Dissertations / Theses on the topic '1878-1942 Criticism and interpretation'

The subject matter of this thesis is concerned with a series of novels written by Michel Tremblay referred to as "Les Chroniques du Plateau Mont-Royal"; and more specifically, it is limited to the first four in the series. In these, Tremblay deals with the phenomena of human nature as it unfolds between birth and death. The gradual emergence of the wholeness and uniqueness of the individual during this process is a major theme developed sequentially in these four novels. This has been clearly demonstrated and critically evaluated in this thesis both somatically by using Ovid's Theory of Metamorphosis and psychologically by using Jung's Theory of Individuation. It has been concluded as a result of such analyses; firstly, that the unfolding process of human nature is a central theme, and secondly, these four novels are importantly interrelated in the development of this theme.

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2007.
This study compares Etienne Leroux’s Die eerste siklus and Jaco Fouché’s Die avonture van Pieter Francken. In Chapter 1, similarities between their works, as discussed by critics in reviews and articles, are examined. The different theories that exist about the field of comparative literature are also discussed, and a theory is formulated which can be applied to this study. Aspects of the novels that are going to be discussed are also set out. Chapter 2 deals with the socio-political as well as the literary-historical contexts in which Leroux and Fouché published their work. In the case of the socio-political context, a distinction is made between the time and place in which the works were published, and the context in which the narration of the novels are set. Chapter 3 deals with the figure of the outsider. The outsider figures in the novels are identified and compared to each other. Chapter 4 deals with the way in which the traditional knight tales function as an inter-text and how some of the characters are portrayed as the Jungian archetype of the “knight” or “hero”. In the conclusion the main points of the comparison are brought together.

The first part of this master's thesis in French Literature is as a short story collection. Inspired by people's social and family situations, these short stories try to render the conflict that structures these situations and gives life to characters. In general, this conflict always takes place between real and imaginary worlds.
The second part of this thesis is an analysis of two Stefan Zweig short stories. In my analysis, I try to determine at which moment a character passes from being simply a character on paper to a "living" character. Thereby, I hope to disprove Florence Goyet's theory that a short story character is merely subjugated to a structure. I use the theory of reception, as Vincent Jouve used it to study novels.

近年來，民國女作家蕭紅的形象在學界一直有被標籤化的趨勢，無外不出「女性主義作家」、「抗戰作家」等名號，在很大程度上束縛了蕭紅的形象，妨礙了在蕭紅身上挖掘其它特質的可能。面對這一現象，本文試圖突破以往常規視野下塑造蕭紅形象局限於傳統純文字文本，囿於「還原」作家真實面貌的做法，力圖展示出多面、立體、作者主觀化的蕭紅形象。從形象塑造者主觀的創作中提取信息以分類歸納，同時力圖構建出新的、隸屬研究者本身的思維方式。本文將純文字文本與跨媒介文本結合而談，通過共時與歷時縱橫相觀的方式，觀察不同文本中或相離或交叉的內容，從而尋找並探討蕭紅在不同類型文本中所具有的或普遍規範，或變幻無常的多重形象，構建作家形象在文學立場上的特殊意義。其中，純文字文本包括與蕭紅有關的傳記、書信集等；跨媒介文本則包括與蕭紅有關的歌劇、舞劇、電影。後者也是本文獨創之處，探討這些在蕭紅研究界較為新興的表現方式如何塑造蕭紅形象。理論方面，本文將以西方藝術史中以畢加索為代表的立體主義為基礎和支點，以茱莉亞•克里斯蒂娃提出的互文理論與巴赫金的文本對話理論為研究方法，探討文本之間如何相互作用，力爭展示在新的理論觀照之下的蕭紅形象，並進一步建立宏大、多面的形象審視體系。

