Dissertations / Theses on the topic '1873-1924 Criticism and interpretation'
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Stedall, Ellie. "Herman Melville, Joseph Conrad and transatlantic sea literature, 1797-1924." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648378.
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Robbins, Ann. "La Signification et l'Influence des Cinq Sens sur le Suet de la Domestication dans l'Oeuvre de Colette: The Signification and Influences of the Fice Senses on the Opic of Domestication in the Work of Colette." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/RobbinsA2003.pdf.
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Parnell, William A. "Space, Consciousness, and Gender in Colette." PDXScholar, 1993. https://pdxscholar.library.pdx.edu/open_access_etds/742.
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Colette's desire, to reveal the different levels of difficulties in relationships, results in the creation of three masterpieces, L e Ble en Herbe, La Chatte, and La Vagabonde. Through her characters in these novels, the author exposes the spatial boundaries set by each couple. Also, she concentrates on the maturation of the protagonists. The woman's function in society transforms as she gains personal power, and she becomes self-reliant. Finally, Colette evades sexual stereotyping by introducing the reader to the issues of gender and androgyny. She helps to dispel the sexual myths around the. idea of normal stereotyping. Themes such as male and female physical characteristics and related "socially acceptable" behaviors are addressed. In general, these works clarify ideas about the way in which individuals associate with one other. Chapter I will analyze the spatial limitations created by the protagonists. It will examine two binary oppositions, "in/out" and "dream-world/reality". The "in/out" opposition will focus on both physical and mental spaces, whereas the "dream-world/reality" opposition will magnify tangible and unreal spaces. This chapter's objective is to demonstrate the uses of territorial boundaries and deduce their affects in relationships. Chapter II will investigate the association between Colette's characters and the liberation of womankind. The aim is to examine the female characters' growth in regard to the society around her. As well, obtaining personal power and the concept of empowerment is treated ~y studying the use of the female voice. This chapter will show a recurring theme of women overcoming the forces of patriarchy and moving beyond the confines of societal rules. Chapter III will study the issue of gender and androgyny in Colette's characters. It will bring to light Colette's use of gender roles, and the way in which her protagonists search out an identity and learn about themselves. Finally, this chapter will cover gender stereotypes and Colette's contemporary view of such an issue. In summary, the novels to be treated, Le Ble en Herbe, La Chatte, and La Vagabonde, will move through three different levels of development in the growth of the characters, from adolescence through young adulthood and into maturity. This notion will be utilized in each chapter and will demonstrate Colette's theme of relationships which spirals out of three connected ideas, space, consciousness and gender.
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Huggan, Graham. "The novelist as geographer : a comparison of the novels of Joseph Conrad and Jules Verne." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26839.
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The works of Joseph Conrad and Jules Verne share a fascination with geography: concern with geographical issues made explicit in their non-fictional works is also implicit in their fiction. Unfortunately, limited knowledge of or interest in geographic theory on the part of the literary critic has made the relation between literature and geography a relatively unpopular focus; to redress the balance, it is necessary to outline briefly some of the ways in which geographical theory may usefully inform the practice of literary criticism. Areas to be introduced include geography and literature as spatial distribution, as spatial perception, as inscription on and description of the environment, as text, as cultural matrix.
The above areas serve as a focus for the comparative analysis of a series of novels by Joseph Conrad and Jules Verne in which three issues are foregrounded: first, the interrelations between concentrated place and surrounding space in the sea-tales The Nigger of the Narcissus and Vingt mille lieues sous les mers; second, the reading and writing of cultural landscape in Heart of Darkness and Voyage au centre de la terre; third, the geopolitics of territory, boundary and landclaim in Lord Jim and L'lle mystérieuse. In each case, relevant geographical theory is drawn upon: in the first instance, the phenomenological notions of Yi-Fu Tuan and Edward Relph; in the second, the landscape evaluations of Carl Sauer and Courtice Rose; in the third, the geopolitical and politico-geographical definitions of Glassner, De Blij and Cohen.
The first section (on The Nigger of the Narcissus and Vingt mille lieues sous les mers) explores the spatial notions of topophilia, placelessness and geometricity inherent in the relation between ship and sea. The second section (on Heart of Darkness and Voyage au centre de la terre) discusses the various connotations of landscape: cultural imprint (rewriting),
false perspective (mis-reading), textual sign-system (encoding/decoding), which suggest that landscape can be interpreted as a controlling mechanism of and means of access to the text. The third section (on Lord Jim and L' Ile mystérieuse) outlines the geographical motifs of the two novels (division, (dis)possession, ascent and descent, etc.) and infers possible motives behind these motifs, relating topographical issues to personal and political ones and paying particular attention to the implications of island environments and communities and to the connections between imperialism, colonialism and narrative strategy.
Finally, the 'literary geography' of Conrad's and Verne's novels is situated in its historical context and related particularly to the late nineteenth-century debate on the relative merits of positivism and phenomenology. In Verne's work, the doctrine of positivism, which has been constituted in terms of an ideology of science, is only celebrated in so far as its limitations are recognized. In Conrad's work, man's struggle to conquer Nature through a physical and verbal mastery of his environment is reinterpreted as an attempt to overcome his own duality. Conrad's predominantly phenomenological geography of the mind serves as a critique of positivist doctrine, but its fractured topography also suggests that the attempt to substitute 'more traditional views of the social and moral order' (Watt, 163) is, perhaps, little more than a saving illusion.Arts, Faculty of
English, Department of
Graduate
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Smith, Jeremy Mark. "Conviction in the everyday : Joseph Conrad and skepticism." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59889.
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Heart of Darkness, Chance, and Lord Jim can be described as philosophical works if considered in light of "ordinary language" philosophy. Conrad wrestled with skepticism much as Wittgenstein later would, but his struggle with the "bewitchment" of skeptical thinking took a narratival form. His champion was Marlow, raconteur of the three novels, who recurrently loses and recovers his words and his capacity to tell (to judge, to narrate). In these works the Marlovian investigation of human convention, linguistic and otherwise, is shown to be a necessary but perilous task. The possibility that we may be dissatisfied with the ordinary or transcendental conditions of living is dramatized in all three novels, often (but not only) by threats to marriage. Heart of Darkness demonstrates the loss of linguistic attunement that may follow upon taking human relation to be a problem of knowledge, and links this to Kurtz's world-devouring repudiation of the ordinary. Chance explores in melodramatic form the "germ of destruction at the source of our strength", and unmasks men's denial of women as one face of skepticism. Lord Jim presents skepticism, Romanticism, and fantasy as different versions of ontological dissatisfaction, and shows how a return to the ordinary requires a practice of reading and remembering (our words).
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Reid-Walsh, Jacqueline 1951. "The burning-glass : a developmental study of Walter de la Mare's poetry." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75903.
