Dissertations / Theses on the topic '1865-1936 – Criticism and interpretation'
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Estus, Steven Clark. "Home and who: A rhetorical analysis of Rudyard Kipling's "Tiger! tiger!' and "Letting in the jungle"." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2343.
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These stories are representative of an idea that is repeatedly expressed both in the concrete details of Kipling's stories and in the way he uses language. It is possible to see that Kipling, the archetypical man of the empire, may not always have been the empire's man in his work; and causes for that may be found in the alluring, very non-English place he lived in for several years of his youth: India.
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Millard, Michèle. "An analysis of the critical discourse on the work of Eva Hesse /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61138.
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This thesis is an analytical study of the various critical approaches taken to the work of Eva Hesse and their underlying methodologies and theoretical assumptions. Its purpose is to determine in a general way how and why the nature of criticism has changed from positions strongly influenced by Modernism as defined by Clement Greenberg to those that involved a separation of criticism from consideration of artworks as individual phenomena.For the most part, Chapter One concerns critics' Modernist analyses of Hesse's relationship to Minimalism and their progression towards a criticism based on non-formalist, non-hierarchical theories of style. There is also a short discussion on the linkage created between Hesse's art and specific psychological traumas in her life. Included as well is an explanation of the changing conception of originality and the critic's dilemma in confronting private content through the strictures of public dialogue.
Chapter Two investigates critical discussions of experience, how art was apprehended and how meaning was transmitted.
Chapter III involves a feminist debate on the issues of gender. The content of Hesse's work was analyzed in psycho-biographical terms and within the framework of her identity as a female artist in western culture.
And finally, the thesis concludes by pointing out the evolution of criticism into a distinct, independent discipline whereby the critic articulates the theoretical contexts in which the artwork exists, but then extends in into a broader cultural setting where the critic analyzes the significance of such positions taken, its relationship to the past and future implications.
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Roberts, Timothy Paul English UNSW. "Little terrors:the child???s threat to social order in the Victorian bildungsroman." Awarded by:University of New South Wales. English, 2005. http://handle.unsw.edu.au/1959.4/23930.
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This thesis is a study of rebellious child protagonists in Victorian bildungsroman. It discusses five novels ??? Jane Eyre, The Mill on the Floss, What Maisie Knew, Vanity Fair and Kim ??? that feature ???radical child??? protagonists who use indirect methods of narrative control to resist conservative models of character development. It argues that these novels form a subset of subversive English bildungsromane, which threaten the genre???s traditionally liberal values. Theories of narrative desire, reader seduction and discursive manipulation are used to reveal how the radical child in the Victorian bildungsroman takes command of the reader???s sympathy and gains power over the realist text, despite its physical and social powerlessness. Especially important is the presence of a fantasy counterplot, which coexists with, and ultimately undermines, the bildungsroman???s realistic surface narrative of successful socialisation. The counterplot allows radical child protagonists to develop in a non-linear manner that contradicts bourgeois ideals of stable progress. Focusing instead on sites of rupture between the individual and society, subversive bildungsromane resist both the dialectical model of character, which aims to harmoniously unite the protagonist with the realist world, and the dialogic model of interaction, which requires the restriction of personal liberty for the common good. This rebellious child in the Victorian bildungsroman thus represents an assault on the genre???s democratic ideals. Rejecting compromise, the radical child replaces the bildungsroman???s central ethic of interpersonal responsibility with an individualistic ethic of domination. Indeed, the thesis argues that the appeal of such child protagonistslies in their rejection of the obligatory, but anticlimactic, exchange of freedom for security that underpins the realist bildungsroman???s social contract, a rejection attractive to the reader precisely because it is unrealisable in reality. Finally, the thesis compares this radical child with the Gothic monster. While the monster is punished for its subversion, the radical child???s counterplot enables it to enact most of its subversive desires unpunished. The conservative English bildungsroman thus becomes a more effective way of representing asocial energies than the more obviously radical Gothic genre, which openly displays its anti-democratic sentiments.
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Remington, Rachel. "Personal identity in the novels of Max Frisch and Luigi Pirandello." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30208.
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This MA thesis is a comparative study of the novels of Luigi Pirandello (Agrigento 1867--Rome 1936) and Max Frisch (Zurich 1911--1991). Six texts are discussed: Pirandello's Il fu Mattia Pascal (1904), Quaderni di Serafino Gubbio operatore (1915), and Uno, nessuno e centomila (1925--6); and Frisch's Stiller (1954), Homo faber (1957), and Mein Name sei Gantenbein (1964). The comparison highlights the great similarities between Pirandello's and Frisch's treatment of the theme of identity as well as some important (and mainly structural) differences in their novelistic works. The analysis of the three pairs of novels shows the developments in narrative structure and the characteristic change of attitude towards the question of identity construction that took place from early-modernism to postmodernism.
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Stratford, Madeleine. "Entre les mots et les silences : la crise créative (et existentielle) dans la dernière phase de la poésie de Ingeborg Bachmann et de Alejandra Pizarnik." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19611.
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This master's thesis seeks to establish a comparison between the lyrical work of the Austrian Ingeborg Bachmann (1926-1973) and the Argentinean Alejandra Pizarnik (1936-1972). First, we draw from the similarities in the lives of both authors. Then, the survey of secondary literature shows that the two writers were the «black sheep» of their literary generation. Finally, our analysis focuses on the last phase of their lyrical production (1963-1966 for Bachmann; 1970-1972 for Pizarnik), most especially on two poems which are considered by the critics to be their «farewell» to poetry : «Keine Delikatessen» [No delicacies] by Bachmann (1963) and «En esta noche, en este mundo» [In this night, in this world] by Pizarnik (1971). We demonstrate that both poets show the same distrust of their medium, language, accompanied by a particular concern for silence, which appears in their respective poems both thematically and formally.
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Eve, Vivian Jeanette. "An "unobtrusive art" : Elizabeth Gaskell's use of place in Ruth, North and South, and Wives and Daughters." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1001824.
