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1
Gilbert, Bennett. "Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1872.
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The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style.
Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history.
Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley's views of the perfect contingency of the world and on Vico's theories of truth and ingenium.
A reading of Diderot's critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu's aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts.
The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as a pre-cinematic effects that represent the non-material, non-causal deep structure of reality.
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Suescun, Pozas María del Carmen. "Lygia Clark and the European tradition : tracing the appearance of a different space." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26761.
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For almost 35 years the work carried out by the Brazilian artist Lygia Clark between the 1950s and until her death, in 1988, has attracted the attention of both Brazilian and European scholars and critics. Since special attention has only been given to her post-1969 work, the work carried out until 1969 has been overlooked. In particular, I would argue that through the incorporation of the human body Clark's 1959-1964 Bicho series is the first spatial performative strategy developed by Clark during the 1960s and against which all her subsequent production needs to be read.The present essay is thus an attempt to read as spatial performative strategies Clark's Bicho series with and against the Brazilian reception of Mondrian, reception which, as I would argue has been overlooked in the context of her work. Furthermore, I would argue that in order for us to better understand how the Bicho series unfold as spatial performative strategies the Brazilian reception of Mondrian must be approached through the Brazilian reception of Merleau-Ponty's phenomenology and political and cultural movements of the time. While the role played by Merleau-Ponty's incorporation of the human body in Clark's work has not been closely examined, Clark's engagement with the political and cultural movements of her time has been underestimated. I would argue that any attempt to give an account of Clark's practice needs to take into consideration the role these three aspects played in her engagement with the problem of representation.
3
Prado, Elisa dos Santos. "As edições não póstumas de Inocência (1872/1884), de Visconde de Taunay : análise do primeiro capítulo /." Assis : [s.n.], 2013. http://hdl.handle.net/11449/94090.
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Orientador: Carlos Eduardo Mendes de MoraesBanca: Marco Antonio Domingues Sant'Anna
Banca: Heloisa Helou Doca
Resumo: Esta dissertação objetiva analisar o primeiro capítulo das duas edições não póstumas (1872 e 1884) do romance Inocência, do Visconde de Taunay (1843-1899), sob o ponto de vista filológico. Para tal foram utilizados os referenciais teóricos da filologia, da crítica textual, da crítica genética, da edótica e da estilística segundo os seguintes autores: César Nardelli Cambraia; Bárbara Spaggiari e Maurizio Perugi; Cecília Almeida Salles; Segismundo Spina; José Lemos Monteiro e Nilce Sant‟Anna Martins. Alfredo d‟Escragnolle Taunay atuou e escreveu sobre várias esferas do Brasil do século XIX, mas sua fama é atribuída a apenas duas de suas produções: La Retraite de Laguna (1871) e Inocência (1872). Pelo fato de o meio acadêmico ainda não ter ressaltado a necessidade da elaboração de uma análise aprofundada da recepção e das alterações pelas quais o romance campestre possa ter passado após tantas publicações, é que este estudo propõe a aplicação de dois procedimentos da crítica textual, recensio e collatio, por meio dos quais se revelarão, a partir de uma amostragem, as alterações às quais o texto foi submetido e a importância dessas escolhas em função de algumas coordenadas indicadas pela fortuna crítica. Este processo contribui para desmistificar o processo criativo das obras de arte (crítica genética) e também auxilia na criação de um conjunto de regras que constituem marcas de estilo do autor, presentes no processo de edição e reedição da obra
Abstract: This dissertation aims to analyze the first chapter of the two not posthumous editions (1872 and 1884) of the novel Inocência, by Visconde de Taunay (1843-1899), using the philological approach. For this purpose, it was used the theoretical frame of references of philology, textual criticism, genetic criticism, ecdotics and stylistics according to the following authors: César Nardelli Cambraia; Bárbara Spaggiari e Maurizio Perugi; Cecília Almeida Salles; Segismundo Spina; José Lemos Monteiro e Nilce Sant‟Anna Martins. Alfredo d'Escragnolle Taunay acted and wrote about various spheres of nineteenth-century Brazil, but his fame is attributed to only two works of him: La Retraite de Laguna (1871) and Inocência (1872). Considering that academia has not emphasized the necessity of developing a thorough examination of the reception and the changes through which the country novel has spent after so many publications, this study proposes the application of two procedures of textual criticism, recensio and collatio, by means of which will show, from a sample, the changes to which the text was submitted and the importance of these choices on the basis of some coordinates indicated by critical fortune. This process helps to demystify the creative process of art works (genetic criticism) and also helps in creating a set of rules that constitute the author's style tags, present in the editing and re-editing process of the work
Mestre
4
Burton, Samantha. "Re-mapping modernity : the sites and sights of Helen McNicoll (1879-1915)." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83172.
