Dissertations / Theses on the topic '1860-1904 Criticism and interpretation'
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1
Lemieux, Martha. "The evolution of irony in the short stories of Chekhov /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60576.
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In the corpus of Chekhov's prose there is a perceptible evolution in his use of irony. This study involves an examination of the use of irony in the initial, middle and final phases of his artistic career. It will demonstrate that in the initial phase, Chekhov's use of irony was direct and overt; in the middle phase, it was more deliberate and covert; and in the final phase, it was subdued, more transparent and transcendent. Selected stories taken from all three periods will illustrate this evolution.
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Ziskin, Gregory. "The main principles of Chekhov's dramatic technique /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61256.
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The purpose of the present study is to analyze the structural techniques and genre of Chekhov's plays.The many books and articles published on Chekhov's plays far exceeds his own works. Although there have been numerous studies analyzing the structural techniques of his play, considerable controversy still exists among literary and theatre scholars regarding the genre of his plays. Most of the studies simply avoid this complex and intricate problem.
In this study particular emphasis is also placed on the dramatic techniques used by Chekhov: the sequence of events, the nature of the roles and the so-called "unfinished" endings.
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Ledingham, Georgina May. "Chekhov's doctors : a prescription for a better life." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26864.
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Anton Chekhov pursued two careers simultaneously throughout his life—that of a doctor as well as a writer of prose and drama. It is not surprising, therefore, to discover many physicians amongst his characters but it is puzzling that the portrayal of doctors is frequently unflattering despite his admitted indebtedness to the profession. The thesis herein proposed is that the poor image Chekhov presents points to the necessity of self-determination in matters of emotional and spiritual health; if the doctors are incapable of healing themselves and those in their care, the patients might well take the biblical directive, "Arise! Take up thy bed and walk." In his stated desire to show people how bad and dreary their lives are, thereby assisting them in fashioning better lives, Chekhov's prescription is one of self-help. The short stories—Late-Blooming Flowers, Anyuta, Ward No. 6, The Head Gardener's Tale and The Doctor's Visit—and the plays— Platonov, Ivanov, The Seagull, The Wood-Demon, Uncle Vanya and Three Sisters—have been examined; beneath the incompetence and villainy of the doctors an affirming statement is discovered in the otherwise melancholy canon of Chekhov.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Crew, Teresa Ammons. "A creative interpretation of the short stories of Kate Chopin through dramatic play-manuscripts." Thesis, University of Wales Trinity Saint David, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683263.
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Tracey, Linda. "Graham Greene : the link to fantasy." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61315.
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Graham Greene has stated that he believes there to be an undercurrent of fantasy running through all of his work that has largely gone unnoticed by his critics. Within the context of any discussion on Greene can be found a starting point for an evaluation of his work in terms of the fantastic and fantasy. Eric S. Rabkin defines fantasy as the inverse of reality. In a fantasy world, the ground rules, expectations, and perspectives of everyday experience are reversed, or diametrically opposed, and the effect is a sense of hesitation and wonder. All of Greene's fiction describes worlds divided. He constructs borders that continuously separate people, places, situations, motivations, perspectives, objectives, and states of mind. Each side of the border describes a world that is the opposite of the other. The reality of one side is turned over on the other side, and life on the border is unpredictable and uncertain. The concept of alternate realities and other worlds which characterize fantasies, can be applied to all of Greene's works in general, and more specifically to a particular group of the fiction which exhibits a much higher degree of fantastic content.
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Podlasli, Heidi M. "Freedom and existentialist choice in the fiction of Kate Chopin." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/774759.
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Kate Chopin, 1851-1904, gained national fame when her local color stories became published in acclaimed magazines such as Vogue and the Atlantic. Her novel, The Awakening (1899), however, criticized for its controversial content and its heroine, Edna Pontellier, whose ambiguous actions and final suicide were focus of the critical attention, received only negative reactions and silenced Chopin as a writer. Interpretations by feminists, realists, or culturalhistorians proved insufficient in their attempts to explain the dilemma of the heroine. Approached from an existentialist point of view, the novel seems to derive new meaning, but the few extant critical discussions remain either too superficial or too general in scope. A thorough explication of J.-P. Sartre's existentialism, in particular, however, would provide a fresh, insightful interpretation not only of The Awakening, but also of selected short stories that had critics equally torn when faced with the seemingly ambivalent decisions of their heroines.Following the literature review of Chapter I, Chapter II will provide background information on Sartrian existentialism while focusing on such terms as anguish, bad faith, and authenticity that are especially relevant for a better understanding of Chopin's works. How several of her short stories and The Awakening will derive new significance when approached from an existentialist perspective will be shown in Chapters III and IV, respectively, the interpretation mainly centering on the argument that the dilemmas of the heroines, formerly described as "female" or "romantic," are essentially "human" and derive universal, therefore existential significance. Finally, I will try to account for Kate Chopin's "existentialism" in Chapter V by not only taking a closer look at the social issues she was surrounded by, and also her personal life that was the foundation of her thinking, being expressed in ideas that would put her way beyond the "Zeitgeist" of her times.Department of English
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Wakefield, Steve School of Modern Languages UNSW. "Returning Medusa's gaze : Baroque intertext in Alejo Carpentier." Awarded by:University of New South Wales. School of Modern Languages, 2003. http://handle.unsw.edu.au/1959.4/19141.