This dissertation investigates the early twentieth century work of Irish-born interior designer and architect, Eileen Gray. While the existing literature has tended to read Gray and her work primarily in relation to major male modernist movements and figures, this dissertation contends that considering her engagement with the alternative modernisms developed by other women artists and writers at the time will enrich our understanding of the wider social, cultural and historical implications of her work. In order to make sense of what scholars have long recognised as Gray's critically different architecture and design I analyse her work in relation to three of her female contemporaries: the artist Romaine Brooks, and writers Radclyffe Hall and Djuna Barnes. Such an analysis reveals that Gray's critically different work was importantly related to the critically different aesthetics, genders and sexualities that Gray and many of her female contemporaries cultivated at the time.
The first chapter argues that debates about domestic architecture and design were also importantly debates about modern bodies and subjects and provides the framework for the analyses that follow. Chapter 2 compares Gray's early lacquer works, La Voie Lactee (ca. 1912), Le Magicien de la Nuit (1913) and Le Destin (1914) to Romaine Brooks' two paintings from 1910, White Azaleas and The Screen, focusing on their use of decadent aesthetics. Chapter 3 considers Gray's first intricately designed house, E.1027 (1928), in relation to the content and cultural impact of Radclyffe Hall's 1928 novel, The Well of Loneliness. Chapter 4 examines Gray's extremely private and less known house, Tempe a Pailla (1934), in relation to the obscure and non-communicative narrative strategies of Djuna Barnes' 1936 novel, Nightwood. Overall, the argument that binds my dissertation is that Gray's work both contributed and responded to changing conceptions of gendered and sexual subjects in the first half of the last century.

A thematic and formal analysis of Jean-Aubert Loranger's poetic tale "Le Passeur" [1920], and of Gabrielle Roy's novel La Montagne secrete [1962], shows that the construction of the two heroes' respective identity is directly related to the representation of small and large rivers in the two stories. Considering the generic difference between the two texts, these similarities---which are shaped up in a four steps "organizing scheme"---suggest the existence of a real structure in the construction of the modern identity (quebecoise). La Grande traversee, an historical novel about the massive Irish emigration of 1847, narrates the quest of identity of Seamus Doyle, while following the same four steps of this particular movement.

From Preface: The scope and focus of this thesis has been determined by the fact that I have tried to present a thematic, though not exhaustive, account of the poetry of Edward Thomas. (I have analysed a representative selection of the poems.) Much has been written on his life and poetry in this past decade to coincide with the centenary of his birth which was celebrated in 1978. Edna Longley, William Cooke and more recently, Andrew Motion have thrown much light on his poetry and I am indebted to them. I acknowledge especially the work of Edna Longley; her Edward Thomas: Poems and Last Poems, though it does not include all the poems, has proved to be an invaluable source because of the many extracts from Thomas's prose incorporated into her notes on his poems. Her book is also rich in suggestive insights into Thomas's poetry. Unfortunately not all of Thomas's works are available in South Africa. On a brief visit overseas I tried without success to obtain the more important books not available here. I have had to make use of anthologies of Thomas's prose where a particular text was not available, for example, In Pursuit of Spring and The South Country. I thank Ms Yolisa Soul who through the Inter Library Loan services of the University of Fort Hare managed to obtain for me a substantial number of Thomas's prose works.

The aim of the present thesis is to study the theme of confinement in Michel Tremblay's Chroniques du Plateau Mont-Royal in regards of its subjacent dynamic. We start with the hypothesis according to which this dynamic, based on the succession "confinement-escape-return/re-creation of same", constitutes the frame of the text, giving it cohesion and structuring the narrative plot. Using thematic analysis tools, we attempt, first of all, to demonstrate the recurrent presence of the theme in the tremblayen text in line with two quite precise angles, that of spatial and family confinement in which the protagonists live. While underlining the different demonstrations of the theme, our analysis of the writing work aims to show that the author uses confinement, and precisely the confinement dynamic, as a dramatic motor (narrative function). Creating "la loi du roman", this never-ending structure on which would rest the tremblayen text, while preventing all escape attempts from the protagonists, would condemn them to wander eternally in search of a unreachable happiness.

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.

This thesis seeks to contribute to the conversations in the humanities about the treatment of the physical environment in the context of a global ecological fragility and increased scholarly interest in the poetry of Arthur Nortje, a South African poet who wrote in the 1960s. While previous studies on Nortje concentrate on the political, psychic and technical aspects of his poetry, this study particularly explores the representations of the environment in Nortj e’s poetic imagination. Writing in the dark period of apartheid in South Africa’s history, Nortje’s poetry articulates a strong interest in the physical environment against the backdrop of official racialization of space and his personal nomadic life and exile. The poetry abounds with constant intersections of nature and culture (industrialism, urbanity and the quotidian), a sense of place and a deep sense of dislocation. The poems, therefore, present a platform from which to reevaluate conventional ecocritical ideas about nature, place-attachment and environmental consciousness. Drawing mainly on Felix Guattari’s ideas of three ecologies and transversality along with other theories, I conduct the study through what I call a transversal postcolonial environmental criticism, which considers the ecological value of the kind of assemblages that Nortje’s works represent. The first chapter focuses on conceptualizing a postcolonial approach to the environment based on Guattari’s concept of transversality to lay the theoretical foundation for the whole work. The second chapter analyses Nortje’s poetic imagination of place and displacement through his treatment of the private-public tension and the motif of exile. While the third chapter examines Nortje’s depiction of nature as both an everyday and urban phenomenon, the fourth chapter turns to his direct treatment of environmental crises handled through his imagination of the Canadian urban spaces, exile memory of apartheid geography, war and ecocide and the human body as a subject of environmental degradation. The fifth chapter, which is the conclusion, takes a brief look at the implication of Nortje’s complex treatment of the environment on postcolonial environmentalism.