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Canadian artist Helen McNicoll (1879-1915) has long been neglected in art historical scholarship. Although well-known and well-regarded during her lifetime, her work has since been marginalized as feminine and dismissed as old-fashioned. Through the lens of a modernist art historical tradition that has privileged the urban and masculine above all else, McNicoll's Impressionist depictions of sunlit beaches, open fields, and rural women at work may indeed seem quaintly nostalgic. In this thesis, I argue that these images can and should be seen as both representations of modernity and assertions of feminist thought. McNicoll travelled throughout England and Europe, and across the Atlantic Ocean in search of artistic subject matter; viewed within the context of tourism---which has been theorized as a fundamentally modern activity---her images appear modern in ways that have not traditionally been recognized.
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Tongra-ar, Rapin. "Fanny Fern: A Social Critic in Nineteenth-Century America." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278370/.
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This dissertation explores Fanny Fern's literary position and her role as a social critic of American lives and attitudes in the nineteenth-century. A reexamination of Fern's literary and non-literary works sheds light on her firm stand for the betterment of all mankind. The diversity and multiplicity of Fern's social criticism and her social reform attitudes, evident in Ruth Hall. Rose Clark, and in voluminous newspaper articles, not only prove her concern for society's well-being, but also reflect her development of and commitment to her writing career.
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Prado, Elisa dos Santos [UNESP]. "As edições não póstumas de Inocência (1872/1884), de Visconde de Taunay: análise do primeiro capítulo." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/94090.
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prado_es_me_assis.pdf: 3192415 bytes, checksum: f370fc3dc063ec2872a8bc6860558099 (MD5)Esta dissertação objetiva analisar o primeiro capítulo das duas edições não póstumas (1872 e 1884) do romance Inocência, do Visconde de Taunay (1843-1899), sob o ponto de vista filológico. Para tal foram utilizados os referenciais teóricos da filologia, da crítica textual, da crítica genética, da edótica e da estilística segundo os seguintes autores: César Nardelli Cambraia; Bárbara Spaggiari e Maurizio Perugi; Cecília Almeida Salles; Segismundo Spina; José Lemos Monteiro e Nilce Sant‟Anna Martins. Alfredo d‟Escragnolle Taunay atuou e escreveu sobre várias esferas do Brasil do século XIX, mas sua fama é atribuída a apenas duas de suas produções: La Retraite de Laguna (1871) e Inocência (1872). Pelo fato de o meio acadêmico ainda não ter ressaltado a necessidade da elaboração de uma análise aprofundada da recepção e das alterações pelas quais o romance campestre possa ter passado após tantas publicações, é que este estudo propõe a aplicação de dois procedimentos da crítica textual, recensio e collatio, por meio dos quais se revelarão, a partir de uma amostragem, as alterações às quais o texto foi submetido e a importância dessas escolhas em função de algumas coordenadas indicadas pela fortuna crítica. Este processo contribui para desmistificar o processo criativo das obras de arte (crítica genética) e também auxilia na criação de um conjunto de regras que constituem marcas de estilo do autor, presentes no processo de edição e reedição da obra
This dissertation aims to analyze the first chapter of the two not posthumous editions (1872 and 1884) of the novel Inocência, by Visconde de Taunay (1843-1899), using the philological approach. For this purpose, it was used the theoretical frame of references of philology, textual criticism, genetic criticism, ecdotics and stylistics according to the following authors: César Nardelli Cambraia; Bárbara Spaggiari e Maurizio Perugi; Cecília Almeida Salles; Segismundo Spina; José Lemos Monteiro e Nilce Sant‟Anna Martins. Alfredo d'Escragnolle Taunay acted and wrote about various spheres of nineteenth-century Brazil, but his fame is attributed to only two works of him: La Retraite de Laguna (1871) and Inocência (1872). Considering that academia has not emphasized the necessity of developing a thorough examination of the reception and the changes through which the country novel has spent after so many publications, this study proposes the application of two procedures of textual criticism, recensio and collatio, by means of which will show, from a sample, the changes to which the text was submitted and the importance of these choices on the basis of some coordinates indicated by critical fortune. This process helps to demystify the creative process of art works (genetic criticism) and also helps in creating a set of rules that constitute the author's style tags, present in the editing and re-editing process of the work
7
Jeannotte, Valérie. "Temps morts : la femme qui tue la mort chez Théophile Gautier." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99725.