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The purpose of this study is to show how Elizabeth Gaskell creates a sense of place and why place is important in her novels. Gaskell's life and works indicate an interest in place and an ability to recreate it, but, although most critics mention her descriptive powers, few examine how a sense of place is achieved. Indeed, setting as a tool of analysis has received critical attention only fairly recently. Here the term 'place' has been chosen because it embraces the social, physical, and personal aspects of setting as well as the objects with which spaces are furnished, and for the purpose of discussing its significance a model of the novel has been devised which shows the interrelationships of character, action, setting, language, and ideas, as well as the influence of context (Introduction). Gaskell creates a sense of place in many unobtrusive ways, but particularly important are point of view, windows as vantage points, the connection of place with memory, and similarities in perception between scenes in the novels and fashions in painting (Chapter One). An analysis of Ruth illustrates the interrelationship of character and place. Ruth's journey mirrors her spiritual development, and character is often revealed through response to environment or the displacement of emotions onto it, while place is also used to signify innocence and to emphasize the plea for understanding of the unmarried mother and her child (Chapter Two). Places in North and South represent important aspects of newly industrialized Britain, and are significant to the novel's vision of a coherent society; an examination of how apparently irreconcilable communities are shown to be mutually dependent underlines the importance of place to the novel's ideas (Chapter Three). Wives and Daughters has a complicated plot based on a number of parallel, interlocking stories each centred on a home in the neighbourhood of Hollingford. How event, story, and plot are connected to these places shows their relationship with action (Chapter Four). Thus is an appreciation of Gaskell's literary achievement enhanced, and place shown to be a significant element in her novels.
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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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Findlay, Isobel. "Reading for reform : history, theology, and interpretation and the work of Elizabeth Gaskell and Charles Kingsley." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ29935.pdf.
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Quarrie, Cynthia. "Laminations : nostalgia and the undifferentiated narrator in three novels by A.S.Byatt." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79805.
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This study focuses on the first three historiographic novels in a projected quartet---The Virgin in the Garden, Still Life, and Babel Tower---which historicises what we now refer to as the "crises in representation" that occurred over the late 50s and into the 60s. I trace the figure of the Undifferentiated Narrator, both as it is referred to and read by the characters in the world of the novels, and as it is invoked or broken up by the forms of the narratives themselves.My methodology is outlined in the first section, wherein I place a reading of Byatt's work within the context of contemporary debate regarding the ethics of representation. Then I treat each novel separately, since each is a self-contained novelistic experiment with a different form of literary realism.
In the end I conclude that Byatt's use of polyvocality and multiple histories help us to come to terms with nostalgia for the self-present self, by showing us that it haunts every narrative (and anti-narrative) and is a coercive figure in every life.
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Pearce, Margaret. "A.S. Byatt : writing feminist issues." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26302.
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A. S. Byatt attempts to recover lost voices in Possession and Angels and Insects (a collection of two novellas) by examining the limiting roles of women in literature and society. Chapter one examines Possession in which the characters search for their connections to the literary past, ultimately locating them through a lesser-known, female, Victorian poet. In chapter two I consider "Morpho Eugenia," the first novella in Angels and Insects. Byatt illustrates how the male gaze names women and defines their roles. In the second novella, "The Conjugial Angel," analyzed in chapter three, Byatt (re)tells Emily Jesse's story, one formerly appropriated by Alfred Tennyson in In Memoriam. I conclude that Byatt attempts to relocate her heroines from the margins to the center by deconstructing hierarchical patterns of storytelling. Rather than replacing male-monopolized narratives with female ones, Byatt undermines the dominating viewpoint by demonstrating the way in which it obscures all other perspectives.
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Zeiss, Elizabeth Anne. "The subject between texts in Alejandra Pizarnik's poetry." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3037034.
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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.
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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.
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Swartz, Laura A. "Occulture : W.B. Yeats' prose fiction and the late ninteenth- and early twentieth-century occult revival." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1560843.
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In addition to being a respected poet, dramatist, essayist, and statesman, William Butler Yeats was a dedicated student of the occult and practicing magician for most of his adult life. In spite of his dedication, Yeats’ commitment to occultism has often been ridiculed as “bughouse” (as Ezra Pound put it), shunted to the margins of academic discourse, or ignored altogether. Yeats’ occult-focused prose fiction—the occult trilogy of stories “Rosa Alchemica,” “The Tables of the Law,” and “The Adoration of the Magi” and the unfinished novel The Speckled Bird—has often received similarly dismissive treatment. Some critics have accused Yeats of being an escapist or of being out of touch with the intellectual currents of his time.
However, Yeats was in touch with the intellectual currents of his time, one of which was the late nineteenth- and early twentieth-century occult revival. This was not a fringe movement; it was one which intersected with some of the most pressing social and cultural issues of the time. These include the dissatisfaction with mainstream religions, the renegotiation of women’s roles, the
backlash against science, and nationalism and the colonial enterprise. This intersection is what I have termed occulture.
The central purpose of this dissertation is twofold. First, I demonstrate the cultural and academic relevance of the occult revival by analyzing its connections to these critical issues. Second, I situate the occult trilogy and The Speckled Bird as artifacts of the occult revival and its associated facets. Through its main characters, the occult trilogy illustrates a fragmented self associated with literary modernism and with scientific challenges to individual identity from Darwin, Freud, and others. In addition, these three stories exemplify a sacralization of the domestic sphere which conflicts with the officially-sanctioned sacred spaces of mainstream religions. The Speckled Bird also reconfigures the sacred space as Michael Hearne contemplates a magical order with Irish nationalist implications. In examining these works within this historical context, I present them as texts which engage with the social and cultural landscape of the time.Occulture : occultism and the occult revival -- The occult trilogy : self and space in an occult context -- The speckled bird : sacralizing Ireland.
Department of English
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Brady, Bronwyn. "The idea of gaiety in Yeats's lyric poetry." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1015642.