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This dissertation offers a revaluation of Walter de la Mare's poetry; it counters two common critical misconceptions; escapism and lack of development. The overall pattern of imagery in the poetry reflects de la Mare's understanding of reality. It outlines a universe of four interpenetrating "worlds": this world, the other world, the child world and the adult world. This pattern is used as a frame of reference. Key poems are closely read so the complexity beneath apparent simplicity is pointed up. The poetry divides into three chronological stages, with two peaks of maturity. In the early peak, The Listeners (1912) and Peacock Pie, (1913) a distinctive, dense symbolic mode is perfected. After a transitional period of formal experimentation, a late peak is achieved with Bells and Grass (1941) and The Burning-Glass (1945), where symbolic imagery forms the core for a quiet, reflective, conversational mode. Throughout, the children's and adult poetry are considered as a unit.
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Vézina, Anne-Marie. "La femme dans l'oeuvre de Colette et de Virginia Woolf /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65916.
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McDonald, Timothy E. G. "The space of Kafka /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69777.
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The following study investigates the fictional works of an early twentieth century Czechoslovakian writer named Franz Kafka. "The space of Kafka" is explored primarily through the "identity" of his characteristic monster figures and the temporally disjunctive narratives through which they travel. Monstrosity is qualified here as a principal mode of translation through which Kafka engaged the very terms of "identity" which an "individual" faces in the appearance of any "work". The intimations of a monstrous self are probed through Kafka's work in relation to human experience, intentionality, alterity and a "present" which is en-acted specifically as one form of the past. Through Kafka's paradigmatic "monster", "double" and "bachelor" figures, we find not "alternative" orientations of the "self" which contemporary literature and architecture may choose to undertake, but intrinsic re-presentations of the very relation which any self, any author, already is in the appearance of a "work".
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Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
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This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
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Doherty, Helen. "The motif of initiation in selected works by Joseph Conrad." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002263.
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This thesis explores the archetypal theme of initiation in selected texts by Joseph Conrad. The Introduction first surveys critical attention to initiatory motifs in Conrad with the objective of demonstrating the need for an approach to the topic informed by a more formal and theorized understanding of initiation. It then offers a prima facie case for the centrality of the idea of initiation in Conrad's oeuvre, based on references culled from a range of the author's writings. Chapter One seeks to contextualise initiation by providing a history of anthropological research into and theorisations of the rite, proceeding to a description of its typical structure and functions. A detailed account is given of the most widely accepted model of initiation, Arnold van Gennep's tripartite schema. Moving on to Conrad's writing, Chapter Two draws on both his fiction and more personal writings in order to provide a provisional account of the writer's own understanding of initiation and its importance, and to offer some explanation of why Conrad should have been prompted to accord the motif such prominence in his work. Conrad's presentation and (impliedly) his understanding of initiation was never entirely consistent and underwent some change in the course of his writing career. The critical assessment of "Typhoon" in Chapter Three depicts Conrad's more optimistic conception of initiation as a rite benefitting both society, by promoting solidarity, and the individual, by advancing self-knowledge. Chapter Four introduces, via analyses of the novellas "Youth" and "The Shadow Line", that variation on the motif of initiation which is more typical of its manifestation in Conrad: the failure of individuals to complete their cycles of initiation. Chapter Five identifies those characteristics of initiation which appear to be determinative in the representations of incomplete initiation in Conrad's work. Initiation seems to play out approximately seven paradoxes; the impact of some of these is examined through analysis of the initiatory ordeals of the main protagonists in The Secret Agent. Integral to this discussion is an attempt to demonstrate the vital role which initiation plays in the healthy maintenance not only of social order but also of faith and life itself. The Conclusion summarises the more important findings of the study and indicates some directions for further, related research.
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Dicks, Henry. "Being and earth : an ecological criticism of late twentieth-century French thought." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669967.
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Choinière, Paul. "Etude sur la rhétorique des premièrs écrits de Louis-Ferdinand Céline (1924-1944)." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28252.
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Since Celine's death, the pamphlets he wrote at the beginning of World War II always presented great difficulties for those who studied him. But in the last few years, for various reasons the pamphlets have stirred up researcher's interest. Following this movement, this thesis is an attempt to integrate these pamphlets to the prose of the author of Journey to the End of the Night in a general pattern of analysis.In order to do this analysis, is developed an hermeneutic model of analysis which divides Celine's work into a poetical investigation and a polemic pursuit that demonstrate that these two genres use the same rhetorical strategies.
Part I of this thesis investigates the distinct rhetoric used by Celine in mixing poetry and polemic. Part II examines the poetic investigation and the polemic pursuit separately, Celine having separated these two genres after Journey to the End of the Night.
Without eliminating the differences between poetry and polemic, this thesis aims at demonstrating the continuity and coherence of Celine's work which is particularly well suited for putting an hermeneutic model of analysis to the test because it is a work that is torn more than any other between the ravishing and the horrific, between the beautiful and the terrifying. And that is where in this profound humanity Celine's work is so rich in interpretation.
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Deschamps, Bernard 1957. "Schreiben als Form des Gebets : l'écriture en tant que forme de la prière dans l'œuvre de Franz Kafka." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115633.
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Franz Kafka (1883-1924) wrote this little phrase one day in a notebook: Writing as a form of prayer. This dissertation will examine his highly personal and Judaic conception of the act of writing in order to demonstrate that it constitutes in fact the cornerstone of Kafka's activity as a writer and that it can be traced in a significant number of his literary works as their regulating instance.In order to do so, we will first examine the social, political and economic conditions prevailing in Central Europe at the turn of the 20th century, in order to ascertain its tremendous impact on the Jewish communities living in that part of the world, in terms of loss of traditional Jewish identity culminating in many cases in assimilation. Kafka's work will thus firstly be situated in the historical and political context out of which it emerged.
In the course of this work, we have used the concepts of sacre and profane as developed by the historian of religions Mircea Eliade throughout in order to demonstrate that there exists in Kafka's work a constitutive tension articulated between those two poles, not only at the level of the plot, but at the level of language itself.
Since the central element at the root of this tension is expressed in terms of presence and absence, we have also analysed the philosophy of language of Walter Benjamin and Gershom Scholem, which are themselves articulated exactly in those terms.
The use of these categories has helped us show that if Kafka's work is indeed at time very close to that of Scholem and Benjamin, especially in its literary rendition of motives underlining the absence of the divine in language, it also distinguishes itself markedly from the work of the two philosophers by the use of other motives which underline the immediate presence of the message of Revelation, made directly accessible within the modern and profane language, which is also that of literature.
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McLean, Florence Anne. "Rakhmaninov's "Corelli" variations : new directions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31115.
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Only a few of RakJimaninov's compositions were popular with audiences during the lifetime of this Titan of the piano. Such youthful works as the Prelude in c# minor, op. 3, no. 2 and the Piano Concerto no. 2, op. 18 demonstrated only one facet of a creative process that evolved throughout his life. The purpose of this thesis, therefore, is to consider the extent of Rakhmaninov's stylistic evolution, especially the changes embodied in the large scale piano solo, Variations on a Theme of Corelli, written in the last decade of the composer's life.
In the discussion of Rakhmaninov's lifelong stylistic development the author considers three distinct stages in his life as important landmarks. The first stage shows certain early influences upon the composer's creative powers, whether conscious, such as his acknowledged sensitivity to melody, or unconscious, such as medieval chant (Dies Irae), the sound of church bells, poetry and painting.