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This thesis analyses the figure of the mythicized women as an attempt to escape the threat of time and death that is typical in Gautier's fictional narratives. In "La Cafetiere", "Omphale", "Le Pied de momie", "La Morte amoureuse" and "Arria Marcella", the feminine characters belong to both earthly and heavenly opposite realities. This study is based on several works such as Gilbert Durand's Structures anthropologiques de l'imaginaire, Georges Poulet's Etudes sur le temps humain and Mircea Eliade's Aspects du mythe. In the creation work part, nostalgia is introduced through characters that are overwhelmed by the death or the disappearance of a loved one.
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Bennett, Catherine Elizabeth. "The interrelated development of social values and the concept of the tragic hero with reference to the works of Arthur Miller." Diss., Pretoria : [s.n.], 2000. http://upetd.up.ac.za/thesis/available/etd-10102007-115952.
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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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Langteau, Paula T. "The absurdity of Miller's Salesman : examining Martin Esslin's concept of the absurd as presented in Arthur Miller's Death of a salesman." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/544134.
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Arthur Miller's Death of a Salesman, 1949, is traditionally viewed as a modern tragedy. Ample evidence in the text, however, suggests that Miller leans also toward the convention of the Theatre of the Absurd. Miller uses several techniques, including an absurdist handling of set, time and space, thought, action, and language to contribute to the larger absurdist "poetic image" of the death of a salesman. And the thematic interpretation of that image in terms of character and audience suggests the perpetuation of illusion, a common absurdist theme.Because Miller effectively combines the absurdist with the realistic elements of the drama, an absurdist reading of the play does not negate its readings as tragedy and social realism, but rather enhances those readings, providing an important additional perspective from which to view the play. An absurdist reading also establishes a definite tie between this important twentieth century playwright and the influential absurdist convention in theatre.Department of English
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Moira, Amara 1985. ""Dubliners" / "Dublinenses" : retraduzir James Joyce." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269967.
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Orientador: Fabio Akcelrud DurãoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O fato de existirem sete traduções do "Dubliners" de James Joyce poderia indicar duas situações diametralmente opostas: de um lado, que é possível já existir uma versão cujo brilho seria capaz de apagar, pelo menos temporariamente, a necessidade de se retraduzir os quinze contos; de outro, que há algo neste livro que resistiu e segue resistindo às mais obstinadas tentativas de tradução. O estudo destas traduções, entretanto, demonstrará que poucas são as divergências nas propostas que as animam, diferindo entre si tão-somente no grau de ousadia com que buscaram recriar o "Dubliners" em português: no geral, todas as sete (quatro brasileiras e três lusitanas) seriam filhas dum mesmo desejo de preservar a camada superficial de sentido a qualquer custo, mesmo que isto implique em apagar algumas das características mais intrigantes da prosa joyceana (a saber, a possibilidade de usos verbais dos personagens inadvertidamente despontarem na voz do narrador, as experiências coloquiais que abundam em qualquer dos contos [desvios da norma culta, expressões que não conhecem registro nos principais dicionários da língua, giros lexicais de sentido obscuro, peculiaridades do inglês falado na Irlanda, falas vazias de significação ou demasiado vagas, etc.] e as repetições que criam uma teia de sentidos dentro da obra). Pensando nisto e munido de um conhecimento minucioso tanto do texto inglês quanto do das versões em nosso idioma, empreendi uma nova tentativa de tradução do "Dubliners", tradução de viés acadêmico por vir acompanhada de notas e de um arcabouço teórico sólido, mas que não coloca em segundo plano a necessidade de se recriar a instigância do original irlandês. No que toca à obra joyceana, o crítico Hugh Kenner será uma das pedras de toque do projeto, enquanto que, no tocante à teoria da tradução, Walter Benjamin servirá como iluminador de caminhos. A versão castelhana de Guillermo Cabrera Infante, o genial escritor cubano e um admirador de Joyce, será um modelo de possibilidades criativas: não temos uma versão que se lhe equipare, uma versão que se proponha a criar uma obra rigorosa e de fato literária. Eis o desafio a que me proponho nesta dissertação
Abstract: The fact that there are seven translations of James Joyce's "Dubliners" could indicate two diametrically opposite situations: on the one hand, that it is possible that the splendour of one of these versions would be able to suppress, temporarily at least, the need for another translation; on the other, that there is something in this book that resisted and keeps resisting to the most obstinate attempts of translation. However, the analysis of these translations will show that there are few differences between their proposals: in general terms, all them ( four Brazilians and three Lusitanians) descended from the same desire of preserving at any cost the superficial layer of sense, even when it deletes some of his most intriguing characteristics (as some idioms of the characters appearing in the narrator's voice, or the numerous coloquial experiences, or the repetitions that create a web of signifiers inside the work). With that in mind and provided with a thorough knowledge of the English text as well as of the Portuguese translations, I undertake another attempt to translate it, an academic attempt with plenty of notes and a solid framework but bringing also to foreground the necessity of recreating a literary work, a work that deserves to be called literature. Hugh Kenner will be the touchstone regarding the Joycean criticism, while Walter Benjamin will illuminate new paths in translation studies. Guillermo Cabrera Infante, the bright Cuban writer and an admirer of Joyce, was my model of creative possibilities: we do not have a version as good as this one. This is my challenge with this dissertation
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Gustafsson, Fredrik. "Hasse Ekman : a question of authorship in a national context." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3421.