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In June 1917 W.B. Yeats wrote to his father : Much of your thought resembles mine . . but mine is part of a religious system more or less logically worked out, a system which will I hope interest you as a form of poetry. I find the setting it all in order has helped my verse, has given me a new framework and new patterns. (Wade 1954, 627) The new framework and new patterns that he claimed to have found in his system generated a new, and for Yeats, radically different sort of poetry. Before 1919 (The Wild Swans at Coole), the poetry had as its subject various traditional themes: the pity of love; the romance and heroism of Irish mythology; the threat of age, change and death. The poetry up to this point is, formally speaking, highly skillful, but locked into its own admissions of failure to touch or incorporate reality in any but a romantically defeatist way. However, the order which Yeats refers to in his letter, and the system he generated as a propaedeutic to this new order, once assimilated into the habit and texture of the poetry, generated new topics of its own which made those of the earlier work seem subjective, self- indulgent and intellectually uninformed. Yeats's poetry now changed drastically in focus and form, from subjective to objective poetry. Whereas the earlier poetry had opposed reality with romantic heroism or selfdestructive despondency, the poetry subsequent to his change of practice, incorporates a new vision of reality as the intrinsic architechtonics of poetry itself. Now the measure of human and aesthetic completion is no longer an inexplicable and inscrutable sadness, but an intelligent and informed detachment, an energy of mind that Yeats called "gaiety". My thesis explores this energy of mind and what it meant for Yeats and his poetry. My contention is that the idea of gaiety provides a way for Yeats to grant meaning to his life, a way for him to create himself. As the poetry is completed thanks to the new system, so is the poet. In order to see this, it is necessary to read the poems as a series of collections, or stories, that resonate back and forth with meaning and qualification and understanding. Yeats's system is his myth, and he writes his poetry in terms of and informed by that myth, shaping and re-shaping the experience of the created and fictional self until it has meaning in a way that the real self does not. The thesis explores this process of creation firstly in theoretical terms, using Lotman's ideas of Story and Myth, and looking at Yeats's intellectual and poetic inheritance. It goes on to examine some of the great poems in an attempt to define gaiety, and how Yeats achieves it in the poetry, and then to look at the early, pre-system poems to see how they differ. Finally, it takes the last of Yeats's lyric collections, Last Poems, and shows how gaiety works in the most mature poetry when the poems are read as narrative events within a story.
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Dunzweiler, Krista J. "Saving America's gays and lesbians from hell : a fantasy theme criticism of the anti-gay rhetoric of the far-right." Scholarly Commons, 2000. https://scholarlycommons.pacific.edu/uop_etds/536.
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This thesis investigates the worldview of six rhetors of the far-right using the rhetorical method of fantasy theme analysis. The specific rhetors examined in this study are Peter J. Peters, Dan Gayman, Edward Fields, Fred Phelps, Jeny Falwell, and James Dobson. In order to understand the discourse of the six rhetors, five research questions were developed to guide the study: (1) What are the images portrayed of homosexuals and gay rights advocates in the fantasy themes of the rhetors examined in this study? (2) What are the images portrayed of Christians in the fantasy themes of the rhetors examined in this study? (3) How do the fantasy themes differ in extremity among the rhetors of the far-tight with regard to homosexuality and supporters of gay lights? (4) How do the fantasy themes of the rhetors work together to create a rhetolical vision for the far-light regarding homosexuality? (5) How do the collective fantasy themes of the far-right rhetors potentially influence actions against and aggression towards homosexuals? In order to answer these questions, a fantasy theme analysis was conducted on various artifacts of the six rhetors chosen for examination in this thesis. The analysis indicated that the fantasy themes of the rhetors work together to create a rhetorical vision in which a drama is played out. In this drama, homosexuals and supporters of gay rights are depicted as villains and fundamentalist Christians are characterized as heroes. Through the depictions of these characters and their actions the ultimate ideal of America as a country is provided. This ultimate ideal focuses on a setting where homosexuals do not exist and gay rights is not an issue. Through these fantasy themes the rhetors encourage America's patriots and fundamentalist Christians to remove homosexuals from society. In addition, the collective rhetorical vision of the six rhetors provides motives for aggressive actions against homosexuals, including acts of violence.
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Gagné, Marie 1961. "1968, théorie et praxis de "Tel quel" dans "Logiques" et "Nombres" de Sollers." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63765.
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De, Gruchy John. "W.B. Yeats's Japan : more myth than reality." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=50844.
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This thesis analyses the development of Yeats's image of Japan from his introduction to Japanese culture through 'Japonisme' in the mid-1880's, until the end of his life in 1939. It also surveys the sources of information that Yeats had on Japan other than the Noh drama, and shows how these sources were as important as the Noh, if not more, in defining his image of Japan as an artistic utopia. Three periods of Japanese history were of particular interest to Yeats: The early nineteenth century, in which most Japanese colour prints were produced; the Ashikaga period (1333-1573), when the Noh flourished, and Heian Japan (794-1100), an extraordinary culture which produced some of the world's greatest works of art. Images of Japanese culture from these periods combined to produce a composite, mythical vision of Japan in Yeats's imagination.
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Cheng, Maorong. "Literary modernity : Studies in Lu Xun and Shen Congwen." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/NQ46330.pdf.
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Manicom, David 1960. "Romantic nationalism and the unease of history : the depiction of political violence in Yeats's poetry." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75915.
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Yeats's depiction of political violence is examined through a reading of the political poetry centred on "Easter 1916," "Nineteen Hundred and Nineteen," and "Meditations in Time of Civil War," each of these bearing a title emphasizing the poem's historicality, each representing one of the violent epochs in modern Ireland. By studying the dramatized narrative persona utilized by Yeats--a persona constituting the ideological and societal contexts of the poem, and effecting, through the choice of perspective, the selection of historical materials--the particular contents of Yeats's history-making are brought into focus. Yeats was both a romantic poet uneasy with the political component of verse, and an Irish nationalist for whom these events were essential ingredients of his life's work. In these poems we find the collision of Yeats's own conflicting ideals about poetry, politics, and history; a collision which produces a complex portrayal of Irish political violence.
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Sarrinikolaou, Irene School of Media Film & Theatre UNSW. "The ontological status of Pirandello???s metacharacters: six characters in search of a Platonic author." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2006. http://handle.unsw.edu.au/1959.4/25974.
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This thesis proposes that a defining feature of Pirandello???s 1921 play ??? Six Characters in Search of an Author, is a relentless transcendentalism. It argues that the play embodies a fascination with existential and conceptual ???occult???, and my hypothesis is that by exploring Pirandello's transcendentalism we may enhance our understanding of how and why Pirandello's play points a mirror up to the invisible and suggests that we could be a reflection of that. Pirandello's drama alludes to some of the most convoluted and enduring debates in western philosophy. However, there is very little English-language material on Pirandello???s relation to philosophy or the relevance of analytical philosophy, metaphysics or epistemology to Pirandello???s playwriting. Even foreign-language studies focus on existentialism, phenomenology and other Continental traditions of philosophy. My contribution is to craft a subjective response to Six Characters in accordance with the methods of analytical philosophy, making use of paradigms and techniques that stem from aesthetics and metaphysics to elucidate a complex self-reflexive play. Chapter One presents analytical philosophy as a potential interpretative framework for the play, whereas chapters two and three explore the metacharacters specifically. This thesis does not seek to offer conclusive assertions about the peculiar ontological status of Pirandello???s metacharacters, rather, it introduces some frameworks and conceptual tools for better approaching their ontolo
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Gutsche-Miller, Sarah. "The reception of Carl Nielsen as a Danish National Composer." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19661.
