship between literature and politics in modern China.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
盧敏芝.
Parallel title from added title page.
Thesis (Ph.D.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 135-157).
Abstracts also in English.
Lu Minzhi.
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Grewar, Debra Suzanne. "`The love that dare not speak its name' in the works of Oscar Wilde." Diss., 2005. http://hdl.handle.net/10500/1959.
Full textAbstract:
Victorian society had strict written and unwritten laws about what was permissible in terms of personal relationships. Anglican patriarchal church values governed behaviour between the classes and enforced codes of conduct on gender related boundaries of private individuals. Society subscribed to the traditional family of man, woman and children in the context of marriage. Homosexuality amongst men was punishable by prison. Government and religion preached Christian morality, yet the number of prostitutes had never been greater. This dissertation explores the problems of a pro-homosexual and anti-establishment Victorian author writing about human relationships forbidden by society. It exposes the consequences suffered by Oscar Wilde due to his investigative insights into the `Other' in the context of individual rights of preference in regard to sexual orientation, as expressed in selected texts, and his resolution of conflict, in De Profundis.English Studies
MA (English)
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Speirs, James. "An investigation of the parallels between Sartre's bad faith and Nietzsche's slave morality." Thesis, 2011. http://hdl.handle.net/10413/8259.
Full textAbstract:
The following dissertation examines Sartre’s notion of bad faith before identifying parallels
found in Nietzsche’s Genealogy of Morals. Bad faith is often construed as lying to oneself;
however, this entails an individual being both the deceiver and deceived which presents a
number of paradoxes. By reconceptualising bad faith as self-deception rather than lying to
oneself these paradoxes are avoided. Nietzsche’s Genealogy examines the development of
modern morality and explains its genesis through identifying a specific psychological
tendency, namely, ressentiment. Ressentiment is central to the Genealogy as it results in the
idealisation of asceticism and the development of the bad conscience into guilt. These are
core elements of what Nietzsche terms slave morality. By exposing ressentiment as a
manifestation of bad faith this dissertation highlights the self-deception lying at the
foundation of slave morality. Nietzsche believes that it is slave morality which
predominantly constitutes modern morality, and manifestations of bad faith in Nietzsche’s
account of modern morality therefore give credence to Nietzsche’s call to revalue our values.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.