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This thesis takes a historical approach to its subject and focuses on Swedish cinema of the 1940s and 1950s. The thesis argues that Swedish cinema experienced a renaissance in the 1940s, lasting approximately from 1940 to 1953. It further suggests that one of the most important filmmakers in this renaissance was Hasse Ekman. By focussing upon Ekman and this renaissance, a much-needed contextualisation of Ingmar Bergman will be achieved. Ingmar Bergman is one of the most well-known and well-researched filmmakers of all time, but there are still gaps in the material surrounding him, and one such gap concerns his cinematic origins. Bergman was a part of the 1940s renaissance, during which Bergman worked with, and was influenced by, other filmmakers and in particular Ekman. The thesis is divided into three parts. The first part introduces the relevant literature and discusses ideas of authorship and national cinema. It also provides a historic overview of Swedish society and cinema during the 1940s and 1950s, providing the context needed to better understand the films of Ekman, and Bergman too. This part also looks at the 1930s to illustrate what came before this renaissance, and how the films of the 1940s differed from what had gone before. The second part is a chronological overview of Ekman's career from the late-1930s to his move to Spain in 1964. The last part is a discussion of Ekman's relation to Swedish society and his view of the world, based on close textual readings of his films. The aim of the thesis is to present, for the first time, a coherent and extensive overview of Ekman's career and body of work, while also situating it in the specific context in which it emerged, thereby shedding new light on an important, though neglected, episode in cinema history.
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Dantas, Robson Norberto. "Entre a arte, a historia e a politica = itinerarios e representações da "Ficção Brasiliana" e da Nação Brasileira em Adonias Filho (1937-1976)." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280402.
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Orientador: Izabel Andrade MarsonTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este estudo trata do percurso intelectual e político do escritor Adonias Aguiar Filho, autor de obras importantes como Os Servos da Morte, Memórias de Lázaro e Corpo Vivo que tematizam os dramas engendrados pela sociedade do cacau da região de Ilhéus; e de significativa produção de crítica e história literária brasileiras no período entre 1930 e 1980. Dessa forma, construiu uma carreira extensa e movimentada, pois, além dos romances, escreveu em jornais do Rio de Janeiro e de São Paulo, também dirigiu órgãos de destaque ligados à cultura e à sociedade civil, especialmente durante o regime militar instaurado em 1964. Apesar desse percurso, críticos literários e historiadores da literatura e da história da região do cacau predeterminaram àquele autor, lugar e perfil imóveis na história intelectual brasileira - a de escritor "metafísico" e "apolítico" - verdadeiro contraponto ao seu conterrâneo, o "comunista" Jorge Amado. A despeito dessa imagem cristalizada no tempo, procuro demonstrar o quanto Adonias Filho atuou na construção de sua própria figura como escritor, assim como nas ocorrências de sua época e região; ainda, o quanto a sua argumentação foi moldada por elas. O estudo evidencia também como arte, história e política sempre formaram as vigas mestras de sua produção intelectual e literária, questão particularmente flagrada no longo debate literário e político ocorrido entre o autor e seu constante "adversário" Jorge Amado.
Abstract: This study deals with the political and intellectual journey curriculum of the writer Adonias Aguiar Filho, author of important works such as The servants of the Dead, Lázaro's Memories and The alive body. These books subject analyze the society of Ilhéus area of cocoa production. Adonias Aguiar Filho was significant author of critical Brazilian literary and history between 1930 and 1980. Thus, he has a long and very busy career, because in addition to novels, he wrote Rio de Janeiro and Sao Paulo newspapers; he also directed relevant organizations related to culture and society, especially during the military regime in 1964. Although this curriculum, literary critics, historians of literature and Historians criticize the author, as immobile or inert profile in the Brazilian intellectual history. They called Adonias Aguiar Filho the "metaphysical" and "apolitical" writer true counterpoint to his countryman, the "Communist" Jorge Amado. In spite of this image crystallized in time, we focus on how Adonias energetically build up his own image as a writer, as well as he was very interested in the events of his time and region. We will analyze how his novel?s argument has been shaped by his time events. The study also try to demonstrate how art, history and politics have always formed the girders of Adonias intellectual and literary production, an issue particularly exposed on the long literary and political debate between the author and his constant "adversary" Jorge Amado.