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Carl Nielsen, labelled as Denmark's national composer, has long been relegated to a secondary status in English-language musicology as a composer of great national significance but negligible importance outside of Scandinavia. This thesis explores the links between Danish nationalism and Nielsen's music, as well as the effects of Nielsen's status as a national composer on the reception of his symphonic music outside of Denmark. The first section of this paper is a study of Nielsen's music in the context of Danish cultural nationalism at the turn of the twentieth century, focusing on the folk influences or "Danish" aspects of his symphonic music. It also examines the extent to which the national or Nordic qualities of his music are constructions and later attributions. The following section looks at the development of Nielsen's status as a national composer in Denmark, as well as how this label has engendered the stereotyping of his music as regional in English-language musicology. Nielsen has been neglected by the Anglo-Germanic canon which privileges central European compositional styles and methods while viewing nationally inflected music negatively. Although Nielsen's Danish background cannot be ignored, his symphonic music needs to be studied in a wider European context for his universal message to be appreciated
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Grimes, Linda S. "William Butler Yeats' transformations of eastern religious concepts." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/530371.
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This study addresses the issue of William Butler Yeats' use of Upanishad philosophy in his poetry. Although many analyses of Yeats' art vis-a-vis Eastern religion exist, none offer the thesis that the poet transformed certain religious concepts for his own purpose, thereby removing those concepts from the purview of Eastern religion. Quite the contrary, many of the analyses argue a parallel between Yeats' poetry and the religious concepts.In Chapter 1 this study gives a brief overview of the problem and proposes the thesis that instead of paralleling Eastern religious concepts, Yeats transformed those concepts; such transformations result in ideas which run counter to the yogic goal as expounded in the Upanishads.Chapter 2 summarizes yogic sources which help elucidate the concepts of Upanishad thought. Also Chapter 2 introduces various the critical analyses which present inaccurate conclusions regarding Yeats' use of Eastern religion.Chapter 3 explains certain Eastern religious concepts such concepts as karma and reincarnation and asserts that the goal of the discipline of yoga is self-realization.Chapter 4 discusses the poems of Yeats' canon which have been analyzed critically in terms of Eastern religious concepts and have erroneously been considered to parallel certain Eastern concepts. This chapter argues that Yeats' transformations resulted in an art which is chiefly based on the physical level of being, whereas the goal of yogic discipline places its chief emphasis on the spiritual level of being. Also it is argued that Yeats cultivated imagination, whereas the Eastern religious devotee cultivates intuition.Chapter 5 details the critical analyses which have erroneously argued the Yeatsian parallel to Eastern religion, showing how these critics have sometimes failed to understand concepts adequately and thus have misapplied them to Yeats' art.Chapter 6 contrasts Yeats' poetry with that of Rabindranath Tagore. Yeats failed to realize Tagore's motivation when Tagore referred to God. Yeats claimed that all reference to Cod was vague and that he disliked Tagore's mysticism. This lack of understanding on Yeats' part, I suggest, further supports the thesis that Yeats' use of Eastern religion constitutes transformations which do not reflect Upanishad philosophy but instead reflect a Yeatsian version of those concepts--a version which many critics have not clearly elucidated.Department of English
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車明星. "魯迅小說中的 人 : 吶喊 、 彷徨 初探 = The Being in Lu Xun's shortstory." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636171.
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Divett, Andrew Brennan. "Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston Hughes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955012/.
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Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.
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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Lovato, Maria Vitória Canesin. "Um signo em desenvolvimento: o conceito de self na filosofia de C. S. Peirce no período de 1865 a 1870." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21055.
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This dissertation intends to investigate the discussions involving the concept of self in the philosophy of the young Charles Sanders Peirce (1834-1914) between 1865 and 1870. Although the thoughts are from his youth years, we will present arguments to show those were years that brought debates of underlying importance for us to understand how and from which theoretical and methodological contexts the theme self emerges. Since 1865, Peirce reasons the relationship between logic and psychology, and argues, explicitly, for a non-psychological position for logic. Within this context, a strong criticism of introspection is born, and it reveals a detachment from the cartesian spirit and the inclination to understand the process of thinking as intuitive or dependable of psychic factors. In general, the criticism of psychologism in logic will demand a revision of the idea of subjectivity and, more specifically, of the self under new philosophical horizons. Therefore, under his then early theory of signs and his social approach to epistemology, Peirce will negate a notion of self characterized by complete individuality and introspection, opening way to a new and positive characterization of subjectivity buoyed by an objective logic, where all knowledge, including of ourselves, proceed in a mediate way and in reference to an outside world. It’s during the years we study in this dissertation that some of the most important – and most commented – characterizations of the self as a sign and of the self as mere negation, if a separate existence is considered, appear. Along this study we will see that, even under the scope if his early logic investigations between 1865 and 1870, Peirce already admitted to a social and opened understanding of the self, giving way to a new approach, one that is broader and sympathetic to less selfish visions
Esta dissertação procura investigar as discussões em torno do conceito de self na filosofia do jovem Charles Sanders Peirce (1834 -1914), durante o período de 1865 até 1870. Apesar de tratar-se de pensamentos de sua juventude, buscaremos argumentar que esses anos trazem debates de fundamental importância para entendermos como e de quais contextos teóricos e metodológicos a temática sobre o self emerge. Desde 1865, Peirce discute a relação da lógica com a psicologia, defendendo explicitamente uma posição não psicológica da lógica. Nesse contexto, já aparece uma forte crítica à introspecção, revelando o afastamento do espírito do cartesianismo e da tendência a entender o processo de pensamento como intuitivo ou dependente de fatores psíquicos. De maneira geral, a crítica ao psicologismo na lógica demandará uma revisão da ideia de subjetividade e, mais especificamente, a de self sob novos horizontes filosóficos. Assim, sob sua ainda inicial teoria dos signos e sua abordagem social da epistemologia, Peirce negará uma noção de self caracterizada pela completa individualidade e introspecção, abrindo caminho para uma caracterização nova e positiva da subjetividade balizada por uma lógica objetiva, onde inclusive o conhecimento de nós mesmos procede de maneira mediata e em referência ao mundo externo. É no ínterim dos anos estudados nesse trabalho que aparecem as importantes – e muito comentadas – caracterizações do self como um signo e do self como uma mera negação, se considerado como uma existência separada. No percurso deste estudo veremos que, mesmo sob o escopo de suas iniciais investigações lógicas, durante os anos de 1865 a 1870, Peirce já admitia um entendimento social e aberto do self, abrindo caminho para uma nova abordagem mais ampla e solidária que distanciase de visões egoístas
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楊海一. "卡夫卡和魯迅比較研究 = A comparative study on Kafka and Luxun." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636183.