The second addresses the question of the mixed legacy of Rakhmaninov's break with the past, when he left Russia in 1917 to re-settle in the United States the next year. On the one hand he never entirely broke his links with "Mother Russia," his fascination with the sounds
of bells and chants, in his last decade of musical composition. For example, a comparison of the ancient Dies Irae theme with the La Folia tune that Corelli had used reveals striking similarities that Rakhmaninov undoubtedly found attractive, albeit unconsciously. On the other hand, he was inspired to seek a new conciseness of style and form in composition.
The third stage relates to trends nurtured perhaps by his friendship with eminent string players and performers in America such as Fritz Kreisler. It is not surprising that Rakhmaninov's last two important works owe their themes to famous violin pieces: the Folia tune used by Arcangelo Corelli in the Corelli Variations and Paganini's well known 24th Caprice in the Paganini Rhapsody. These new directions in Rakhmaninov's music are most clearly present in the Corelli Variations, which are examined in terms of: (a) a new keyboard style; (b) string influenced variations; (c) elements of American jazz; and (d) a new clarity of structure.
Finally, the writer examines similarities between the Corelli Variations and the Paganini Rhapsody that writers have sometimes touched upon.Arts, Faculty of
Music, School of
Graduate
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Romanska, Magdalena. "Bulat Okudzhava : bard and voice of a waking Russian nation." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82930.
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Bulat Shalvovich Okudzhava, the originator of the style of Russian bards, was the first to express his nation's disillusionment over the country's political system and government in a new and alternative way.For this purpose, he used the direct impact of his poetry, a part of which he would sing for audiences, accompanied only by his guitar. This sort of communication between the writer and his interlocutors remained in sharp contrast with the means traditionally used by the official Soviet mass culture. The spreading of guitar poetry was impossible to control by authorities, since for popularization it used not only public gatherings, but also a new piece of technology at the time, tape recorders, a medium brilliantly used by Magnitizdat.
As opposed to Okudzhava's prose, the body of his poetry is largely understudied. One of the possible approaches to his poetic works may be that of classifying them according to their themes.
In the poetry of Bulat Okudzhava, several distinctive thematic categories can be distinguished. The themes that dominated the poet's creative years interpenetrate and overlap one another, as well as provide a reference for his secondary themes.
In the present thesis, the dominant themes will be analyzed from a biographical and historical angle. War will be the first major theme explored. This will be followed by a description of Okudzhava's works dealing with the cult of Stalin and the associated personal tragedy of the author, who witnessed the execution of his father and deportation of his mother. Subsequently, the themes of work, creator and creativity, poet and poetry, music and painting will be discussed. Other themes typical for Okudzhava are those of the city (especially Moscow), the street (especially the Arbat), nature, folklore, and Georgia. The body of the present thesis will conclude with the description of the basic thrusts of Okudzhava's ethics and philosophy, that are most clearly expressed in his "philosophical" verses (concerning belief, hope, love, destiny, women, friends, and man's inner world).
Since Okudzhava's poetry is heavily grounded in the historical context of the Stalin and post-Stalin era and is an alternative voice to what was imposed by official literature, it is natural and valuable to see it against the background of the Socialist Realist canon of Soviet state-controlled literary production.
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Fattah, Nadia Abdel. "James Baldwin's Search for a Homosexual Identity in his Novels." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5231.
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James Arthur Baldwin (1924- 1987) is one of the two major writers who have dared write about black gay men and from a black gay perspective. However, his fame as a racial spokesman and his insightful analyses of race relations in America tend to distract attention from the fact that he has been one of the most important homosexual writers of the twentieth century. Intolerance and homophobia among black and white Americans often led to a misinterpretation or misevaluation of James Baldwin's novels. James Baldwin was very courageous to come out as a black homosexual writer during the period of the Cold War and the Civil Rights movement. However, his awareness of racism and homophobia in the American society, and his difficult position of being a public figure and a spokesman for the Afro-Americans left its traces in his novels and influenced his novel writing career. The purpose of the present study is to show that out of intolerance, ignorance, and homophobia the evaluators of James Baldwin's novels often did him no justice. Baldwin through his novel writing developed a homosexual consciousness for himself. This struggle of coming-out was his personal struggle and it was marked by his burden of the doubly oppressed. I argue that Baldwin's search for an identity as a black homosexual writer is reflected in his writing. He constructed his identity through his writing. This study attempts to show that Baldwin's development of a homosexual identity took place in stages during his novel writing career. An analysis of the novels Go Tell It On the Mountain (1953), Giovanni's Room (1956), Another Country (1962), and Just Above My Head ( 1979) will demonstrate his movement from dealing with homosexuality as an underlying theme to using it as a tool to protest against any kinds of labels in the American society. Baldwin believed that discrimination cannot cease as long as the categorization of people through artificial constructs such as the "Negro" or the "homosexual" exists.
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Massie, Eric. "Stevenson, Conrad and the proto-modernist novel." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.
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This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
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De, Lange Adriaan Michiel. "Conrad's impressionism the treatment of space and atmosphere in selected works." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002272.
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This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively
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Mbambo, Mncedi. "Imiba yentlalo nenkcubeko kwizibongo zeenkosi ezintathu zamaxhosa." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52302.
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Thesis (MA)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: This study examines the socio-cultural issues in the praise poems of three Xhosa chiefs, namely, Nkosi Whyte Lent Mbali Maqoma of the amaJingqi, Nkosi Doyle Mpuhle Jongilanga of Dushane of Ndlambe and Nkosi Sipho Mangindi Burns-Ncamashe of amaGwali of Tshiwo. What comes out clear in the poems of these chiefs is that they experienced power problems after and before 1994. Their poetry protests about these political influences and calls for the restoration of the dignity of the chieftancy. The socio-cultural aspects of the praise poems of each chief are devoted to a chapter: Nkosi Whyte Lent Mbali Maqoma in Chapter 2, Nkosi Doyle Mpuhle Jongilanga in Chapter 3, and Nkosi Sipho Mangindi Burns-Ncamashe in Chapter 4. Attention is paid to each chiefs genealogy, praise names, names of oxen because of traditional significance in the life of the chief, the chiefs mother, and place names which have historical importance in the life of the chief. As part of the theoretical framework of praise poetry, praise poetry theory is handled in Chapter 1 of the study. It is concluded in Chapter 5 that Xhosa paramount chiefs still play and will playa crucial socio-cultural role in their communities. They are not only concerned about being custodians of culture but also with the development of their nations.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek sosio-kulturele vraagstukke in die prysgedigte van drie Xhosa opperhoofde, naamlik opperhoof Whyte Lent Mbali Maqoma van die amaJingqi, opperhoof Doyle Mpuhle Jongilanga van die Dushane groep van die Ndlambe en opperhoof Sipho Mangindi Burns-Ncamashe van die amaGwali groep van die Tshiwo. Die beeld wat na vore kom na aanleiding van 'n analise van die opperhoofde se prysgedigte dat hulle 'n magsprobleem ondervind het sowel voor as na 1994. Deur hulle poesie teken hulle protes aan oor bepaalde politieke invloede en hulle doen 'n beroep daarop dat die waardigheid van die hoofmanskap herstel word. Die sosio-kulturele vraagstukke wat na vore kom in die prysgedigte van elke opperhoof word behandel in individuele hoofstukke. Hoofstuk 2 ondersoek die prysgedigte van opperhoof Whyte Lent Mbali Maqoma, Hoofstuk 3 die prysgedigte van opperhoof Doyle Mpuhle Jongilanga, en Hoofstuk 4, die prysgedigte van opperhoof Sipho Mangindi Burns- Ncamashe. Aandag word gegee aan die genealogie van elke opperhoof, prysgroetvorme, die name van beeste, op grond van hulle tradisionele betekenis in die lewe van 'n hoofman, die opperhoof se moeder, asook plekname wat 'n historiese belang het in die lewe van die opperhoof. As deel van die teoretiese raamwerk vir die studie word die teorie van die prysgedig behandel in Hoofstuk 1. Hoofstuk 5 gee 'n samevatting van die belangrikste aspekte van die studie en motiveer die gevolgtrekking dat opperhoofde steeds 'n essenstele sosio-kulturele rol speel en ook in die toekoms sal speel in hulle gemeenskappe. Hulle is nie slegs die bewakers van die kultuurwaardes van hulle gemeenskappe nie, maar is ook fundamenteel betrokke by die ontwikkeling van hulle gemeenskappe.