Doutorado
Politica, Memoria e Cidade
Doutor em História
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Gibson, Donald. "Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/8059.
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The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.
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Sukhina, Nataliya. "Alexander Scriabin (1871-1915) piano miniature as chronicle of his creative evolution, complexity of interpretive approach and its implications /." Thesis, Recital, recorded Feb. 27, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6048.
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Thesis (D.M.A.)--University of North Texas, 2008.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 22, 2004, Mar. 28, 2005, Feb. 27, 2006, and Nov. 26, 2007. Includes bibliographical references (p. 82-86).
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McVay, Michael (Michael Jones). "Scriabin: A New Theory of Harmony and Structure." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc501031/.
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The thesis speculates upon the source of Scriabin's pitch selection in several of his atonal works, concluding that Scriabin's "principle" stems from his own "mystic chord," its inversion at the major third, and the transposition of these two chords at the tritone. These four chords share the same invariant harmonic basis, Scriabin's characteristic French-sixth sonority. The quartet of chords combine to form two nine-note scales, each containing as a subset the octatonic scale. The thesis demonstrates how Scriabin composed his works in harmonic blocks, utilizing only the notes from these scales. The thesis traces Scriabin's atonal style back to his tonal period. His fascination with tritone adjacencies and relationships is discussed, and serves to support the theory. Other harmonic and linear theories are discussed. Also, the thesis shows how Scriabin used these scales structurally in his works.
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Combrink, Albert Christiaan. "A stylistic and technical analysis of Skryabin's Etudes, Op. 8." Thesis, 1992. http://hdl.handle.net/10413/8880.
Full text
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Van, der Nest Susanna Hendrina. "Verskyningsvorme van die ironie in die latere poësie van Elisabeth Eybers." Thesis, 2014. http://hdl.handle.net/10210/10799.
Full text
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Jansen, Ena. "Elizabeth Eybers Se "Nederlandse" Bundels, 1962-1991." Thesis, 1992. https://hdl.handle.net/10539/25462.
Full textAbstract:
A thesis submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg,
for the degree of Doctor of Philosophy.Since Eybers went to live in Amsterdam in 1961 her poetry has always been simultaneously published in Amsterdam and Cape Town. Nine of her sixteen collections since she made her debut in 1936 can therefore be called "Dutch" in the sense that they have not only been published in the Netherlands, but have also been reviewed there extensively and very positively. She is regarded as a poet belonging to the Dutch literary tradition, and was awarded the highest prize for Dutch literature in 1991. All of this has happened without her losing her South African readership or status as one of the greatest Afrikaans poets. In this study I present an overview of the situation in Holland with regard to the scant acceptance and Jack of knowledge of Afrikaans and of its literature at the time Eybers went to live there. The uniqueness of her Dutch acceptance is analysed against this background. An overview of her Dutch and South African reviews (1962-1992)clearly shows that Dutch reviewers have always been fascinated by the fact that they can understand her work in spite of the fact that Afrikaans is otherwise considered a language from which texts need to be translated into Dutch in order to be readable and marketable. Because Eybers lives in the Netherlands she shares a frame of reference with her Dutch readers. Her language has incorporated many typical Dutch phrases, allowing her poetry to become more accessible and familiar to Dutch readers. Basically,though, she still writes in Afrikaans and South African readers still read and regard her as an Afrikaans poet In her poems - which often describe her state of voluntary exile and In which memories of the vast South African landscape are described - South African readers therefore find much which is familiar to them. Her themes -Iove.Ionellness, ageing, death, estrangement - are universal. In spite of this wide acceptance an in depth study or the particularities of the Eybers Idiolect and fields of reference clearly shows that both sets of leaders are constantly faced with quite severe comprehension problems. I therefore argue that the work of Eybers offers a unique example of "making it strange", the element which the Russian Formalists regarded as the essentiai difference between natural language and poetic language. The "double world" and "go between" language of Eybers result in a blend of intimacy and strengeness which two sets of readers experience in different ways. I argue that particular "ungrammaticalities" make her "Dutch" volumes "doubly poetical". Formalist, reception and semiotic theories are employed in a descriptive explanation of the Eybers phenomenon.