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張燁. "A traducao literal como instrumento de mudanca : o tradutor Lu Xun." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2129840.
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Engelbrecht, Schalk Willem Petrus. "Utopie, filosofie en hermeneutiek : 'n verkenning van die denke van Gianni Vattimo." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53708.
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Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: Utopia, Philosophy and Hermeneutics Exploring the thought of Gianni Vattimo Article I: The End of Utopia An explanation for the rise of distopia in popular culture with reference to the ideas of Gianni Vattimo In this article the development of utopianism is described by tracing it back to its original classical form, following it through its modernistic form and finally describing distopia as the postmodern form of utopia. Using the ideas of Gianni Vattimo, distopia is interpreted as the creative embodiment of the "counterfinality of reason". In this way distopia acts as a critique of modem rationalism. The question is raised if it is possible to speak of "the end of utopia" in postmodern times. It is concluded that utopian thought remains and functions as a necessary fiction in postmodern ethics. Article II: An Appropriate Postmodern Philosophy A discussion of the hermeneutics of Gianni Vattimo The aim of this article is to discuss the radical hermeneutics proposed by the Italian philosopher Gianni Vattimo. Vattimo declares a radicalization of hermeneutics to be the only consistent, persuasive and valid approach to the postmodern conditions of existence we find ourselves in today. In order to explain what this approach entails, and how Vattimo justifies it, this article discusses his interpretation of the history (and end) of modernity, as well as his proposals for a new task for philosophy, and for a postmodern ethics.
AFRIKAANSE OPSOMMING: Utopie, Filosofie en Hermeneutiek 'n Verkenning van die denke van Gianni Vattimo Artikel I: Die Einde van Utopie 'n Verklaring vir die opkoms van distopie in populêre kultuur aan die hand van die idees van Gianni Vattimo Hierdie artikel beskryf die ontwikkeling van utopianisme deur die oorspronklike klassieke en latere modernistiese vorme daarvan na te gaan, en uiteindelik distopie te beskryf as die postmoderne vorm van utopie. Met verwysing na die denke van Gianni Vattimo word distopie geïnterpreteer as die kreatiewe beliggaming van die "kontrafinaliteit van rede". Op hierdie manier lewer distopie kritiek op moderne rasionalisme. Die vraag word gevra na die moontlikheid daarvan om te kan praat van "die einde van utopie" in postmoderne tye, en uiteindelik word tot die gevolgtrekking gekom dat utopiese denke steeds 'n rol het om te speel as 'n noodsaaklike fiksie binne 'n postmoderne etiek. Artikel II: 'n Gepaste Postmoderne Filosofie 'n Bespreking van die hermeneutiek van Gianni Vattimo Die doel van hierdie artikel is om die Italiaanse filosoof Gianni Vattimo se voorstel vir 'n radikale hermeneutiek te bespreek. Vattimo is oortuig daarvan dat 'n radikalisering van hermeneutiek die enigste konsekwente, oortuigende en geldige benadering is tot die postmoderne bestaanstoestande waarbinne ons onsself vandag bevind. In 'n poging om te verduidelik wat hierdie benadering behels, en hoe Vattimo dit regverdig, word sy interpretasie van die geskiedenis (en einde) van moderniteit bespreek, asook sy voorstelle vir 'n nuwe taak vir die filosofie, en vir 'n postmoderne etiek.
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Gagas, Jonathan. "Late Modernist Schizophrenia: From Phenomenology to Cultural Pathology." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/263194.
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EnglishPh.D.
My dissertation demonstrates how representations of schizophrenic characters in novels can combat widespread misuses of psychiatric terms and help readers empathize with mentally ill people if we read these novels with some understanding of psychiatry and the psychoanalysis that influenced them. I undertake a critical genealogy of the schizophrenia concept's migration from the mental health professions to fiction, concentrating on the period from the German invasion of Paris in June 1940 to the events of May 1968, with some attention to contemporary uses of the schizophrenia concept by cultural theorists. Experimental novelists writing during the apogee and aftermath of National Socialism from the 1940s to the 1970s represent schizophrenia as they understood it to express the painful emotions produced by World War II's challenge to the value of experimental writing. In the postwar fiction of Samuel Beckett (1906-1989) and Georges Perec (1936-1982), imitating schizophrenia results in careful disclosures of disintegrating life-worlds: in Beckett's case, the dissolution of the James Joyce circle and the communities of modernist exiles it exemplified, which the German invasion of Paris destroyed; in Perec's case, the deaths of his parents in the defense of France and the Holocaust, and the annihilated six million Jews including his mother. Reading Beckett and Perec's novels develops readers' abilities to empathize with both schizophrenic people and the loved ones of Holocaust victims. While those who avoided the concentration camps like Perec did not experience their horrors firsthand, losing relatives and other loved ones transformed their lives, just as losing two thirds of its Jewish population devastated European culture despite reticence to acknowledge the Holocaust's monstrous effects in the postwar years. Late modernist fiction can thus both help readers understand the Holocaust's cultural impact and foster the skills necessary to understand experiences of severe mental disorder. Such empathic understanding is more humane than romanticizing or stigmatizing schizophrenia or other mental illnesses, and it helps us register the Holocaust's degradation of humanity anew rather than walling off this event in the past or regarding it solely as a Jewish issue. Late modernist fiction provides a more precise, caring alternative to the romanticizing/stigmatizing binary perpetuated by postwar cultural theorists because, from the 1930s to the 1970s, the fiction gradually transitions from reinforcing that binary to enabling empathy for traumatized and mentally ill people. Such fiction anticipated recent phenomenologies of schizophrenia - real experiences of distress and impairment rather than socially constructed concepts of madness - and traumatic shame, an emotional experience of oneself or one's community as inadequate in response to failure, especially the Holocaust as a failure of European culture and modernity. Both traumatic shame and severe mental disorder can make the body conspicuous, alienate people from their cultures, and disintegrate structures of salience and belonging that make sustained relationships and projects possible. Recent existential-phenomenological theories of mental disorder enable reintegrating schizophrenia representation in fiction into the history of literary modernism, especially its concern with historical forces disrupting the minds of individuals. These theories explain changes in mentally ill people's sense of possibilities for developing themselves and relating to others, from the way they experience their bodies to the way they use language. Hence I use these theories to demonstrate how knowledge of schizophrenia enabled post-Holocaust novelists to travesty and transform earlier novelists' uses of fictional minds to interrogate cultural change.