ISISHWANKATHELO Olu luphando ngemiba yentlalo nenkcubeko kwizibongo zeenkosi zamaXhosa ezintathu, uNkosi uWhyte Lent Mbali Maqoma wamaJingqi, uNkosi uDoyle Mpuhle Jongilanga wemiDushane kaNdlambe noNkosi uSipho Mangindi Burns-Ncamashe wamaGwali kaTshiwo. Into evela ngokucacileyo kwizibongo ezingezi nkosi kukuba ngaphambili komnyaka we-1994 nasemva kwawo zifumene ubunzima ekulawuleni abantu bazo. Kwezi zibongo ukukhalaza ngokuphazamisa kwezopolithiko kulawulo Iwazo nelizwi lokubuyiselwa kwesidima sobukhosi kuvela ngokuthe gca. Iveliswa kwisahluko ngasinye imiba ephathelele kwezentlalo nenkcubeko evela kwizibongo zenkosi nganye: uNkosi Whyte Lent Mbali Maqoma kwisahluko 2, uNkosi Doyle Mpuhle Jongilanga kwisahluko 3, noNkosi uSipho Mangindi Burns-Ncamashe kwisahluko 4. Kuqwalaselwe umlibo wenkosi nganye, izikhahlelo zayo, amagama eenkomo ezinentsingiselo kwinkosi leyo, unina wenkosi namagama eendawo ezinentsingiselo kubomi benkosi nganye. Isikhokhelo esiyithiyori yezibongo sinikwe kwisahluko 1 solu phando. Kwisahluko 5 kuphethwa ngokuba iinkosi zamaXhosa zisenenxaxheba enkulu kwaye zisaya kuhlala zinayo kwimiba yentlalo nenkcubeko yabantu bazo. Aziphelelanga nje ekubeni zigcine inkcubeko yoluntu koko zikwanoxanduva lokunyusa umgangatho wobomi babantu bazo.
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Ells, Sharon Verna. "The rural tradition in Nellie L. McClung's works /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65984.
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Stander, Aletta Sophia. "Taal wat stamel, stotter en struikel : Marlene van Niekerk se "Die sneeuslaper" (2010) as mineurletterkunde." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20061.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: The focus of this study will be on the unique way in which language is used in Marlene van Niekerk‟s collection of short stories, Die sneeuslaper (2010). When reading Die sneeuslaper it is impossible not noticing the number of Dutch words, as well as words and phrases from other foreign languages, as Bargoens, Rotwelsch, German, French, Italian, Hebrew, Greek and Maltese. Some of the characters‟ speech, as well as so called sound poems (or nonsense verses) are characterised by a number of newly invented words. However, the meaning of some of these words or phrases remains unclear. Other themes in the four short stories which will be analysed are the so called political responsibility of the artist, as well as music, rhythm and bird-noises. As a theoretical basis of this study, Deleuze and Guattari‟s Kafka Toward a Minor Literature will be used. In Kafka Toward a Minor Literature Deleuze en Guattari formulate their ideas regarding minor literature. They describe a major language as a language of dominance and power, while a minor language is a language without any power. According to them the three characteristics of minor literature are: the minor deterritorializes the major, minor literature is always political, and minor literature always has a collective function. Deleuze and Guattari‟s, as well as Bogue‟s writing regarding the territorialization and deterritorialization of the refrain, is also explored briefly. Deleuze en Guattari‟s theories regarding minor literature is used in this study to read Die sneeuslaper. In the end it is concluded that the unconventional use of language in this short story collection can be associated with the political nature of some of the stories. The unique usage of language in Die sneeuslaper, the way in which Afrikaans is transformed into a language that stammers, stutters and mumbles, can be seen as a subtle form of political protest. Therefore this collection of short stories can be seen as a form of minor literature.
AFRIKAANSE OPSOMMING: Hierdie studie fokus op die vreemde wyse waarop taal in Marlene van Niekerk se kortverhaalbundel, Die sneeuslaper (2010), aangewend word. Met die lees van Die sneeuslaper is die hoeveelheid Nederlandse woorde, asook enkele woorde en frases uit ander vreemde tale, soos Bargoens, Rotwelsch, Duits, Frans, Italiaans, Hebreeus, Grieks en Maltees, opvallend. Verder is daar in die karakters se spraak, sowel as in klankgedigte (of onsinverse), vele nuutskeppings waarvan die betekenis nie altyd so duidelik blyk nie, teenwoordig. Ander temas wat in die vier verhale figureer en ondersoek sal word is kunstenaarskap, die sogenaamde politieke verantwoordelikheid van die kunstenaar, asook musiek, ritme en voëlgeluide. As teoretiese vertrekpunt vir die studie word Deleuze en Guattari se Kafka Toward a Minor Literature, waarin hul idees oor mineurlettekunde geformuleer word, gebruik. Deleuze en Guattari onderskei tussen ‟n dominante majeurtaal en ‟n mineurtaal wat sonder mag is. Volgens Deleuze en Guattari is daar drie kenmerke van mineurletterkunde, naamlik dat die mineur die majeur deterritorialiseer, dat mineurletterkunde altyd polities is, en laastens dat mineurletterkunde altyd kollektief van aard is. Bykomend word daar ook kortliks gekyk na Deleuze en Guattari, sowel as Bogue, se skrywe oor territorialisering en deterritorialisering in die refrein. Deleuze en Guattari se teorie oor mineurletterkunde word in hierdie studie as ‟n agtergrond gebruik om Die sneeuslaper te lees. Daar word uiteindelik tot die gevolgtrekking gekom dat die onkonvensionele taalgebruik in die kortverhaalbundel wel geassosieer kan word met deterritorialisering en dat dit aansluit by die politieke aard van sommige van die verhale. Die wyse waarop Afrikaans in Die sneeuslaper getransformeer word na ‟n taal wat stamel, stotter en struikel, kan dus as subtiele, politieke protes gesien word en daarom kan dié kortverhaalbundel inderdaad as ‟n vorm van mineurletterkunde beskou word.