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This thesis studies the concept of the baroque as applied to the works of the Cuban novelist Alejo Carpentier (1904-1980). It revisits the original inspiration that the writer found in baroque architecture and sculpture, as expressed in the articles he wrote from Spain in the early 1930s, and follows his use of baroque culture in each of his novels. It is found that, through his attempt to create a period ambience for his historical fictions by incorporating into his novels descriptions of the art and architecture of the Baroque era, and by imitating the literary style of Spanish Golden Age writers, he ultimately produced a parodic and ironic style that was put to a highly original use even in those works set in the contemporary period. Finally, the mature works produced in the last decade of Carpentier's life are studied, and the continuities and discontinuities between these works and those of previous periods are examined, in order to arrive at a critical assessment of the potential to renovate the Latin American novel created by this writer's use of the baroque. Throughout this thesis the primary focus is placed upon the role played by the visual arts, including architecture, in Carpentier's development of baroque themes and style, a secondary focus being placed upon literary influences. Thus the importance for Carpentier of various writers and artists is examined, such as Cervantes, Quevedo, Piranesi, Vico, Goya, Barr????s and d'Ors. It is found that Carpentier's use of baroque themes, motifs and style enabled him to make a unique contribution to literature in a number of ways: by creating an original means of representing the position of the individual with regard to society and the historical process, by reevaluating Latin American culture and environment vis-????-vis is Europe, and by adopting a postcolonial perspective of cultural self-assertiveness that was to pave the way for the 'boom' in the Latin American novel.
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Shah, Uttamlal T. "The solo songs of Edward MacDowell : an examination of style and literary influence." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/515624.
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Edward MacDowell is widely recognized as America's first great native-born composer. His music has come to be characterized as being extremely lyrical and harmonically inventive. Solo songs constitute an overlooked area of MacDowell's output and no serious study has been undertaken of them to date. The goal of this dissertation is to obtain a more complete portrait of MacDowell through a detailed examination of his songs.Previously unstudied manuscripts and sketches from the MacDowell Collection of the Library of Congress provide important insights into his songwriting process. The choice of text proved to be such an important determinant in MacDowell's settings that the author has chosen to divide the songs into three stylistic groupings based primarily on MacDowell's selection of texts rather than on chronology.In MacDowell's first-period songs, he concentrated on setting German texts while living in Germany from 1880 to 1888. Poetry by Heine, Goethe, and Klopstock plays an important role in these songs, which are stylistically similar to the nineteenth-century Lied. Chromatic harmonies, frequent modulations, and active piano accompaniments characterize these songs.MacDowell's second-period songs, written between 1886 and 1890, use English texts and differ markedly from the earlier Lieder. While many of their texts (and consequently, best songs of this group show the development of MacDowell's characteristic harmonic language and lyricism.The second-period songs serve as a transition into MacDowell's final songwriting period (c. 1893-1901), during which he wrote his most successful works. The third-period songs are delineated by the use of original poetry and represent a synthesis of the first two periods. The chromaticism and active piano parts of the lieder are combined with the new lyricism of the second-period songs.Songwriting spans MacDowell's entire career and is evidence of the seriousness with which he viewed the medium. A thorough study of the songs, both published and unpublished, reveals a steady line of development throughout MacDowell's career, with many musical advances predicated by the text. This development, which closely mirrors similar advances in the piano music, is an important factor in MacDowell's entire creative output.
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Johnston, Kelly Scott. "R. Joseph della Reina and his damnation in the fiction of I. B. Singer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31115.
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The following thesis focuses on the medieval kabbalistic legend of R. Joseph della Reina who, using traditions of esoteric magic, conjured Satan in order to slaughter him in an unsuccessful bid to force the Redemption of Israel. A translation of a version from eighteenth century Amsterdam is presented. Influenced by the heretical ideas of Sabbatianism, this version carries two opposing significations: that of a cautionary tale on one hand, that of a tragic tale of mystical heroism on the other. Based on evidence from the fiction of Isaac Bashevis Singer, the case is made that the modern author, in line with his philosophy of political passivism and historical pessimism, makes full use of the Faustian fascination of R. Joseph della Reina's fearsome story while repeatedly presenting the legend in such a way as to purge it of traditional ambiguity, undermine its tragic character, and leave behind only the aspect of caution or warning.
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Heyns, Michiel. "Elemente van die groteske realisme en karnavaleske in Foxtrot van die vleiseters deur Eben Venter." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1860.
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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2006.In this thesis I explore the possibility of reading Foxtrot van die vleiseters by Eben Venter through the philosophy of the carnivalesque and grotesque realism, as put forward by the Russian language philosopher, Mikhail Bakhtin. An overview of the theory of grotesque realism is given in chapter 1. In chapter 2 some of the main aspects of the apartheidsregime are discussed, after which the most important principles of grotesque realism are applied to the novel. A chapter is devoted to each of the following broad categories: the distinction between a high, official order and a low, unofficial order and the consequences when the official order is lifted; the images of the grotesque body; and lastly, the culture of laughter and celebration. The salient points will be gathered together in the conclusion.