Temple University--Theses
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Brooks, John C. "Unity, Ecstasy, Communion: The Tragic Perspective of W.B. Yeats." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331259/.
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As a young man of twenty-one in 1886, William Butler Yeats announced his ambition to unify Ireland through heroic poetry. But this prophetic urge lacked structure. Yeats had only some callow notions about needing self-possession and appropriate control of his imagery. As a result, his search for essential knowledge and experience soon led him into occult and symbolist vagueness. Yeats' mind grew flaccid, and his art languished in preciosity for over a decade. Lotos-eating had replaced prophetic fervor.
However, early in the new century, as Yeats neared middle age and permanent mediocrity, he recovered his early zeal and finally found the means to give it artistic shape. Through daily theatre work he had discovered tragedy. And through personal trials he had developed a tragic sense. Hence, an entire tragic perspective was born, one that would dominate Yeats' mind and art the rest of his life.
Locating the contours of Yeats' shift in-viewpoint, then, provides the key to understanding the man and his mature work. The present study does just that, tracing the origin, development, and elaboration of Yeats' tragic perspective, from its theoretical underpinnings to its poetic triumphs. Above all, this study supplies the basic context of Yeats* careers why he took the path he did, and how he wove all that he found along the way into a remarkable fabric.
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Tasis, Moratinos Eduardo. "El exilio en la poesía de Tomás Segovia y Angelina Muñiz Huberman." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1886.
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Tomás Segovia and Angelina Muñiz Huberman belong to a group of writers known as «Hispanomexicanos». Most approaches to this generation have been towards the role that exile plays in their early work, paying almost no attention to its role after that initial stage. These approaches have been limited to the first years of their work, in the belief that those writers subsequently moved on to deal with issues which are different from those in which their experience of exile is clearly the central topic. However, through an analysis of the poetry of Muñiz and Segovia, this thesis aims to show that exile continues to play a central role beyond that first stage. It argues that their exile is transformed into a series of symbols that come to constitute a shared style and, more importantly, it proposes that their experience of exile is transformed into a feeling of existential displacement which impels a search for meaning and belonging to the world. Consequently, the conclusion presented in this thesis is that exile plays a central role in their poetry, in the sense that it expresses the ways in which these two writers search and transmit meaning and attempt to feel part of the world. Ultimately, this thesis aims to set an example of approach which could be productively taken to study the work of other writers from this generation.
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Yoo, Baekyun. "Religion and Politics in the Poetry of W.B. Yeats." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278080/.
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Previous critics have paid insufficient attention to the political implications of Yeats's life-long preoccupation with a wide range of Western and Eastern religious traditions. Though he always preserved some skepticism about mysticism's ability to reshape the material world, the early Yeats valued the mystical idea of oneness in part because he hoped (mistakenly, as it turned out) that such oneness would bring Catholic and Protestant Ireland together in a way that might make the goals of Irish nationalism easier to accomplish. Yeats's celebration of mystical oneness does not reflect a pseudo-fascistic commitment to a static, oppressive unity. Like most mystics—and most modernists—Yeats conceived of both religious and political oneness not as a final end but rather as an ongoing process, a "way of happening" (as Auden put it).
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Casagrande, Giuliano Tommasini 1980. "Deus, a alma imaterial e a dúvida global : as ¿Meditações¿ cartesianas à luz da crítica de Schlick e Carnap aos enunciados metafísicos." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281922.
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Orientador: Enéias Júnior ForlinDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Nas Meditações, Descartes faz uso de todos os argumentos céticos imagináveis com o objetivo de abalar as crenças em que se baseia a visão natural de mundo e descobrir se há alguma verdade infensa à dúvida. Após constatar a existência indubitável do eu pensante e determinar sua natureza, Descartes procura salvar, por meio da demonstração da existência de um Deus veraz, o valor objetivo das idéias sensíveis. Neste trabalho, partindo da premissa de que o único subjetivismo autêntico é originário de uma dúvida cética como a cartesiana, investigaremos a hipótese de que tal solo da subjetividade é desprovido de sentido porque a atitude crítica de avaliação do conhecimento de que ele resulta pressupõe uma ordem de generalização e de abrangência naturalmente insustentáveis. Para tanto, utilizaremos a crítica de Schlick e Carnap às proposições externas (globais). Com efeito, a dúvida cartesiana não diz respeito a uma parcela do mundo, mas ao mundo em sua totalidade. O problema estaria na extensão da dúvida e no caráter espiritual atribuído ao ego. De maneira análoga, o conceito de um Deus metafísico (indiferente aos elementos do sistema do mundo empírico) estaria sujeito à mesma acusação de falta de sentido formulada por Schlick-Carnap
Abstract: In his Meditations, Descartes employs all imaginable skeptical arguments in order to shake the beliefs that ground the natural worldview and to find if there is some truth beyond doubt. After discovering the indubitable existence of the thinking self and determining its nature, Descartes tries to save, by demonstrating the existence of a truthful God, the objective value of sensible ideas. In this work, assuming that the only genuine subjectivism comes from a skeptical doubt like Descartes', we will investigate the hypothesis that such subjectivism is devoid of any sense, because the critical attitude of evaluation of knowledge from where it results presupposes a naturally unsustainable generalization and scope. In order to do that, we will employ the critique of external (global) propositions developed by Schlick and Carnap. Indeed, the Cartesian doubt is not related to a part of the world, but to the world as whole. The problem would lie in the extent of doubt and in the spiritual character assigned to the ego. In the same way, the concept of a metaphysical God, indifferent to the elements of the empirical framework, would be subjected to the same accusation of lack of sense formulated by Schlick-Carnap
Mestrado
Filosofia
Mestre em Filosofia
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Pagel, Amber Noelle. ""How Can We Know the Dancer from the Dance?": Cognitive Poetics and the Poetry of William Butler Yeats's." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984126/.
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Cognitive poetics, the recently developed field of literary theory which utilizes principles from cognitive science and cognitive linguistics to examine literature, is applied in this study to an exploration of the poetry of William Butler Yeats. The theoretical foundation for this approach is embodiment theory, the concept from cognitive linguistics that language is an embodied phenomenon and that meaning and meaning construction are bodily processes grounded in our sensorimotor experiences. A systematic analysis including conceptual metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is applied here to selected poems of Yeats to discover how these models can inform our readings of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of syntax in stanzaic development, his atemporalization through grammar, and the antinomies which converge in selected symbols from his poems.