Andrew Chakane 2018
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Stocks, Lynette. "Gautier critique: liberte, fraternité et la défense du réalisme." Thesis, 2006. http://hdl.handle.net/2440/69454.
Full textAbstract:
In considering the art criticism of Théophile Gautier, this thesis looks at the role of art in the society of the industrial revolution. It also looks at the critical climate, and the aims and the nature of Gautier’s art criticism, and examines the role which Gautier played in the renaissance of the Realist aesthetic in 19th century France.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2006
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"曾國藩詩學觀探論." 2007. http://library.cuhk.edu.hk/record=b5893406.
Full textAbstract:
吳巧雲."2007年9月".
論文(哲學碩士)--香港中文大學, 2007.
參考文獻(leaves 146-153).
"2007 nian 9 yue".
Abstract also in English.
Wu Qiaoyun.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007.
Can kao wen xian (leaves 146-153).
Chapter 第一章 --- 緒論
Chapter 第一節 --- 硏究緣起 --- p.1
Chapter 第二節 --- 前人硏究曾氏詩學成果述評 --- p.3
Chapter 第三節 --- 硏究方法、材料及目標 --- p.6
Chapter 第二章 --- 詩歌批評觀
Chapter 第一節 --- 《十八家詩鈔》成書過程和編撰動機 --- p.8
Chapter 第二節 --- 對前代詩人的選評 --- p.15
Chapter 第三節 --- 論詩體 --- p.33
Chapter 第四節 --- 詩歌評語論說 --- p.43
Chapter 第三章 --- 詩歌創作、鑑賞論
Chapter 第一節 --- 詩歌創作論 --- p.72
Chapter 第二節 --- 聲調說：詩文以聲調爲本 --- p.84
Chapter 第三節 --- 曾氏詩歌創作實踐以及後世之評價 --- p.92
Chapter 第四章 --- 曾國藩論詩與當時詩壇之關係
Chapter 第一節 --- 曾氏詩學與桐城詩派的淵源 --- p.103
Chapter 第二節 --- 曾氏論詩與道、咸間宋詩派學說之異同 --- p.127
Chapter 第三節 --- 小結 --- p.140
Chapter 第五章 --- 結語 --- p.143
參考資料 --- p.146
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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.
Full text
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"革命的性別與性別的革命: 透視茅盾和蔣光慈「革命加戀愛」小說中的革命女性." 2013. http://library.cuhk.edu.hk/record=b5549240.
Full textAbstract:
「革命加戀愛」小說在一九二零年代末中國的大量出現，反映了當時知識份子藉書寫對革命與性別之間的關係所展開的思考。而這些思考往往集中表現在文本中的革命女性身上。論文選擇以茅盾（1896 - 1981）及蔣光慈（1901 - 1931）這兩人創作的「革命加戀愛」小說為例，嘗試說明這些文本中的革命女性，蘊藏著一種未被充份理解的革命性。這一革命性，是以當時一套經翻譯進入中國的社會主義女性主義柯倫泰（1872 - 1952）的論述為參照而顯現出來。以此為基礎，我們重新發現通過《虹》這個文本中的革命女性，茅盾敘述了一個女性如何成為「革命的性別」的故事。而在《衝出雲圍的月亮》這本小說中，蔣光慈則在革命女性的思考、行動上，展示了革命如何可以是一場「性別的革命」。「革命的性別」及「性別的革命」說明了當時中國左翼知識份子對革命的思考及想像中，性別解放的可能的面向。With the mushrooming of Revolution and Love stories in China during late 1920s, intellectuals at the time have begun their reflection on the relation between “revolution and “gender through their writings, and addressed specifically on female characters that are engaged in revolutions. The following thesis sheds light on the Revolution and Love stories of Mao Dun（1896 - 1981）and Jiang Guangci（1901 - 1931）, and tries to illuminate the revolutionary spirit of those female characters. By comparing these fictions with Alexandra Kollontai（1872 - 1952）’s gender theories, my thesis aims at revealing the revolutionary traits when Kollontai’s socialist feminism theories were introduced into China through translation. From this point of departure, the underlying meaning of how Mao Dun transformed a female narrative into a “revolutionary oriented gender one would be underscored in his book Rainbow. While in another story written by Jiang, The moon that breaks free from the clouds, he demonstrated how a revolution could be perceived as a “gender oriented revolution through the reasoning and accomplishment of revolutionary females. By highlighting both the “revolutionary oriented gender and “gender oriented revolution, it allows us to rethink how leftist Chinese intellectuals at that time have comprehended the possibilities of gender emancipation through their understandings and imaginations towards revolution.