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Robb, Paul H. "Graham Greene's use of evil in selected novels." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/533881.
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Roy, Wendy J. "Maps of gender and imperialism in travel writing by Anna Jameson, Mina Hubbard, and Margaret Laurence." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38516.
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This dissertation is an analysis of writings and illustrative material by Canadian travel writers Anna Jameson, Mina Hubbard, and Margaret Laurence, that attempts to reconcile the masculinist focus of postcolonial criticism and the charges of cultural imperialism levied against feminist criticism with the role postcolonial and feminist theories play in understanding women's travel narratives. I argue that Jameson's 1838 Winter Studies and Summer Rambles in Canada, Hubbard's 1908 A Woman's Way through Unknown Labrador, and Laurence's 1963 The Prophet's Camel Bell provide maps of the political, cultural, and physical features of the areas through which the women travelled, and of their own social and cultural positions. Their mapping is also done through more graphic media---including Hubbard's cartographic work, Hubbard's and Laurence's photographs, and Jameson's unpublished sketches---which reflect and complicate the written negotiations of gender and imperialism in which the three women engage.Because my aim is to reconcile theoretical contradictions, I examine in detail books that clearly dramatize colonialist or anti-imperialist approaches and considerations or exemplifications of issues of gender. Not surprisingly, the three writers draw very different maps of those subjects, as a function of their disparate geographical and historical contexts. This study reveals, however, that the maps themselves are drawn with similar tools, which include an anti-racist philosophy and an acute awareness of women's position in their own and the visited societies. Thus Jameson makes philosophical connections between mid-nineteenth-century feminist and anti-racist theoretical approaches; Hubbard provides insights into an early twentieth-century woman traveller's relationship to First Nations men who have both more and less power than she; and Laurence serves as a witness to and astute reporter on oppression of mid-twentieth century women by specific colonial and patriarchal forces.
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Green, Suzanne Disheroon 1963. "Knowing is Seaing: Conceptual Metaphor in the Fiction of Kate Chopin." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278960/.
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This paper examines the metaphoric structures that underlie Chopin's major novel, The Awakening, as well as those underlying selected short stories. Drawing on the modern theory of metaphor described by Mark Turner, George Lakoff, and Mark Johnson, the author argues that conceptual metaphors are the structural elements that underlie our experiences, thoughts, and words, and that their presence is revealed through our everyday language. Since these conceptual structures are representative of human thought and language, they are also present in literary texts, and specifically in Chopin's texts. Conceptual metaphors and the linguistic forms that result from them are so basic a part of our thinking that we automatically construct our utterances by means of them. Accordingly, conceptual metaphor mirrors human thought processes, as demonstrated by the way we describe our experiences.
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Herrmann, Karin Ulrike. "Die Rolle der Hexe in den Märchen der Brüder Grimm und Ludwig Bechsteins." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3815.
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Fairy Tales have been an important part of peoples' cultural heritage since time immemorial. From a very early age on, children hear stories about witches, giants, dwarf's, and magicians which make up their first entry into the literary world. Only recently have scholars begun to research just how much influence these stories have on children and how they might have a different impact on girls than on boys. This thesis will investigate the world of fairy tales in relation to their historical context and their differing relevance for male and female readers. I will examine the fairy tales of the brothers Grimm and of Ludwig Bechstein because these three scholars count among the most important fairy tale narrators in the German-speaking region. I will limit my examination to the witch in fairy tales because of all the figures she seems to have the most impact on the audience.
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Nash, Andrew. "Kailyard, Scottish literary criticism, and the fiction of J.M. Barrie." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15199.
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This thesis argues that the term Kailyard is not a body of literature or cultural discourse, but a critical concept which has helped to construct controlling parameters for the discussion of literature and culture in Scotland. By offering an in-depth reading of the fiction of J.M. Barrie - the writer who is most usually and misleadingly associated with the term - and by tracing the writing career of Ian Maclaren, I argue for the need to reject the term and the critical assumptions it breeds. The introduction maps the various ways Kailyard has been employed in literary and cultural debates and shows how it promotes a critical approach to Scottish culture which focuses on the way individual writers, texts and images represent Scotland. Chapter 1 considers why this critical concern arose by showing how images of national identity and national literary distinctiveness were validated as the meaning of Scotland throughout the nineteenth century. Chapters 2-5 seek to overturn various assumptions bred by the term Kailyard. Chapter 2 discusses the early fiction of J.M. Barrie in the context of late nineteenth-century regionalism, showing how his work does not aim to depict social reality but is deliberately artificial in design. Chapter 3 discusses late Victorian debates over realism in fiction and shows how Barrie and Maclaren appealed to the reading public because of their treatment of established Victorian ideas of sympathy and the sentimental. Chapter 4 discusses Barrie's four longer novels - the works most constrained by the Kailyard term - and chapter 5 reconsiders the relationship between Maclaren's work and debates over popular culture. Chapter 6 analyses the use of the term Kailyard in twentieth-century Scottish cultural criticism. Discussing the criticism of Hugh MacDiarmid, the writing of literary histories and studies of Scottish film, history and politics, I argue for the need to reject the Kailyard term as a critical concept in the discussion of Scottish culture.