Poetic-musical analysis by Caetano Veloso on "London, London" (1970), "Goodbye, my Santo Amaro" (1971), "Sampa" (1978) and "my River" (2000) as the translation behavior of the contemporary artist on the presence the city imagery, whose productive force takes the lyrical second subject a negative vision but productive of being poetic, becoming, in addition to spectator of reality, the vehicle and the language in which the text is organized. So the city isn't exclusively theme, but, above all, discursive role plays, guides the vision and produces a real image. Therefore, Caetano will be observed as a musician-contemporary poet which absorbed the proposals of the modern tradition, according to the theory of Octavio Paz, and the categories of negativity, proposed by Hugo Friedrich, stabilizing a more conscious space where these categories, already out of context in relation to the first modernity, update your images and poetic sense, within the contemporary, where Danto the sorts as a style of using styles.
Análise da poética-musical de Caetano Veloso em “London, London” (1970), “Adeus, meu Santo Amaro” (1971), “Sampa” (1978) e “Meu Rio” (2000) como tradução do comportamento do artista contemporâneo diante da presença imagética da cidade, cuja força produtiva leva o sujeito lírico, segundo uma visão negativista mas producente do ser poético, a tornar-se, além de espectador da realidade, o veículo e a linguagem pela qual se organiza o texto. Por isso, a cidade não é exclusivamente tema, mas, antes de tudo, desempenha papel discursivo, orienta a visão e produz uma imagem do real. Portanto, Caetano será observado como um músico-poeta contemporâneo que absorveu as propostas da tradição do moderno, segundo a teoria de Octavio Paz, e as categorias da negatividade, propostas por Hugo Friedrich, estabilizando-se num espaço mais consciente onde essas categorias, já descontextualizadas em relação à primeira modernidade, atualizam suas imagens e sentido poéticos, dentro da contemporaneidade, onde Danto a classificará como um estilo de usar estilos.

This thesis explores the major themes of William Cullen Bryant's poetry. Chapter II focuses on Bryant's poetic theory and secondary criticism of his theory. Chapter III addresses Bryant's religious beliefs, including death and immortality of the soul, and shows how these beliefs are illustrated by his poetry. A discussion of the American Indian is the subject of Chapter IV, concentrating on Bryant's use of the Indian as a Romantic ideal as well as his more realistic treatment of the Indian in The New York Evening Post. Chapter V, the keystone chapter, discusses Bryant's scientific knowledge and poetic use of natural phenomena. Bryant's religious beliefs and his belief in nature as a teacher are also covered in this chapter.

The dissertation is an exercise in the application of the philosophical hermeneutics of Paul Ricoeur and the biblical hermeneutics of John Dominic Crossan to the aesthetics of religious cinema.
The thesis defines religious cinema as virtual religious experience; therefrom a theory of religious cinema is derived. This derivation depends on a discussion of the essential elements of the cinematic experience and permits the expansion of the category of religious cinema beyond its traditional frontier. Throughout the dissertation, a dialogue is maintained with general cinema theory on the one hand and religious cinema criticism on the other. The purpose of this dialogue is to increase credibility (in the former case) and to demonstrate originality (in the latter case).
Finally, extrapolating from a specific dialogue between Crossan and Ricoeur, a critical method is developed, then applied to Werner Herzog's Herz aus Glas, a transcription of which is included as an appendix.