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Ieong, Weng Sam. "Pastoralism and environmental ethics in the novels of Willa Cather : an ecocritical study." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2554104.
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Deschamps, Bernard. "Das Nichts der Offenbarung : Sprache und Schrift in der Kafka-Deutung Gershom Scholems und Walter Benjamins = The nothingness of revelation : language and text in the Kafka interpretations of Gershom Scholem and Walter Benjamin." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30158.
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Le present essai propose en premier lieu une analyse de la theorie linguistique de Walter Benjamin telle qu'enoncee dans son essai de 1916, Uber Sprache uberhaupt und uber die Sprache des Menschen. Dans un meme temps, il propose aussi une analyse de la theorie linguistique de la Kabbale telle qu'elaboree par Gershom Scholem tout au long de sa vie, dans un nombre non negligeable de publications, theorie dont il chercha a faire la synthese dans son essai de 1970, Der Name Gottes und die Sprachtheorie der Kabbala.Cet essai se propose ensuite de demontrer comment Scholem et Benjamin ont trouve dans l'oeuvre de Franz Kafka l'expression litteraire de leurs theories linguistiques.
En conclusion, cet essai se propose de demontrer comment Scholem et Benjamin, a partir de leurs theories linguistiques respectives, et malgre la proximite indeniable de celles-ci, en sont venus a interpreter Kafka d'une facon diametralement opposee. Scholem, en effet, voyait dans cette oeuvre l'expression d'une des theories les plus nihilistes de la Kabbale: Die Unvollziehbarkeit der Offenbarung, une negation de la Revelation divine; Benjamin voyait pour sa part chez Kafka l'expression d'une tres mince possibilite de redemption.
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Moran, Omar Agustin. "The representations of masculinities in 1920s American literature: Ernest Hemingway and Willa Cather." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2029.
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Garst, John. "The Recorded Legacy of Enrico Caruso and its Influence on the Italian Vocal Tradition." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849763/.
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This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920 gramophones became commonplace, and collecting recordings became an interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records.
Italian vocal style at the turn of the century was changing, and Caruso employed a new "modern" style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando de Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of "the old school" and Caruso's "more straightforward" approach. A collection of historical documents for those who succeeded him include many biographies, reviews, and quotes to demonstrate the extent of his influence. Recordings also show a movement toward "the Caruso Sound." Jussi Bjoerling, Franco Corelli, Richard Tucker, Mario Lanza, and Luciano Pavarotti were all influenced by the great Caruso. Almost 100 years have passed since he sang his last performance. He continues to inspire singers to this day, through his recordings and legacy passed on by many generations. He is the ideal, the measuring stick for all tenors to follow, and continues even to today.
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Wey, Shyh-chyi. "A rhetorical analysis of Joseph Conrad's Heart of darkness." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/923.
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Delazari, Ivan. "Musical experience in fictional narrative: William T. Vollmann, William H. Gass, and Richard Powers." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/487.
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This doctoral thesis contributes to the ongoing scholarly conversation on literary representation of musical sounds, forms, and compositions. My close examination of the tangible presences of Western art music in the fiction of three contemporary American novelists relocates traditional foci of intermediality and word and music studies from referential precision and structural equivalence across the arts to the problem of readerly experience of music through fictional narrative. Exploring a variety of diegetic encounters with music in William T. Vollmann's Europe Central (2005), William H. Gass's Middle C (2013), and Richard Powers's Orfeo (2014), I draw from cognitive narratology and the philosophy of music, among others, to construct a concise model of musical experience and a system of its literary correlatives, which can provide for the reader's enactive response to music-related themes and means in fiction. I discuss the different strategies the writers apply to communicate the presumably elitist experience of Western classical music as suggestive and relevant to their 21st-century readerships, whether big or small. I order my chapters dialectically, regarding the three authors' literary approaches to musical experience as thesis, antithesis, and synthesis. In Chapter I, Vollmann's intermedial transpositions of Dmitri Shostakovich's fictionalized works are shown to be framed by a mimetic bias, under which diegetic music functions as a characterization means for the author's historical preoccupations. The thesis (i) I infer from Vollmann's approach is that music is part of the fictional reality representative/informative/definitive of what that reality is like. Chapter II is devoted to Gass's metafictional distrust of representation, whereupon his novelistic narrative discards diegetic music almost completely and points out ways of experiencing verbal textures musically. Gass's method is thus antithetical (ii) to Vollmann's: music is a metaphor for creativity, indifferent to the subject matter and/or plot, which at representation level may well be a parodic perversion of the very idea of creativity. Powers's balanced treatment of musicalized content and form and his generous supply of multivalent experiential cues are forged to appeal to a broader reading audience, as I argue in Chapter III. In what I see as a synthesis (iii) of Vollmann and Gass, Powers's storyworld contains abundant diegetic music that constructs narrative settings and drives the events of the plot, but is itself graspable through musical metaphors. The findings of the thesis open new directions for research into musico-literary reception. Encouraging a revival of reader-response awareness in literary analysis, musicalized fiction is an untrivial subject for interactive theoretical scrutiny by psychologists and philosophers of music, transmedial narratologists, and cognitive scientists. Empirical studies of actual readers' experience of musicalized prose may prove particularly promising in further investigation of this intersectional phenomenon.
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Oyakawa, Eduardo. "A luz brilha nas trevas: um estudo sobre o Deus Absconditus na literatura de Franz Kafka (1912-1924)." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20948.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This study is dedicated to the knowledge of writer Franz Kafka’s literature, under the egis of the religious mystic interpretation. In order to accomplish this goal, Franz Kafka’s biography is presented, to allow his “personality enclosed by a glass wall” to be accurately exposed. Kafka’s life and work are so inextricably combined that it would not be possible to appropriately enlighten his literature without previously understanding his conflicting relationship with parents and girlfriends, as well as his difficulties with work – done with anxiety and discouragement – and with Judaism, basis of his family formation. Following this, this study comprehends analytical multiple visions, emphasizing the hermeneutic polissemy and difficulties of univocally understanding Kafka, without taking into consideration his “literature astonishment”, responsible for making him one of the authors that were mostly read and commented during XX and XXI centuries. Essential scope of the third session is offering a critical view about the efforts to interpret his writings under the religious mystic harness. For this, “Max Brod case” will be discussed and the hypothesis brought by the religions historian Gershom Scholem who presented Kafka as a heretic cabalist. Last but not least, textual hermeneutics will be made (Die Verwandlung, Der Prozess, Der Brau and Forschungen Eines Hund) under cabalistic perspective, trying to uncover Deus Absconditus who is shown in Kafka’s literature with the diversity of chromatic and sonorous tones as a small light shining in the dark
Este estudo é dedicado ao conhecimento da obra do escritor Franz Kafka, sob a égide da interpretação religiosa-mística. Para que logre esse intento, apresenta a biografia de Franz Kafka, a fim de desvelar acuradamente a sua “personalidade encerrada por uma parede de vidro”. Em Kafka, vida e obra se misturam inextricavelmente, de tal maneira que não se pode esclarecer convenientemente a sua literatura sem antes saber de sua relação conflituosa com os pais, com as namoradas, as suas dificuldades concernentes ao trabalho – realizado sob ansiedade e desalento – e com o judaísmo, constitutivo de sua formação familiar. A seguir, este trabalho estuda as multivisões analíticas, sublinhando a polissemia hermenêutica e as dificuldades de se compreender Kafka de maneira unívoca, isto é, sem levar em consideração o “assombro de sua literatura”, responsável por transformá-lo num dos autores mais lidos e comentados no deambular dos séculos XX e XXI. A terceira sessão tem como escopo fundamental oferecer um olhar crítico sobre as tentativas de interpretar os escritos sob o jaez místico-religioso. Para tanto, discute-se o “caso Max Brod” e a hipótese aventada pelo historiador das religiões Gershom Scholem, segundo a qual teria sido Kafka um cabalista herético. Finalmente, faz-se a hermenêutica textual (O Covil, A Metamorfose, O Processo e Investigações sobre um Cão) sob o ponto de vista cabalístico, ou seja, tentando deslindar o Deus Absconditus que, na diversidade de tons cromáticos e sonoros, incide na obra de Kafka como pequena luz brilhando nas trevas
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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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Soares, Filho Antonio Coutinho. "Cosmogonia profana: uma leitura de O visitante, de Osman Lins." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20148.