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Slater, Jennifer. "Direct experience of God in contemporary theology." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1016265.
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'Direct experience of God' is a term frequently used by theologians without adequate clarification regarding its meaning. The understanding thereof has become increasingly complicated by the process of secularization. In the 1960's, it was repeatedly asserted that modern people could not have direct experiences of God, albeit that one could still live by faith and by commitment to the way of Jesus in a world in which, it was asserted, "God is dead". This claim, although long predominant, has been challenged by the upsurge of interest in mysticism, both Eastern and Western, and the burgeoning of Pentecostalism and the Charismatic movement, in which circles direct experience of God was frequently claimed. If direct experience of God is something natural to humanity, interpretation of it will vary in exactly the same way as interpretation of all other human experiences. This could be a possible reason for it being so very poorly integrated into everyday life, resulting in the loss of meaning and value.
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Beauchamp, Claude. "Henry-Emile Chevalier et le feuilleton canadien-français (1853-1860)." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61277.
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Henry-Emile Chevalier was forced in exile by the December 1851 Coup d'Etat in France. In March 1853, he came to Montreal and joined Georges-Hippolythe Cherrier who had just started a new periodical called La Ruche Litteraire Illustree. In addition, during his stay in Montreal, Chevalier worked for several periodicals, was an active member of the Institut canadien de Montreal, and wrote many novels and serials depicting Canada's exoticism. This thesis will provide the most accurate biography of Chevalier up to date, it will also present an analysis of the exoticism in his novels and serials (1853-1960), and of his contribution to the evolution of serials in French Canada.
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Moraes, ádamo Guedes Santos de. "O cosmopolitismo e a insensatez (1860-1882): a loucura como conformidade cultural no Rio de Janeiro de Machado de Assis." Universidade Federal da Paraíba, 2008. http://tede.biblioteca.ufpb.br:8080/handle/tede/6026.
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This dissertation discusses why and how Machado de Assis, in The Alienist , registers a certain cultural proximity among Carioca Imperial Court, French Court and the English one, between 1881 and 1882. For that, it was considered in our study that some narrative resources showed in this short story are developed into socio-cultural circumstances experienced by the author, between the 1860 s and 1880´s. Actually, it s in the process of his accommodation related to the job opportunities which are offered to him, in a condition of a chronicler and French and English translator, that the irony, the dialogal tone, the imaginary theater and the skepticism, are developed and elaborated by Machado de Assis in The Alienist . From this short story on, Machado de Assis addresses, as madness, the consumption without limit of hand-made products imported from France and England as well as the project of national identity, under influence of the relation between Rousseau s Romanticism and Positivism, of the Historical and Geographical Brazilian Institute (IHGB), and some political propositions made by intellectuals linked to Recife Faculty of Law, supported not only by Evolutionism and Social Darwinism, and from São Paulo Faculty of Law, but also by Positivism and Liberalism, as solution to promote the cultural progress of Brazil. Therefore, it s in the context of the second reign, characterized by a marked triumph of the cosmopolitism in the court, that Machado de Assis organizes characters to do ironies with this feature from a hidden methodology; learnt with Poe (1981), with an engaged posture under Hugo s influence (1982) and with a proposition of reflexion guided by Pirro s skeptical philosophy (2007). To sum up, to dramatize the life of the court from The Alienist , Machado de Assis seems to suggest that the supposed cause of Brazil s cultural backwardness, when compared to France and England, is not racial, but moral and political.
Essa dissertação discute porque e como Machado de Assis, em O Alienista, registra uma certa proximidade cultural da corte carioca com a França e com a Inglaterra, entre 1881 e 1882. Para isso, consideramos, em nosso estudo, que alguns recursos narrativos, trabalhados nesse conto, são desenvolvidos nas circunstâncias socioculturais vivenciadas pelo autor, entre as décadas 1860 e 1880. De fato, é no processo de sua acomodação ás oportunidades de trabalho que lhes são oferecidas, na condição de cronista e de tradutor da literatura francesa e inglesa, que a ironia, o tom dialogal, o teatro imaginário e o ceticismo são desenvolvidos e trabalhados por Machado de Assis, em O Alienista. A partir desse conto, Machado de Assis trata, como loucura, o consumo sem limites de manufaturas importadas da França e da Inglaterra, bem como o projeto de identidade nacional, sob a influência da relação entre o Romantismo rousseauniano e o Positivismo, do Instituto Histórico e Geográfico Brasileiro (IHGB), e algumas propostas políticas de intelectuais ligados a Faculdade de Direito do Recife, apoiado no Evolucionismo e no Darwinismo Social, e da Faculdade de Direito de São Paulo, amparado por idéias oriundas do Positivismo e do Liberalismo, como solução para promover o progresso cultural do Brasil. Desse modo, é no contexto do Segundo Reinado, caracterizado por um triunfo marcante do cosmopolitismo na corte, que Machado de Assis organiza personagens para ironizar com essa característica a partir de uma metodologia velada, aprendida com Poe (1981), com uma postura engajada sob a influência de Hugo (1982), e com uma proposta de reflexão orientada pela filosofia cética de Pirro (2007). Enfim, ao dramatizar a vida da corte a partir de O Alienista, Machado de Assis parece sugerir que a suposta causa do atraso cultural do Brasil, quando comparado com a França e a Inglaterra, não é racial, mas moral e político.