Franz Schreker (1878-1934) was a Jewish-Austrian composer of great success during the first decades of the twentieth century. Schreker’s reputation diminished after 1933 when Hitler came to power and, in 1938, his compositions were labeled Entartete Musik (“degenerate music”) by the Nazis in a public display in Düsseldorf. The Third Reich and post-war Germany saw Schreker as a decadent outcast, misunderstanding his unique style that combined elements of romanticism, expressionism, impressionism, symbolism, and atonality. This study of Schreker’s Lieder will pursue two goals. First, it will analyze the Mutterlieder (before 1898), the Fünf Gesänge (1909), and the first piece from Vom ewigen Leben (1923) stylistically. Schreker composed nearly four dozen Lieder, incorporating a wide range of styles and ideas. By studying and performing these songs written at various points in his career (including early songs, songs written after he met Schoenberg, and his last songs during the height of his fame), I hope to develop a clearer understanding of how Schreker synthesized the many cultural forces and artistic movements that seem to have influenced his compositional style. Second, this study will consider the sociopolitical circumstances that fueled the disintegration of his reputation. This disintegration occurred not just during the Third Reich, but also afterwards, notably in an often discussed essay by Theodor Adorno. Only in the last thirty years have scholarly voices critical of such rejections of Schreker emerged. My ultimate goal, then, is to join this reevaluation, studying and contextualizing this repertory to develop a new understanding of an oft-neglected chapter in the history of the German Lied.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
by means of this modest work we try to address some of the most important concepts of the work of the italian philosopher Giorgio Agamben and more specifically as his thesis on the relations of the concentration camp constitute the place of the city as the true paradigm of the modern. In the discussion of points such as the state of exception, the position of homo sacer in the structuring conjuncture of politics and law, and the incidence of these forms in the contemporary world, we try to insert in the discussion what Agamben considers most important to think modernity: what (still and insistently) remains of Auschwitz. Therefore, we raise important questions that focus on our own being and the daily relationships that it establishes with others in society, inscribing in violence and force-of-law the (im)possibility of self-criticism necessary for us, inserted in a reality evidently simulated, which leads us to believe in a reality that is far from the real reality, in a world in which democracies and their humanistic principles have buried all totalitarianism and filled the gaps that man's inhumanization caused without ever going through the necessary discussions about the which "subtracts" from Auschwitz. Biopolitics, paradox of sovereignty, governability, tanatopolitics. Far from appearing to be distant concepts in our daily lives, these terms are, in fact, revealed as ideals contained in sovereign power that we deal with every day, transposed into formulations that differ from living reality, in which democracy and its human principles conceal the real in the face of what is left of Auschwitz, a gap which we ignore and which we attempt to displace in our discussions, leading to incomplete responses to incomplete lives in an incomplete society within an equally incomplete worldwide contentment that insists on showing itself as already made, complete and finished, in which to ignore is more effective than to understand and in which to shout the dignity of the human person is more important than to understand who really is human in the present reality and under what conditions he is captured in all these relations of the concentration camp, putting in question our own life as life itself – naked life – and leading us to perhaps the most important question so that we must try to open the doors of the house of our conformism and pretended security and finally to see the gaps that Auschwitz left in the human itself, reaching the minimum of estrangement from the human that comes: how much of reality our illusion is capable to withstand?
por meio deste modesto trabalho procuramos abordar alguns dos mais importantes conceitos da obra do filósofo italiano Giorgio Agamben e mais especificamente como sua tese sobre as relações do campo de concentração se constituem no lugar da cidade como o verdadeiro paradigma do moderno. Elencando pontos como o estado de exceção, a posição do homo sacer na conjuntura estruturante da política e do direito e a incidência dessas formas no mundo contemporâneo, tentamos inserir na discussão o que Agamben considera de mais importante para se pensar a modernidade: o que (ainda e insistentemente) resta de Auschwitz. Levantamos, com isso, importantes questionamentos que se centram no próprio ser e nas relações diárias que este estabelece com os demais em sociedade, inscrevendo na violência e na força-de-lei a (im)possibilidade de autocrítica necessária para nós, inseridos numa realidade evidentemente simulacrada, que nos leva a crer numa realidade distante daquela realmente real, num mundo em que as democracias e seus princípios humanísticos soterraram todo o totalitarismo e preencheram as lacunas que a inhumanização do homem causaram sem nunca, porém, passar pelas necessárias discussões sobre o que “resta” de Auschwitz. Biopolítica, paradoxo da soberania, governabilidade, tanatopolítica. Longe de parecerem conceitos distantes em nosso cotidiano, estes termos se revelam, em verdade, como ideários contidos no poder soberano e que lidamos todos os dias, transvestidos em formulações discrepantes com a realidade vivente, em que a democracia e seus princípios humanos escondem a real face do que ainda resta de Auschwitz, lacuna esta que ignoramos e que tentamos deslocar em nossas discussões, levando a respostas incompletas para vidas incompletas numa sociedade incompleta dentro dum contento mundial igualmente incompleto e que insiste em transparecer como pronto, acabado e completo, em que ignorar é mais eficaz do que compreender e em que bradar a dignidade da pessoa humana é mais importante do que entender quem realmente é humano na atual realidade e em que condições ele está capturado em todas essas relações do campo de concentração, colocando em questão a nossa própria vida como vida mesmo – vida nua – e nos levando a talvez o mais importante questionamento que devemos nos fazer para, quem sabe assim, abrir as portas da casinha de nosso conformismo e pretensa segurança e finalmente enxergar as lacunas que Auschwitz deixou no próprio humano, alcançando o mínimo de estranhamento ao humano que vem: quanto de realidade nossa ilusão é capaz de suportar?