Detailed summary in vernacular field only.
高俊傑.
"2013年2月".
"2013 nian 2 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 120-123).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Gao Junjie.
Chapter 第一章 --- 序 --- p.頁1
Chapter 一、 --- 緒論：「革命加戀愛」小說的爭議 --- p.頁1
Chapter 二、 --- 研究對象：茅盾的《虹》及蔣光慈的《衝出雲圍的月亮》中的革命女性 --- p.頁6
Chapter 三、 --- 研究方法：引入柯倫泰的思想脈絡重讀《虹》及《衝出雲圍的月亮》中的革命女性 --- p.頁12
Chapter 四、 --- 研究內容 --- p.頁19
Chapter 第二章 --- 柯倫泰的性別論述 --- p.頁22
Chapter 一、 --- 柯倫泰在現代中國 --- p.頁23
Chapter 二、 --- 柯倫泰性別論述的背景 --- p.頁29
Chapter 三、 --- 資本主義下家庭與婚姻對女性的剝削 --- p.頁31
Chapter 四、 --- 社會主義下新型的家庭與婚姻 --- p.頁33
Chapter 五、 --- 獨身女性 --- p.頁37
Chapter 六、 --- 新性道德：戀愛遊戲 --- p.頁39
Chapter 七、 --- 小結 --- p.頁44
Chapter 第三章 --- 革命的性別--從柯倫泰到茅盾的《虹》 --- p.頁46
Chapter 一、 --- 翻譯作為起點：柯倫泰與茅盾在女性解放議題的連結 --- p.頁49
Chapter 二、 --- 柯倫泰進入茅盾小說創作的視野：從《蝕》到《虹》的轉變 --- p.頁52
Chapter 三、 --- 性別意識：梅行素作為克服傳統女性特質的「新婦人」 --- p.頁59
Chapter 四、 --- 性別身份：新女性的獨身主義 --- p.頁63
Chapter 五、 --- 性別身體：女性與女性的戀愛遊戲 --- p.頁69
Chapter 六、 --- 小結 --- p.頁76
Chapter 第四章 --- 性別的革命--從柯倫泰到蔣光慈的《衝出雲圍的月亮》 --- p.頁79
Chapter 一、 --- 茅盾與蔣光慈的可比性 --- p.頁82
Chapter 二、 --- 為甚麼是《追求》？逆寫《追求》的意義 --- p.頁84
Chapter 三、 --- 逆寫《追求》 --- p.頁89
Chapter （1）. --- 女性的自我意識 --- p.頁89
Chapter （2）. --- 女性與其他女性的關係 --- p.頁94
Chapter 四、 --- 柯倫泰與蔣光慈 --- p.頁97
Chapter 五、 --- 新性道德：革命女性的戰場 --- p.頁102
Chapter 六、 --- 新家庭：新的倫理關係，與繼續革命 --- p.頁109
Chapter 七、 --- 小結 --- p.頁114
Chapter 第五章 --- 結語 --- p.頁116
參考書目 --- p.頁120
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Hachalinga, Passmore. "A critical analysis of the application of the sola Scriptura principle in Adventist theological thinking and practical action with special reference to the Zambian context." Thesis, 2010. http://hdl.handle.net/10500/3704.
Full textAbstract:
Theological divisions are threatening the Seventh-day Adventist Church’s unity and focus
on mission. Some Adventist theologians suggest that the cause of these divisions is a departure by
other Adventist theologians from adhering to and applying the sola Scriptura principle. This study
analyzes this problem.
Chapter one presents reasons for a call during the 16th century, to reform the church to its
apostolic purity. Martin Luther and other Protestant Reformers argued against the medieval church,
popes, and church councils’ claim for authority to properly interpret and teach Scripture and
Tradition. Differing views of reforming the church sparked divisions among the Protestant
Reformers, creating two main streams, the magisterial and the radical Reformers. The Roman
Catholic Church responded to the Protestant Reformations with a Counter-Reformation.
Chapter two discusses Seventh-day Adventism’s application of the sola Scriptura principle.
Although Adventism claims to descend from the radical wing of the Protestant Reformations, its
acceptance of Ellen G. White’s prophetic ministry and her non-canonical inspired writings departs
from a radical application of the sola Scriptura principle.
Chapter three presents Biblical evidences for God’s use of multiple media of communication
beside the Bible. Therefore Adventism needs to clearly define its understanding and application of
the sola Scriptura principle to accommodate other theological sources in addition to the Bible.