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Stiebeling, Detlef. "Traditional iconographic themes in a Victorian context : paintings by Sir John Everett Millais between 1848 and 1860." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73982.
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Shin, Dong Jin. "Hugo Wolf's Interpretation of Paul Heyse's Texts: An Examination of Selected Songs from the Italienisches Liederbuch." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33202/.
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In a Romantic song cycle or songbook, songs tend to share many common ideas because they are used to set to the poems from one collection written or collected by one author. Many composers designed the same motivic or structural elements to a group of songs for unity, and sometimes they made chronological narratives for the series of poems. Music theorists have tried to find out a way of giving a sense of unity or narrative to the songs in a song cycle or songbook by analyzing its musical language and text setting. They have suggested plausible explanations for the relationships among the songs in a song cycle or songbook, and some theorists have traced the tonal movements and provided a visual explanation for them. Hugo Wolf's two volumes of the Italienisches Liederbuch (1890-91, 1896) were set to the forty-six poems from Paul Heyse's well-selected works. Wolf's way of selecting poems from Heyse's collection seems inconsistent, and his song ordering in the both volumes does not show evident rules. However, a closer study for relationships between the songs could widen our perspective to comprehend the whole songbook as a unified storyline. This study selected the first four songs from each volume of the Italienisches Liederbuch, and analyzed the eight songs in a traditional way, accounting for harmony, motivic feature, tonal movement, form, and text setting. The study finds that Wolf used the third relationships among the songs to convey a storyline in his order of the songs, and especially exploited the direction of thirds for his own narrative. While this may only be a pilot study with partial results, it can serve as a stimulus for a comprehensive study of factors that provide unity in the cycle as a whole.
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Arima, Hiroko 1959. "The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278060/.
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"The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty" examines certain prototypical natures of isolation as recurrent and underlying themes in selected short fiction of Chopin, Porter, and Welty. Despite the differing backgrounds of the three Southern women writers, and despite the variety of issues they treat, the theme of isolation permeates most of their short fiction. I categorize and analyze their short stories by the nature and the treatment of the varieties of isolation. The analysis and comparison of their short stories from this particular perspective enables readers to link the three writers and to acknowledge their artistic talent and grasp of human psychology and situations.
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Gernhardt, Phyllis J. "Prentiss Ingraham and the dime novel." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834145.
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This study examines the ideas and values of late nineteenth century American society through the popular art form of dime novel literature. The works of Prentiss Ingraham, one of the most prolific dime novel authors, with over 600 novels to his credit, and one of the most popular, with-at least one reprint of each title, served as the focus of this study. A reading and analysis of 75 of his novels provided insight into the social ideas of his time.The results of this study show nineteenth century America's perceptions of the ideal society and the romanticization of nineteenth century American beliefs. This ideal society was based on a democratic foundation and thrived on a balance between the ruggedness of the frontier and the refinement of Eastern civilization. Likewise, the ideal American hero possessed the same blending of these characteristics.Department of History
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Lazzari, Letícia. "Marcas da cultura local em tradução do conto "No baile acadiano", de Kate Chopin." reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1058.
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A autora norte-americana Kate Chopin (1850-1904) é conhecida por sua vasta produção de contos ambientados no estado de Louisiana, os quais exibem uma representação das peculiaridades locais. Em vários dos contos, Chopin focaliza a cultura Cajun e propõe uma representação ficcional da língua daquela comunidade (língua crioula Cajun) através da fala dos personagens, como ocorre em "No baile acadiano". Dividida em três capítulos, a presente dissertação almeja investigar se a questão da regionalidade, representada por marcas da cultura local e de identidade cultural dos personagens, influencia na permanência de expressões em língua francesa e língua Cajun no processo tradutório do conto At the ‘Cadian Ball para a língua portuguesa: "No baile acadiano". A pesquisa permitiu constatar que houve influência das questões culturais e de regionalidades na tradução do conto, uma vez que o uso da língua transmite informação social, aspecto exemplificado durante a alternância de códigos entre os personagens dependendo do interlocutor. Logo, verifica-se que a atitude da tradutora Denise Mariné pode ser considerada como respeitosa à autora e aos aspectos linguísticos que seriam prejudicados caso tais frases e/ou expressões/unidades fraseológicas fossem traduzidas para a língua portuguesa.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-11-12T15:41:03Z No. of bitstreams: 1 Dissertacao Leticia Lazzari.pdf: 5432776 bytes, checksum: efe4218f45e70344c52057a7f211abc5 (MD5)
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American author Kate Chopin (1850-1904) is known for writing many short stories located in the state of Louisiana, which display a representation of local particularities. In several of her stories, Chopin focuses on Cajun culture and proposes a fictional representation of the language of that community (Cajun language) through the speech of the characters, as in "No baile Acadiano". Divided into three chapters, this dissertation aims to investigate whether the issue of regionality, represented by marks of local culture and cultural identity of the characters, influences in the maintenance of expressions in French and Cajun language in the translation process of the short story "At the 'Cadian Ball" into Portuguese: "No baile Acadiano". The research showed that there was influence of cultural issues and regionalities on the translation of the story because the use of language conveys social information, aspect that was exemplified during the code-switching process among characters, depending on the interlocutor. So, it is noticeable that the translator's attitude (Denise Mariné) can be considered as respectful in relation to the author and to linguistic aspects that would be lost if such sentences and/or expressions/phraseologisms were translated into Portuguese.