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嚴吳嬋霞. "魯迅與中國兒童文學的發展." Thesis, University of Macau, 1987. http://umaclib3.umac.mo/record=b1636197.
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White, Deborah. "Masculine constructions : gender in twentieth-century architectural discourse : 'Gods', 'Gospels' and 'tall tales' in architecture." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw5834.pdf.
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Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.
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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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Raths, Tobias. "Der gebrauch von Pneuma in soteriologischen kontexten In den Paulinischen briefen und im Johannesevangelium (The usage of Pneuma in soteriological contexts in the Pauline epistles and in the gospel of John)." Diss., 2006. http://hdl.handle.net/10500/1865.
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"技術時代的翻譯與寫作: 以本雅明的「技巧」槪念重新測繪鲁迅的寫作地圖." 2000. http://library.cuhk.edu.hk/record=b5895835.
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張歷君."2000年8月"
論文 (哲學碩士)--香港中文大學, 2000.
參考文獻 (leaves 133-146)
附中英文摘要.
"2000 nian 8 yue"
Zhang Lijun.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (leaves1 133-146)
Fu Zhong Ying wen zhai yao.
Chapter 緒論
Chapter 第一節 --- 硏究目的及方法 --- p.1-6
Chapter 第二節 --- 硏究背景及簡介 --- p.6-8
Chapter 上篇 --- 文字的拱廊與時間的影象´ؤ´ؤ論魯迅的直譯與雜文
Chapter 第一節 --- 引言 --- p.9-13
Chapter 第二節 --- 翻譯與希望一一論魯迅的「直譯」 --- p.14-34
Chapter 第三節 --- 解剖圖說與歷史照相學 一一論魯迅的「雜文」 --- p.34-59
Chapter 第四節 --- 小結 --- p.59-61
Chapter 下篇 --- 可技術複製性時代的傳統技藝´ؤ´ؤ論魯迅作品中的「破壞」 與「救贖」
Chapter 第一節 --- 引言 --- p.62-63
Chapter 第二節 --- 傳統經驗的「不可傳遞性」 --- p.63-67
Chapter 第三節 --- 「幻燈片事件」中的技術與暴力 --- p.67-78
Chapter 第四節 --- 病態國民照相 ´ؤ´ؤ論魯迅小說中的媒體經驗 --- p.79-100
Chapter 第五節 --- 從〈懷舊〉到《故事新編》 ´ؤ´ؤ魯迅小說寫作中的「傳統技巧」 與「救贖」 --- p.100-128
Chapter 第六節 --- 小結：「破壞」與「救贖」 --- p.128-131
結語 --- p.132
參考書目 --- p.133-146
41
Guadalupe, de Jesús Raúl. "Intelectuales, literatura y sociedad civil en la novelística de Mario Vargas Llosa." 2002. http://hdl.handle.net/2152/11001.
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42
Keefer, James Robinson. "Dynasties of demons : cannibalism from Lu Xun to Yu Hua." Thesis, 2002. http://hdl.handle.net/2429/13094.
Full textAbstract:
Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of
representations of the body in modern Chinese fiction. My interest concerns the relationship, or
correspondence between "textual" bodies and the physical "realities" they are meant to represent,
particularly where those representations involve the body as a discursive site for the intersection
of state ideology and the individual. The relationship between the body and the state has been a
question of profound significance for modern Chinese literati dating back to the late Qing, but it
was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a
Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for
cannibalizing its own people.
In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct,
though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness,"
which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative
strategy for critiquing traditional Chinese culture without contributing to or stimulating his
reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern
Chinese literature to write about Lu Xun's erasure of the spectacle body.
In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua,
respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic
words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce
that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism
the feasting began in earnest.
Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction"
from quite different perspectives, which I have characterized in the following way: Han
Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As
becomes evident through my analysis of selected texts, despite their very significant differences
(personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in
and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman.
43
Sorensen, Susan D. "Verbal and visual language and the question of faith in the fiction of A.S. Byatt." Thesis, 1999. http://hdl.handle.net/2429/10097.
Full textAbstract:
This study investigates the relation between faith in a transcendent reality and
faith in language, both verbal and visual, in the work of English novelist and critic
Antonia Byatt. Her ideal conception of communication combines the immediacy and
primal vigour of the visual with the methodical pragmatism of words. However, Byatt's
characters who exemplify this effort at double vision - in particular Stephanie Potter
Orton in the 1985 novel Still Life - find in their quests frustration and even death rather
than fulfillment.
My investigation focuses on A. S. Byatt's presentation of the way language
attempts to represent and interact with three particular areas: fundamental personal
experiences (childbirth, death, love), perceptual and aesthetic experiences (colour and
form, painting), and transcendent experiences (supernaturalism and Christian religion). I
consider all stages of her career to date - from her first novel The Shadow of the Sun
(1964) to Babel Tower (1996). Although Possession: A Romance (1990) has garnered
most of the critical attention accorded to Byatt, I argue that this novel is not generally
representative of her principles or style. A neo-Victorian romance, part parodic and part
nostalgic, combined with an academic comedy, Possession shares neither the sombre
mythological and psychological fatalism of her 1960s fiction nor the modified realism of
her middle-period fiction. Still Life and The Matisse Stories (1993) are the works that
best elucidate Byatt's major preoccupations; they intently strive to combine the most
powerful aspects of verbal and visual knowledge.
The methodological basis for this study is pluralist; it emphasizes close reading,
combined with phenomenological, biographical, and thematic criticism. As Byatt does, I
rely principally on the ideas of writers and artists rather than theorists; she cannot be
understood without specific reference to George Eliot, Donne, Forster, Murdoch, Van
Gogh, and Matisse (among others).
Byatt's quest for truth and transcendent meaning and her investigation of the
trustworthiness of words have undergone recent changes; she seems more sharply aware
of the limitations of language and the unattainability of absolute truth. Her writings in the
1990s about paintings and colour emphasize their intrinsic value rather than their ability
either to revitalize the word or suggest the numinous.
44
Meihuizen, Nicholas Clive Titherley. "Yeats and individuation : an exploration of archetypes in the work of W.B. Yeats." Thesis, 1992. http://hdl.handle.net/10413/11300.
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45
Meda, Anna Rosa. "Teatro dei miti in Pirandello e D'Annunzio." Thesis, 1992. http://hdl.handle.net/10500/17426.