Orientador: Fabio Akcelrud Durão
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese consiste numa interpretação sobre o discurso teórico e o ficcional. Num primeiro momento, são trabalhados os discursos constitutivos das teorias sobre a modernidade e sobre o romance; num segundo, aborda-se o discurso ficcional da obra do autor português António Lobo Antunes. O ponto em comum que orienta a interpretação nas diferentes frentes diz respeito ao interesse em investigar o estatuto da narrativa no âmbito desses discursos. Pretende-se demonstrar um fenômeno coincidente nos três campos de investigação, que diz respeito ao fato de a narrativa ser colocada em xeque, isto é, de o seu estatuto e a sua validade serem questionados e, concomitantemente, esse mesmo questionamento apontar para um retorno de sua validade e, conseqüentemente, para uma sua permanência. Isto é o que se procurou demonstrar pelo trabalho de interpretação de alguns discursos teóricos que buscaram pensar a passagem da modernidade à pósmodernidade, bem como daqueles que procuraram se constituir enquanto teorias do romance. O questionamento a respeito da possibilidade da morte da narrativa acabou demonstrando, paradoxalmente, um retorno ao narrativo; principalmente pelo fato de os próprios discursos que afirmaram isso acabarem se revelando, eles próprios, como construtos narrativos. Essa investigação de cunho teórico se mostra organizada na primeira parte do trabalho, intitulada A modernidade e a narrativa sobre o romance. Esta parte é composta por dois capítulos. No primeiro, procura-se construir um quadro compreensivo das principais questões pertinentes ao debate sobre a modernidade, o fim da modernidade e a pós-modernidade; em especial, dá-se relevância ao trabalho com as teorias de Gianni Vattimo e de Fredric Jameson. Este capítulo inicial intitula-se Mais uma pequena narrativa sobre o fim das grandes narrativas. O segundo capítulo, intitulado Romance: ou sobre como narrar um "mundo abandonado por deus", configura-se como um desdobramento das discussões apresentadas no primeiro e constitui-se de uma interpretação que se faz a partir da articulação da leitura de alguns dos principais estudos pertinentes à teoria do romance. Esta interpretação deve ser entendida como resultado de um construto narrativo também, tal como o que foi realizado no primeiro capítulo. A segunda parte da tese, intitulada A modernidade e a narrativa do romance, é composta pelo terceiro capítulo, em que se pretende construir uma interpretação sobre as variações formais das narrativas de António Lobo Antunes. Por esta, procura-se demonstrar como o já referido fenômeno paradoxal da negação e afirmação da narrativa ocorre no âmbito do discurso ficcional das obras do autor português, de modos distintos e em diferentes níveis. Nas duas últimas seções desse terceiro capítulo, busca-se uma articulação entre essa interpretação da obra de Lobo Antunes e aquelas realizadas nos dois capítulos anteriores. Não há um capítulo conclusivo
Abstract: This thesis consists of an interpretation about theoretical and fictional speech. In a first part, they are worked out as through several theories of the modernity and novel; after this, the work of the Portuguese author António Lobo Antunes is approached. The common point that guides the interpretation in such different fronts concerns the interest in investigating the statute of narrative in the realm of those discourses. It intends to demonstrate a coincident phenomenon in the three investigation fields, that concerns the capacity of the narrative to keep in check, that is, its statute and its validity they be questioned and, concomitantly, this questionment points for a return of its validity and, consequently, for its permanence. That was she tried to demonstrate for the work of interpretation of some theoretic speeches that looked for think about the passage of modernity to post-modernity, as well as those that sought to constitute as novel theories. The questionment regarding the possibility of the death of the narrative ended up demonstrating, paradoxically, a return to the narrative; mainly for the fact of the speeches that affirmed that ended up revealing theyself, as narrative constructs. This investigation of theoretic stamp is shown organized in the first part of the work, entitled The modernity and the narrative about the novel. This part is composed by two chapters. In the first, it tries to build an understanding picture of the main pertinent subjects to discussion about the modernity, the end of modernity and the post-modernity; specially, it feels relevance to the work with Gianni Vattimo's and Fredric Jameson's theories. This initial chapter is entitled One more little narrative about the end of the great narratives. The second chapter, entitled Novel: or about how to narrate an "abandoned world by god", it is configured as an unfolding of the discussions presented in the first and constituts of an interpretation that is done starting from the articulation of the reading of some of the main pertinent studies to the theory of the novel. This interpretation should be understood as a result of a narrative construct also, as what it was accomplished in the first chapter. The second part of theory, entitled The modernity and the narrative of the novel, is composed by the third chapter, which intends to build an interpretation about the formal variations of António Lobo Antunes' narratives. By this, it tries to demonstrate as the already referred paradoxical phenomenon of the denial and statement of the narrative happens in the extent of the fictional speech of the Portuguese author's works, of different ways and in different levels. In the last two sections of that third chapter, an articulation is looked between that interpretation of Lobo Antunes' work and those accomplished in the two previous chapters. There is no conclusive chapter
Doutorado
Literatura Portuguesa
Doutor em Teoria e História Literária