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Wilkins, Peter Duncan. "The transformation of the circle : an exploration of the post-encyclopaedic text." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26939.
Full textAbstract:
Any text which criticizes, undermines and/or transforms the encyclopaedic ideal of ordering and textualizing the world in a closed, linear fashion can be defined as a post-encyclopaedic text. This thesis explores both theoretical and artistic texts which inhabit the realm of post-encyclopaedism.
In the past, critical speculation on encyclopaedism in literature has been concerned with the ways in which artistic texts attempt to live up to the encyclopaedic ideal. In some cases, this effort to establish an identity between the artistic text and the encyclopaedia has led to an ignorance of the disruptive or even deconstructive effects of so-called fictional encyclopaedias. Once we recognize the existence of such effects, we must begin to examine the techniques and possibilities of post-encyclopaedism.
Hence we can see post-encyclopaedic qualities in the condensed meta-encyclopaedism of Jorge Luis Borges' "Tlön, Uqbar, Orbis Tertius", the disrupted quests for encyclopaedic revelation in Herman Melville's Moby Dick and Thomas Pynchon's Gravity's Rainbow, and the principle of textualized world as fugue in Louis Zukofsky's "A"-12.
In addition, we can create a theoretical space for the post-encyclopaedic text by weaving together Mikhail Bakhtin'sideas on the novel as opposed to the epic, Michel Foucault's notion of restructuring the closed circle of the text through mirrored writing, Jurij Lotman's theory of internal and external recoding in texts, and Umberto Eco's concept of the open text.
By combining an investigation of theoretical and artistic texts which lend themselves to post-encyclopaedism, we can create a generic distinction between texts which attempt to be encyclopaedic in themselves: and texts which disrupt and/or transform the encyclopaedic idealArts, Faculty of
English, Department of
Graduate
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Rodrigues, Neto João Manoel. "Pressupostos científicos e propostas sociais em B. F. Skinner entre 1953 e 1960: uma continuação de Andery (1990)." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21496.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The present research had as an objective analyzing the development of epistemological, ontological and methodological assumptions defended by B. F. Skinner and his proposi-tions to intervene in social questions, between 1953 and 1960. To a certain extent, we sought to continue the research of Andery (1990), in which all of the publications of Skin-ner between 1931 and 1953 were analyzed, with Science and Human Behavior as the last analyzed work. We investigated how Skinner advanced in the definition of the assump-tions of his science and the proposition of social analyzes and interventions in the first years after the publication of Science and Human Behavior. Therefore, considering the assumption of inseparability between the science of behavior proposed by Skinner and his approach to social issues, all of Skinner’s available texts, published between 1953 and 1960 after Science and Human Behavior, were identified and collected, in order to classify how much of it was changed/maintained when compared with the previous development of the skinnerian explanatory system. We analyzed the selected texts based on two groups of categories: 1. Excerpts related to the constitution of ontological, epistemological and methodological assumptions of behavioral science; and 2. Excerpts related to the consti-tution of social propositions. There were additions, but no rupture, in all categories ana-lyzed when we compared our data with those of the period analyzed by Andery (1990). The results obtained in the present research allow us to sustain that Skinner improved the assumptions of his science and his social proposals, introducing new conceptual discus-sions and new data from relevant basic and applied research
A presente pesquisa teve como objetivo analisar o desenvolvimento de pressupostos epistemológicos, ontológicos e metodológicos defendidos por B. F. Skinner e suas proposições para intervir em questões sociais, entre 1953 e 1960. Em certa medida, buscou-se dar continuidade à pesquisa de Andery (1990), na qual foram analisadas todas as publicações de Skinner entre 1931 e 1953, com Science and Human Behavior como última obra analisada. Investigou-se de que maneira Skinner avançou na definição dos pressupostos de sua ciência e na proposição de análises e intervenções sociais nos primeiros anos após a publicação de Science and Human Behavior. Para isso, considerando-se a suposição de indissociabilidade entre a ciência do comportamento proposta por Skinner e sua abordagem de questões sociais, foram identificados e coletados todos os textos disponíveis de Skinner publicados entre 1953 e 1960 após Science and Human Behavior, visando identificar o que houve de mudança/continuidade em relação ao desenvolvimento anterior do sistema explicativo skinneriano. Os textos selecionados foram analisados com base em dois grupos de categorias de análise: 1. Trechos relativos à constituição de pressupostos ontológicos, epistemológicos e metodológicos da ciência do comportamento; e 2. Trechos relativos à constituição de propostas sociais. Foram encontrados acréscimos, mas nenhuma ruptura, em relação ao período analisado por Andery (1990) em todas as categorias analisadas. Os resultados obtidos na presente pesquisa permitem afirmar que Skinner aprimorou os pressupostos de sua ciência e suas propostas sociais, introduzindo novas discussões conceituais e novos dados de pesquisa básica e aplicada relevantes para a temática
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Malavazzi, Dante Marino. "Interpretação: objetivo e método da ciência de B. F. Skinner." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21194.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