Full textAbstract:
D'Annunzio e Pirandello come uomini e come artisti si pongono agli
antipodi della scena culturale del loro tempo, eppure e nel mito, inteso
come categoria psichica oltre che artistica, che la loro antitetica
opera trova un punto d'incontro. In questo studio si analizza, dunque,
il mito nelle tre tragedie dannunziane in cui l'elemento mitico si
manifesta nel modo piu palese (La citta morta, La figlia di Iorio e
Fedra) e nella trilogia dei miti pirandelliana, summa e approdo finale
di tutta la sua opera. Per entrambi la necessita di mito nasce dalla
sofferta consapevolezza della crisi moderna: valori relativi,
personalita
atemporale
scissa,
e fuori
nessun
dello
l'aspirazione alla totalita.
sen so
spazio
di direzione.
del mito e
Nella
ancora
dimensione
possibile
La teoria junghiana degli archetipi dell'inconscio collettivo, di
cui i miti sarebbero le manifestazioni culturali, si e rivelata un
importante ausilio analitico che consente, tramite uno scavo in
profondita oltre le scorze e le sovrastrutture culturali e storiche, di
cogliere la sapiente orditura di immagini e motivi archetipici nelle
opere, confermando l'idea dell'artista anche come uomo collettivo oltre
che come individuo. In tale prospettiva il confronto tra le opere ha
portato ad importanti conclusioni, che non solo chiariscono la loro
opera di scrittori, ma anche la loro funzione all'interno della societa
in cui sono vissuti e, per esteso, della nostra.
Per entrambi recuperare il mito e ridargli una veste moderna, pur
nei rispettivi distinti modi, significa essenzialmente cercare di
superare il relativo, la frammentarieta e la mediocrita del mondo
contemporaneo. Nel processo di recupero, tuttavia, il mito stesso viene
modificato e, facendosi specchio della condizione psichica moderna, non
solo ne interpreta le piu profonde istanze, ma giunge anche a
precorrerne quelle future. La posizione centrale nelle opere dei due
scrittori dell'inconscio, il grande rimosso dell'Io raziocinante
moderno, emergente nella possente figura della Grande Madre primordiale,
rivela la direzione della futura coscienza umana nella necessita di
riaccedere alle fonti piu profonde della psiche da cui nasca l'incontro
e la fusione degli opposti, inconscio e coscienza, l'elemento ctonio,
fertile e generatore, e quello uranico, spirituale e trascendente.D'Annunzio and Pirandello both as men and as artists can only be placed at the opposite ends of the cultural scene of their times. Yet, it is in myth that their antithetical works finally converge. This study, therefore, analyzes myth in three of D'Annunzio's tragedies where the mythical dimension is more apparent (The dead city, Iorio/s daughter and Fedra) and in the trilogy of myths by Pirandello, which brings his work to its ultimate expression. For both authors the need for myth is born of the painful awareness of modern man's crisis: relative values, a divided personality and no sense of direction. In the timeless and universal dimension of myth it is still possible to achieve totality. The Junghian theory of the archetypes of the collective unconscious, of which myths are cultural manifestations, has proved to be an analytical tool of great importance. By giving access to the deepest level of the texts beyond their cultural and historical layers, it brings to light the otherwise elusive meaning of archetypal images and motives, revealing the true nature of art to be not just the work of an individual but also of collective man. The works, different as they may be, when compared in this perspective have nevertheless yielded some important common conclusions, not only on D'Annunzio and Pirandello as writers but also on their role within the society they lived in and, by extension, our own. For both of them myth, even in a modern context, means essentially the overcoming of the fragmentation, the relativity and the mediocrity of contemporary life. However, in the process of recapturing this mythical dimension, myth itself is bound to be modified. Because it mirrors the modern psyche, it not only interprets its deepest present needs, but also points to its future ones. The central position occupied in their works by the subconscious, emerging from behind the powerful image of the primordial Great Mother, points the way to future psychological development and to the need to regain access to the deepest levels of the human psyche so that its opposing forces, subconscious and consciousness, can meet and be reconciled.
Classics & Modern European Languages
D. Litt. et Phil. (Italian)
46
Castro, María Elena. "El conflicto entre la realidad y el deseo en la poesía surrealista de la Generación del 27." 2001. http://hdl.handle.net/2152/10711.
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47
Heil, Katrina Marie 1976. "Modern tragedy in the absence of God : an analysis of Unamuno and Buero Vallejo." 2006. http://hdl.handle.net/2152/13116.
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Marais, Johannes Lodewyk. "'n Ondersoek na die aard van en opvattings oor Eugene N. Marais se wetenskaplike prosa (Afrikaans)." Thesis, 2001. http://hdl.handle.net/2263/22896.
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Myers, Nathan C. ""Yeats" : fashioning credibility, canonicity and ethnic identity through transnational appropriation." 2012. http://liblink.bsu.edu/uhtbin/catkey/1698517.
Full textAbstract:
Over the last half century, the words of poet William Butler Yeats have been referenced in book titles, epigraphs, movies, television, and music with surprising constancy, asserting his place in our collective cultural consciousness. This study examines how and why these appropriations function to perpetuate Yeats’s elevated canonical status, provide a means of ethnic identification and legitimization, and enable the literary emergence of those who place their names alongside his. Through discussions of Frank Norris’s McTeague, W.H. Auden’s “In Memory of W.B. Yeats,” Chinua Achebe’s Things Fall Apart, and Alice McDermott’s Charming Billy, I examine the complex relationship between each text and the career of both its author and Yeats to demonstrate how and why Yeats matters. Yeats himself may have donned many masks, but his poems have themselves become masks, offering his appropriators a means of identification. For Irish Americans in the early twentieth century, he offered humanity and hope in the face of Norris’s Anglo-American prejudice; he provided Auden with a site to explore his own anxieties about the place of the poet and the role of poetry in the Modern world; he legitimized Achebe’s African narrative while also supplying him with a template and the resources to interact and critique Western conceptions of history; and, for McDermott, his early poetry embodied the dream of an idealized Ireland that plagued many Irish Americans throughout the century. Ultimately, it becomes apparent that Yeats affords both cultural capital and a productive site for exploration to authors and critics who utilize his name and work, crafting and maintaining his reputation while simultaneously shaping their own.Department of English
50
Ruiz, María Regina. "The permeability of history and literature in Santa Evita and La fiesta del Chivo." Thesis, 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1704/ruizm80119.pdf.
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