Chapter four presents Scripture in Zambian Adventist context, tracing Adventism’s use of
the Bible in evangelization. Adventism’s responses to changing socio-political and religiopluralistic
trends which threatened to marginalize Bible Instructions, and the development of, but
failed attempt to implement an Adventist Bible-based Religious Education syllabus at Rusangu
Secondary School are presented.
Chapter five gives the general summary, conclusion and recommendations.Systematic Theology and Theological Ethics
D.Th. (Systematic Theology)
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TSAI, CHIA-YUN, and 蔡佳芸. "The Analysis and Interpretation of “2 Nocturnes op. 5”, ”Prelude and Nocturne for the Left Hand op. 9-2” and “Poème-nocturne op. 61” by Alexander Scriabin (1872-1915)." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/4u9eq4.
Full textAbstract:
碩士東吳大學
音樂學系
104
The purpose of this study is to analyze the compositional style of Alexander Scriabin’s (1872-1915) nocturnes from different periods, discuss musical interpretation, and also compare his nocturnes’ characteristics between the his early and late periods. The first chapter explains the motivation, purpose, methods, and references of this thesis. The second chapter outlines Scriabin's life and music style into three periods according to Scriabin: artist and mystic (1987) and also explains the characteristics of his nocturnes. The third chapter explores the background, form structure, melody, harmony, and rhythmic motive…etc of three Scriabin pieces. Furthermore, “Pitch-Class Sets Theory” theorized by Allen Forte (1926-2014) was utilized as a research resource for “Poème-Nocturne, Op. 61”. The fourth chapter expounds the author’s insight on interpretation and playing technique by using the “dynamic-graph” for performers to easily understand the texture changes of music. Finally, the fifth chapter concludes the thesis. Scriabin’s early period follows the late Romantic Period’s music style. Take “2 Nocturnes, Op. 5” (1893) and “Prelude and Nocturne for the Left Hand, Op. 9-2” (1894) for example. These two pieces contain melodies which are influenced by Chopin. Scriabin’s late period piece “Poème-Nocturne, Op. 61” was composed in 1911 and finished in 1912. This late period piece removed the key signature and used mystic chords with a variety of scales as creative musical elements. Scriabin combined poeme with nocturne and added many symbolic terms, such as rest and fermata, to create a sense of mystery. Nowadays, most studies focus on Scriabin’s sonatas, poemes, and etudes more than his nocturnes. Hopefully in the future more specialists will provide an abundance of written and video information to complete the analysis of Scriabin’s nocturne works.
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Myburgh, Heilie Magdalena Magrieta. "Die vierde genre : De plaag (Van Reybrouck) as voorbeeld van literêre niefiksie." Diss., 2009. http://hdl.handle.net/10500/2704.
Full textAbstract:
Hierdie studie ondersoek vrae rondom die aard van literêre niefiksie - ook die vierde genre genoem. Die bestaande drieledige genreklassifikasiesisteem maak nie voldoende voorsiening vir tekste waarin die grense tussen feit en fiksie opgehef word nie. Die toename van sodanige hibriede tekste noodsaak dus ‘n uitbreiding van tradisionele genrekategorieë tot ‘n vierde, naamlik dié van literêre niefiksie. Dié ondersoek poog om vrae rondom literêre niefiksie te beantwoord met verwysing na De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) van David van Reybrouck. Dié teks dokumenteer Van Reybrouck se ondersoek na die bewering dat Maurice Maeterlinck die termietnavorsing van Eugène Marais sonder erkenning oorgeneem het. Tydens sy navorsingsreis maak Van Reybrouck kennis met die verwikkeldhede van ‘n postapartheid Suid-Afrika en verwoord sy reiservaring met behulp van metafore uit die entomologie. Die resultaat is dat De plaag ‘n hibriede karakter vertoon wat versoenbaar is met die kriteria vir literêr-niefiksionele tekste.This study attempts to explore the nature of literary nonfiction (the fourth genre). The existing tripartite classification system does not make adequate provision for texts where the borders between nonfiction and fiction are transcended. A marked increase in such texts therefore necessitates an expansion of the traditional genre categories to accommodate a fourth, namely that of literary nonfiction. De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) by David van Reybrouck will serve as point of departure to explore the genre of literary nonfiction. The said text documents Van Reybrouck’s investigation into the alleged plagiarism by Maeterlinck of Marais’ research on termites. Van Reybrouck’s travels expose him to the complexities of a post-apartheid South Africa, which he expresses by using metaphors derived from the field of entomology. The result of this process is that De plaag displays a hybrid character which complies with the criteria for literary nonfiction.
Afrikaans and Theory of Literature
M.A. (Afrikaans)