A literature review showed divergences regarding the goals and methods of B. F. Skinner’s science. In particular, interpretation was sometimes framed as a goal, and other times referred to as a method. In any case, it is an activity to which Skinner devotes much of his work, although less explored by behavior analysts. Considering the relevance of the theme and the gaps in the field, this research had the general purpose of presenting Skinner’s vision of interpretation, both as goal and method. At the same time, it had as specific purposes (a) to define interpretation, according to Skinner; (b) to point out when and how the author defends its accomplishment; (c) to relate interpretation with other goals and methods proposed by Skinner; (d) to indicate the contributions and limits of interpretation, according to the author. In this regard, I examined 50 texts of Skinner related to the subject, published between 1931 and 1990. First, I read the selected texts, in chronological order and in full, highlighting the excerpts related to the research problem. Then, I reread only the excerpts and made a file for each text, in which I synthesized Skinner's position on the research problem. Lastly, I read the files in chronological order and grouped the data by decades, assigning a subtitle to each period. As much as for goal as it is for method, I argue that interpretation offers theoretical, methodological and technological contributions to Skinner’s science, although it presents limits as an inferential and speculative nature, as well as the plausible and sometimes temporary format. In my view, it is a goal equivalent to the others and a method comparable to the experimental analysis
Uma revisão da literatura mostrou divergências quanto aos objetivos e aos métodos da ciência de B. F. Skinner. Em particular, a interpretação ora foi apontada como objetivo, ora foi indicada como método. De qualquer forma, trata-se de uma atividade a que Skinner dedicou boa parte de sua obra, embora seja menos explorada pelos analistas do comportamento. Considerando a relevância do tema e as lacunas na área, esta pesquisa teve por finalidade geral apresentar a visão de Skinner sobre a interpretação, tanto como objetivo quanto como método. Ao mesmo tempo, teve como propósitos específicos (a) definir a interpretação, conforme Skinner; (b) apontar quando e como o autor defende a sua realização; (c) relacionar a interpretação aos outros objetivos e métodos propostos por Skinner; (d) indicar as contribuições e os limites da interpretação, segundo o autor. Para isso, examinei 50 textos de Skinner ligados ao assunto, publicados entre 1931 e 1990. Primeiro, li os textos selecionados, em ordem cronológica e na íntegra, destacando os trechos relacionados ao problema de pesquisa. Depois, reli apenas os trechos destacados e elaborei um fichamento para cada texto, no qual sintetizei a posição de Skinner sobre o problema de pesquisa. Por fim, li os fichamentos em ordem cronológica e agrupei os dados por décadas, atribuindo um subtítulo a cada período. Seja como objetivo ou como método, defendo que a interpretação oferece contribuições teóricas, metodológicas e tecnológicas à ciência de Skinner, ainda que ela apresente limites como a natureza inferencial e especulativa, bem como o caráter plausível e às vezes temporário. A meu ver, trata-se de um objetivo equivalente aos demais e de um método equiparável à análise experimental
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Dwyer, Bryce. "James Ensor: Northern European Art and the Carnivalesque." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1216.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Art History
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Masutti, Fernanda Alliatti. "Charque e cacau : um estudo sociorregional do coronelismo em Pedro Wayne e Jorge Amado." reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1062.
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Este trabalho realiza um estudo da representação do coronelismo nas narrativas de ficção Xarqueada, de Pedro Wayne, publicada em 1937, e Gabriela, cravo e canela, de Jorge Amado, de 1958, ambientadas, respectivamente, no Sul e Nordeste do Brasil. Entendendo que os aspectos culturais e socioeconômicos são partes integrantes de uma configuração histórica regional, a pesquisa busca discutir a forma com que espaços distintos contribuem para a construção ficcional dos coronéis nas regiões de produção do charque e do cacau. Além disso, o estudo analisa como as atividades charqueadora e cacaueira estão relacionadas com as disputas de poder e como a modernidade, tanto em âmbito econômico quanto cultural, consiste em um fator importante na reorganização dos jogos de forças das oligarquias no cenário político regional e nacional. Dessa forma, visa-se contribuir com os estudos sociorregionais que tratam do coronelismo e de suas relações de poder nas áreas da literatura e da história.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-11-17T15:53:27Z No. of bitstreams: 1 Dissertacao Fernanda Alliatti Masutti.pdf: 1138045 bytes, checksum: 4dcecfbc0bf20e216b7215965dee1ace (MD5)
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This work performs a study of the coronelismo representation on the narratives of the Pedro Wayne’s fiction Xarqueada, published in 1937, and Jorge Amado’s Gabriela, cravo e canela, from 1958, settled, respectively, in the south and northeast regions of Brazil. Understanding that the cultural and socioeconomic aspects are inherit parts of a regional historical configuration, the research aims at discussing the way that distinct areas contribute to the coronels fictional construction in the cocoa and charque (jerked meat) production regions. Furthermore, the study proposes to analyze how charque and cocoa activities are related to power disputes and also how the modernity, in both economical and cultural levels, consists in an important factor in the reorganization of the oligarchies game of power in the regional and national scenario. As a result, the present study intends to contribute with the socioregional studies which deal with the coronelismo and its relations of power under the literature and history scope.