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Universidade Estadual do Maranhão - UEMA
In the whole of Brazilian literature, Osman Lins is a name that stands out for the quality and diversity of his production. Novelist, playwright, essayist, among other attributions, the writer has an aesthetic refinement as well as a reflexive posture in face of the cultural, social and political obstacles of the country. The osmanianos studies often highlight the author's romanesque experiments in his so-called maturity phase. Not exclusively, the prior creation to this period still lacks major critical exams, such as the novel debut, The Visitor (1955) corpus of this research. Besides the interesting textual warp, this work presents a humble fortune review, which gives rise to this work. It should be added that on several occasions the writer affirms that the cosmogonical attitude along with the preoccupations with the national ills and the reflection on the creative process, guide his life and the literary work. That said, one wonders how this worldview is presented in The Visitor. Taking into account the traced interdiscurssive of the narrative and the novelist’s social-critcism and point of view. The proposed analysis considers the mythological, biblical, and liturgical inscriptions as well as the development of his story in the plot. In the face of it, there’s a hypothesis is that Lins, in a subversive modulation brings to the scene elements of the Eden myth and Christian liturgy but he also highlights the contradictions of a society that privileges appearances, victimizing the woman mainly. In the theoretical-critical articulation a review of the analytical itinerary of the corpus is done, with the help of Nitrini (1987, 2001, 2003, 2004), Andrade (2001, 2004, 2014) and Ribeiro (2016), among others. The concepts of threshold — Benjamin (1987), Gagnebin (2010); Devices and profanation, according to Agamben (2009, 2010, respectively), also guide this research. The theoretical-critical complete this framework itself, brings reflections on the poetic–myth creation according to the thinking of Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) and Bastazin (2006). The methodological course, starting from the narrative structure and the critical fortune of the work, examines the aesthetic inversions operationalized by osmanian writing. The visitor, Osman Lins' first creative gesture despite his myth-poetic features presents through an introspective plot a sharp vision of the manipulation game that sustains the society, a principle that distorts the essence of the being and search to conceal the contradictory nature of power
No conjunto da literatura brasileira, Osman Lins é um nome que se destaca pela qualidade e pela diversidade de sua produção. Romancista, dramaturgo, ensaísta, dentre outras atribuições, o escritor possui um requinte estético bem como uma postura reflexiva em face dos entraves culturais, sociais e políticos do país. Os estudos osmanianos, com frequência, destacam os experimentos romanescos do autor em sua chamada fase de maturidade. Não exclusivamente, a criação anterior a esse período ainda carece de maiores exames críticos, a exemplo do romance de estreia, O visitante (1955), corpus desta pesquisa. Além da interessante urdidura textual, essa obra apresenta uma fortuna crítica modesta, o que enseja este trabalho. Acrescente-se que, em várias ocasiões, o escritor afirma que a atitude cosmogônica, aliada às preocupações com as mazelas nacionais e à reflexão sobre o processo criativo, orientam sua vida e o ofício literário. Isso posto, pergunta-se como essa cosmovisão se presentifica em O visitante. Levando em conta o traçado interdiscursivo da narrativa e a postura crítico-social do romancista, a análise proposta considera as inscrições mitológicas, bíblicas e litúrgicas, bem como seus desdobramentos escriturais no enredo. Diante disso, a hipótese é que Lins, numa modulação subversiva, traz à cena elementos do mito edênico e da liturgia cristã, como também expõe as contradições de uma sociedade que privilegia as aparências, vitimando, principalmente, a mulher. Na articulação crítico-teórica, faz-se uma revisão do itinerário analítico do corpus, ao que se conta com o auxílio de Nitrini (1987; 2001; 2003; 2004), Andrade (2001; 2004; 2014) e Ribeiro (2014), dentre outros. Os conceitos de limiar — Benjamin (1987), Gagnebin (2010); dispositivos e profanação, segundo Agamben (2009; 2010, respectivamente), também orientam a pesquisa. Completam o quadro teórico-crítico da mesma, as reflexões em torno da criação mito-poética conforme o pensamento de Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) e Bastazin (2006). O percurso metodológico, partindo da estrutura narrativa e da fortuna crítica da obra, examina as inversões estéticas operacionalizadas pela escritura osmaniana. Portanto, O visitante, primeiro gesto criativo de Osman Lins, não obstante seus traços mito-poéticos, apresenta, por meio de uma trama introspectiva, uma arguta visão do jogo de manipulação que sustenta a sociedade, princípio que desvirtua a essência do ser e busca ocultar a natureza contraditória do poder
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Li, Jing. "Problematics of self in moral space : a study of Willa Cather, Susan Glaspell and H.D." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1177.
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Driver, Daniel R. "Brevard Childs : the logic of scripture's textual authority." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/754.
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Brevard Childs argues for the inner logic of scripture’s textual authority as an historical reality that gives rise to the material condition by which the church apprehends and experiences God in Christ. The church’s use of (or by) scripture thus has a larger interiority: the shaped canon of scripture, Old and New Testaments, is a rule of faith which accrues authority in the church, through the vehicle of the sensus literalis. Childs’ work has been misplaced, however. Part one locates it internationally, attending to the way it has been read in English and German and finding that it has enjoyed a more patient reception in Europe than in Britain or North America. To illustrate, Childs’ definition of biblical theology is contrasted with that of James Barr. Their differences over gesamtbiblische theology involve opposite turns toward and away from Barthian dogma in biblical inquiry. Part two examines Childs on biblical reference, introducing why intertextuality is not midrashic but deictic—pointing to the res. This coincides with an understanding of the formation of biblical literature. Childs’ argument for canonical shaping is juxtaposed with Hermann Gunkel on tradition history, showing “final form” to be a deliberate inversion of form critical principles. Childs’ interest in the Bible as religious literature is then set alongside his studious confrontation of Judaism, with implications for inter-religious dialogue. Barr and Childs are compared again in part three, which frames their respective senses of indirect and direct biblical reference in terms of allegory. Both see allegory at work in the modern world under certain rules (either biblical criticism or the regula fidei). Their rules affect their articulations of trinitarian dogma. Finally, Psalm102 highlights divergences between modern and pre-modern interpreters. If scripture comprehends the present immediately, some postures of the church toward the synagogue may be excluded.