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"王鵬運詞及其詞論研究." 2006. http://library.cuhk.edu.hk/record=b5896700.
Full textAbstract:
胡麗華."2006年12月"
論文(哲學碩士)--香港中文大學, 2006.
參考文獻(leaves 133-139).
"2006 nian 12 yue"
Abstracts in Chinese and English.
Hu Lihua.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (leaves 133-139).
Chapter 第一章 --- 緒言 --- p.1
Chapter 第一節： --- 硏究緣起 --- p.1
Chapter 第二節： --- 前人研究述評 --- p.2
Chapter 第三節： --- 硏究目標及方法 --- p.8
Chapter 第二章 --- 王鵬運生平及治詞歷程 --- p.10
Chapter 第一節： --- 生平槪述 --- p.10
Chapter 第二節： --- 治詞歷程 --- p.17
Chapter 第三章 --- 王鵬運詞之題材內容 --- p.36
Chapter 第一節： --- 半塘詞各集名命意義及主題簡介 --- p.36
Chapter ´ؤ、 --- 各集命名意義 --- p.36
Chapter 二、 --- 各集主題簡介 --- p.38
小結 --- p.46
Chapter 第二節： --- 半塘詞分期 --- p.47
Chapter 一、 --- 初期-個人情志之作 --- p.47
Chapter 二、 --- 中期-憂時念亂、忠憤之志 --- p.50
Chapter 三、 --- 後期-南潛歸隱之作 --- p.58
小結 --- p.59
Chapter 第三節： --- 題材內容 --- p.60
Chapter 一、 --- 懷人之作 --- p.61
Chapter 二、 --- 贈別之作 --- p.67
Chapter 三、 --- 思鄉之作 --- p.72
Chapter 四、 --- 詠物之作 --- p.76
Chapter 五、 --- 國是之作 --- p.80
小結 --- p.87
Chapter 第四章 --- 王鵬運詞之藝術采光 --- p.89
Chapter 第一節： --- 「芒角撐腸」、「獨來獨往」一一王鵬運詞之愁苦主調及其意象運用 --- p.89
Chapter ´ؤ、 --- 歌哭無端、墨痕和淚´ؤ煙 、塵´Ø淚之意象 --- p.89
Chapter 二、 --- 醉夢之間、尋找依歸-夢、醉之意象 --- p.92
Chapter 三、 --- 王氏詞悲苦主調的形成原因 --- p.96
小結 --- p.97
Chapter 第二節： --- 「流轉任風光」、「一笑襟塵灑」一一王鵬運詞別調之風格 --- p.98
Chapter 一、 --- 輕鬆歡愉之情 --- p.98
Chapter 二、 --- 開豁振作之意 --- p.99
小結 --- p.100
Chapter 第五章 --- 王鵬運詞論 --- p.101
Chapter 第一節： --- 詞學觀念 --- p.101
Chapter 一、 --- 「重」、「拙」、「大」之說 --- p.102
Chapter 二、 --- 體格 --- p.105
Chapter 三、 --- 詞體發展論 --- p.109
Chapter 四、 --- 聲律之說 --- p.111
小結 --- p.113
Chapter 第二節： --- 校讎詞籍體例 --- p.113
Chapter 一、 --- 版本考訂 --- p.114
Chapter 二、 --- 建立體例 --- p.117
小結 --- p.119
Chapter 第六章 --- 王鵬運於「臨桂詞派」創派之說 --- p.121
Chapter 第一節： --- 「臨桂派」之說起源 --- p.121
Chapter 第二節： --- 「臨桂詞派」及王鵬運創派之說 --- p.122
Chapter 一、 --- 臨桂詞人的活動聯繫 --- p.122
Chapter 二、 --- 創作取向 --- p.124
Chapter 三、 --- 理論建立 --- p.126
小結 --- p.128
Chapter 第三節： --- 臨桂詞人群與浙、常二派之分野 --- p.128
小結 --- p.130
Chapter 第七章 --- 總結 --- p.131
參考書目 --- p.133
附錄 --- p.140
附錄一：〈王鵬運生平簡表〉 --- p.140
附錄二：〈王鵬運交游詞作一覽表〉 --- p.154
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Davis, Victoria Ann. "Restating a parochial vision: a reconsideration of Patrick Kavanagh, Flann O'Brien, and Brendan Behan." Thesis, 2005. http://hdl.handle.net/2152/1532.
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Yu, Pok Hon Wally. "Schoenberg's transition to atonality (1904-1908): the use of intervallic symmetry and the tonal-atonal relationship in Schoenberg's pre-atonal compositions." Thesis, 2005. http://hdl.handle.net/2152/2376.
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