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Kor, Yanna. "Les Théâtres d’Alfred Jarry : l’invention de la scène pataphysique." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30031.
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Associé tout d’abord au cycle Ubu, Alfred Jarry garde une position relativement marginale dans les études du théâtre français de la fin du 19e siècle. Etudié soit dans le cadre de la dramaturgie de l’époque soit comme un précurseur de l’avant-garde théâtrale, il reste l’homme de lettres passionné par le théâtre de marionnettes. Ce travail part de l’ambition de mettre en lumière un autre Jarry, l’homme de plateau, le marionnettiste dont les œuvres littéraires sont guidées par la pratique théâtrale. Une première partie analyse le modèle théâtral de Jarry dans le champ des arts de la scène de l’époque, le théâtre d’acteurs d’une part et le théâtre de marionnettes d’autre part. Une deuxième partie s’interroge sur la poétique jarryque de la perspective théâtrale, montrant comment l’esthétique de guignol et de théâtre d’ombres guide sa démarche littéraire. Cette approche reçoit le nom de « scène pataphysique » : un système qui permet à l’auteur de vivre artificiellement à l’intérieur de son œuvreKnown first of all as an author of the Ubu cycle Alfred Jarry remains relatively marginal figure in the French fin-de-siècle theatre studies. Studied as the play writer or as the precursor of the avant-garde theatre, he is seen as a man of letter who was passionate about puppet theatre. This work aims to valorise another Jarry, the man of the stage, the puppeteer whose literary works were influenced by the theatrical practice. Part One analyses Jarry’s theatre model in the field of the fin-de-siècle theatre, the living actors’ scene and the puppet theatre as well. Part Two focuses on the Jarry’s poetics, showing how the puppet and shadow theatre aesthetics guide his literary strategy. This approach receives the name of “pataphysical scene”: a system that allow the author to live artificially inside his work
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Wolfe, Edith Angelica Gibson. "Melancholy encounter: Lasar Segall and Brazilian modernism, 1924-1933." Thesis, 2005. http://hdl.handle.net/2152/2192.
Full text
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Sonderling, Stefan. "An exploration of poststructuralist discursive critique and its implication for a critical analysis of the discourse on pornography." Diss., 1994. http://hdl.handle.net/10500/16086.
Full textAbstract:
This study explores the implications of the post-structuralist discursive theories for a new
approach to the study of communication. Drawing on the theories of discourse developed by
Foucault and Bourdieu, the study suggests a theoretical framework for a critical analysis of
discursive practices. The framework is applied to the analysis of the discourse on
pornography in South Africa. The application of the theoretical framework illustrates the
utility of such a framework as a method for analysis and critique of discourse and provides
insights into the controversy about pornography. The implication of the discursive theories
for the study of communication are explored.Communication Science
M.A. (Communication)
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"《黑奴籲天錄》的敘事者與譯文操縱." 2000. http://library.cuhk.edu.hk/record=b5895839.
Full textAbstract:
張婉麗."2000年8月"
論文 (哲學碩士)--香港中文大學, 2000.
參考文獻 (leaves 208-219)
附中英文摘要.
"2000 nian 8 yue"
Zhang Wanli.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (leaves 208-219)
Fu Zhong Ying wen zhai yao.
摘要 --- p.i
前言 --- p.v
目錄
Chapter 第一章 --- 引言 --- p.1
Chapter 第二章 --- 小說敘事者與操縱理論 --- p.8
Chapter 2.1 --- 小說的敘事者 --- p.8
Chapter 2.2 --- 操縱理論 --- p.14
Chapter 2.3 --- 《黑奴籲天錄》的敘事者與譯文操縱 --- p.24
Chapter 第三章 --- 《黑奴籲天錄》的翻譯背景 --- p.26
Chapter 3.1 --- 原文的内容 --- p.26
Chapter 3.2 --- 原文的文化系統 --- p.28
Chapter 3.2.1 --- 政治 --- p.28
Chapter 3.2.2 --- 宗教 --- p.3 2
Chapter 3.2.3 --- 婦女地位 --- p.33
Chapter 3.2.4 --- 作者 --- p.35
Chapter 3.3 --- 對 Uncle Tom´ةs Cabin 的評論 --- p.40
Chapter 3.4 --- 譯文的文化系統 --- p.48
Chapter 3.4.1 --- 政治 --- p.49
Chapter 3.4.2 --- 教會的活動 --- p.52
Chapter 3.4.3 --- 婦女地位 --- p.53
Chapter 3.4.4 --- 翻譯的功利主義 --- p.55
Chapter 3.4.5 --- 譯者 --- p.58
Chapter 3.4.5.1 --- 林纾 --- p.58
家庭 --- p.58
政治思想 --- p.60
婦女觀 --- p.63
文學作品 --- p.65
Chapter (一） --- 創作及文學觀 --- p.65
Chapter (二） --- 翻譯及翻譯觀 --- p.68
Chapter 3.4.5.2 --- 魏易 --- p.73
Chapter 3.5 --- 對《黑奴籲天錄》的評論 --- p.75
Chapter 第四章 --- 《黑奴籲天錄》的敘事者（一） ´ؤ´ؤ宗教的表述及婦女形象的表述 --- p.85
Chapter 4.1 --- 宗教的表述 --- p.86
Chapter 4.1.1 --- 基督教與小說中的人物 --- p.89
Tom與湯姆 --- p.90
Cassy與凱雪 --- p.107
Quimbo與昆蒲、Sambo與三蒲 --- p.110
Topsy與托弗收 --- p.112
其他 --- p.115
George與哲而治 --- p.116
Chapter 4.1.2 --- 基督教與敘事者聲音 --- p.126
Chapter 4.1.3 --- 宗教的表述´ؤ´ؤ總結 --- p.135
Chapter 4.2 --- 婦女形象的表述 --- p.137
Chapter 4.2.1 --- 婦女形象 --- p.138
婦女角色 --- p.138
女性讀者 --- p.148
Chapter 4.2.2 --- 廚房的比喻 --- p.156
Chapter 4.2.3 --- 婦女形象的表述´ؤ´ؤ總結 --- p.164
Chapter 第五章 --- 《黑奴籲天錄》的敘事者（二） ´ؤ´ؤ敘事距離與奴隸制度的關係 --- p.166
Chapter 5.1 --- 敘事者與小說人物的距離 --- p.166
Chapter 5.2 --- 敘事者與讀者的距離 --- p.172
Chapter 5.3 --- 總結 --- p.184
Chapter 第六章 --- 結語 --- p.187
Chapter 6.1 --- 譯者對敘事者的操縱 --- p.187
Chapter 6.2 --- 「忠實的譯者」 --- p.199
參考書目 --- p.208
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Montgomery, John Henry. "Bulwer-Lytton's mystic novels : on the margins of the invisible." Thesis, 2012. http://hdl.handle.net/10210/6068.
Full textAbstract:
M.A.Sir Edward Bulwer-Lytton (1803-1873) was a prolific writer in many genres. This dissertation takes the major works of his occult genre and examines them in the backdrop of the scientific and religious paradigms informing the mid-Victorian reading public. In response partly to the increase in materialism, popular Victorian novelists such as Dickens and Thackeray were writing in a realistic style which Bulwer-Lytton found not suited to convey his mystical ideas. Instead, he made use of the metaphysical novel — a sub-genre of the romance novel — well-suited for his purposes but antithetical to critics often not willing to explore new territory. Although always alive to developments in Spiritualism, Bulwer-Lytton's life-long interest lay in the study of the occult and secret societies. The works chosen for this dissertation indicate how the boundaries between science, religion and the occult are permeable. In his works, these three discourses conflate instead of being kept discrete by artificial means. His passion for the mystical aligns Bulwer-Lytton more with the Romantics than the Victorians. Through a close friendship with John Varley (1778-1842), an inner-circle friend of William Blake, Bulwer-Lytton came to learn of aspects of Blake which reflect particularly in A Strange Story. W B Yeates and Rider Haggard, both admirers of Bulwer-Lytton, would incorporate his ideas into their works, and Madame Blavatsky would shamelessly plagiarise him in her Isis Unveiled. Unwittingly, Bulwer-Lytton’s wholly-fictional novel, The coming Race, would serve as “proof” to Hitler that a secret master race actually existed.
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Garmong, Robert Allen. "J.S. Mill's re-conceptualization of liberty." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3110612.
Full text
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Resler, Johanna Elizabeth. "SARA’S TRANSFORMATION: A TEXTUAL ANALYSIS OF FRANCES HODGSON BURNETT’S SARA CREWE AND A LITTLE PRINCESS." Thesis, 2007. http://hdl.handle.net/1805/1614.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)Frances Hodgson Burnett’s life revolved around her love of story-telling, her sons, nature, and the idealized notion of childhood. Burnett had an ability to recapture universal aspects of childhood and transform them into realistic stories containing elements of the fantastic or fairy tales. Her ability to tell stories started at a young age when she and her sisters were given permission to write on old pieces of paper. Burnett’s love for storytelling, reading, and writing was fostered in her parents’ household, in which a young Burnett was given free reign to explore her parents’ book collection and also left unhindered to imagine and act out stories by herself and with her sisters and close friends. Later her love for telling tales became a means of providing for her family—beginning with short story submissions to magazines. Although Burnett did not necessarily start out writing for children her career ended up along that path after the success in 1886 of her first children’s book, Little Lord Fauntleroy. After this success, she was a recognizable author on both sides of the Atlantic. Sara Crewe; or, What Happened at Miss Minchin’s, the 1887–88 serial publication in St. Nicholas magazine and the 1888 short story publication both were titled the same, and the subsequent reworkings of Sara’s world in the forms of two plays, A little un-fairy princess (England, 1902), and A Little Princess; Being the Whole Story of Sara Crewe, Now Told for the First Time (United States, 1903), and the 1905 full-length novel which retained the American 1903 play’s title, outlines the creative process that Burnett undertook while exploring the world of Sara Crewe. By examining the above forms, readers and scholars gain an insight into not only the differences between the forms, but also a view of how the author approached adapting an already published work, and the influence of editors on an authors work. The examination of the development of Sara’s timeline will bring light onto Burnett’s growth as a writer and specifically her transition into her role as a children’s literature author.
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Mahala, Siphiwo. "Inside the house of truth : destruction and reconstruction of Can Themba." Thesis, 2017. http://hdl.handle.net/10500/25231.
Full textAbstract:
This study is, by its intention at any rate, an attempt at assembling the scattered fragments of
Can Themba’s life to make a composite being out of the various existing phenomena that
shaped the contours of his life in both literary and literal senses.
Given the disjunctive manner in which Can Themba and his work have been represented thus
far, a combination of Historical and Biographical research methods will underpin the approach
of this study. The resultant approach is the Historical-Biographical method of research.
According to Guerin et al (2005, 22) the Historical-Biographical approach “sees the work
chiefly, if not exclusively, as the reflection of author’s life and times or the life and times of
the characters in the work.”
This research is premised on the conviction that an individual is a constellation of multiple
factors that play a pivotal role in the construction of their persona. These factors will be traced
from his family background, early schooling, tertiary education, socio-economic conditions as
well as his contribution to various newspapers and journals.
While so much has been written about Themba and his work, there is no comprehensive
biography of Can Themba as a person. Most importantly, the factors that contributed to his
making as well as his breaking, or destruction, have not been interrogated in a form of
comprehensive academic research.
Rightly or wrongly, Themba’s meteoric rise into the South African literary canon is often traced
from the moment he won the inaugural Drum Magazine short story competition. Themba
became one of the most popular journalists and rose within the ranks of Drum to become the
Assistant Editor. However, my research demonstrates that winning the Drum short story
competition was the culmination of a literary talent that was developed and had been simmering
for a number of years. Themba studied at the University of Fort Hare between 1945 and 1951
alongside the likes of Dennis Brutus, Ntsu Mokhehle, Robert Mangaliso Sobukwe,
Mangosuthu Buthelezi, and many other prominent individuals. He was a regular contributor to
The Fortharian, a university publication that published opinion pieces, poems and short stories.
This is a vital component of Themba’s intellectual growth and it remains the least explored
aspect of his life. As a result, what has been discursively documented by various scholars,
writers and journalists, thus far, is a very parochial representation of Can Themba’s oeuvre.English Studies
D. Litt. et Phil. (English Literature)
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Jappie, Achmat Ahdiel. "The development of the arabic essay and short story with particular reference to the contributions of Mustafā Lutfī al-Manfalūtī." Diss., 2007. http://hdl.handle.net/10500/1656.
Full textAbstract:
The dissertation firstly looks at how the Arabic essay and short story developed in Egypt since the beginning of the nineteenth century. Then a discussion follows on the life and contribution of the Egyptian author, Mustafā Lutfī al-Manfalūtī, as representative of this literary evolution.
The general influences on Egyptian literature are discussed, and the general development of Arabic prose from 1850 onwards is then detailed, including the efforts to save Arabic literature from stagnation and degeneration. Following this, the focus is on the origins of the essay and short story. This leads to dealing with the growth and advancement of the essay and short story, together with the revival of the Arabic heritage and how the Arabic novel came into being.
Then Mustafā Lutfī al-Manfalūtīs biography, environmental circumstances and personalities that influenced his writings are focused on. Afterwards, the core discussion is Al-Manfalūtīs seven literary works, and his ideas and opinions as reflected in his writings. In conclusion, the relevance of his writings and an appraisal of his literary contributions are detailed.Religious Studies & Arabic
M.A. (Arabic)