Summaries in Spanish and English
Text in Spanish
The aim of this dissertation is to analyse those poems in which the image of the knife, el cuchillo, appears in the collection El rayo que no cesa, by Miguel Hernandez. The poet manifests his all-encompassing tragic view of life by means of this recurring negative symbol. The poetry of Miguel Hernandez is autobiographical: The universal themes of nature, love and death reveal a close link between the course of his life and the evolution of his poetry. El rayo que no cesa is central to the evolution of Hernandez's poetry: it is the product of the crisis of conscience that propelled the poet toward a radical change of world-view. The book reveals his frustration with love within the rigid norms of the society of his time. The poet expresses his bitterness by means of destructive images such as knife, sword, and ray/flash, images that project the tragic fate that threatened his entire existence.
Esta disertacion tiene por objeto analizar los poemas en que aparece la imagen del cuchillo en el libro El rayo que no cesa, de Miguel Hernandez, y demostrar que la insistencia de este simbolo negativo revela la cosmovisi6n tragic a que de 1a vida tenia el poeta. La poesia de Miguel Hernandez es poesia autobiogr&fica. La trayectoria de su vida esta intimamente ligada a la evolution de su obra en los temas universales de la naturaleza, el amor y la muerte. El rayo que no cesa es libro clave en su evolution pues es fruto de la crisis de conciencia que motiva en el poeta una metamorfosis ideol6gica. Este libro desvela su amor frustrado debido a las normas rigidas de la sotiedad de la epoca. Miguel Hernandez expresa su amargura con imageries destructivas como cuchillo, espada y rayo, imagenes que presagian la amenaza de un destino tragico que abarco toda su existencia.
Classics & Modern European Languages
M.A. (Spanish)

Summaries in Spanish and English
Text in Spanish
The aim of this dissertation is to analyse those poems in which the image of the knife, el cuchillo, appears in the collection El rayo que no cesa, by Miguel Hernandez. The poet manifests his all-encompassing tragic view of life by means of this recurring negative symbol. The poetry of Miguel Hernandez is autobiographical: The universal themes of nature, love and death reveal a close link between the course of his life and the evolution of his poetry. El rayo que no cesa is central to the evolution of Hernandez's poetry: it is the product of the crisis of conscience that propelled the poet toward a radical change of world-view. The book reveals his frustration with love within the rigid norms of the society of his time. The poet expresses his bitterness by means of destructive images such as knife, sword, and ray/flash, images that project the tragic fate that threatened his entire existence.
Esta disertacion tiene por objeto analizar los poemas en que aparece la imagen del cuchillo en el libro El rayo que no cesa, de Miguel Hernandez, y demostrar que la insistencia de este simbolo negativo revela la cosmovisi6n tragic a que de 1a vida tenia el poeta. La poesia de Miguel Hernandez es poesia autobiogr&fica. La trayectoria de su vida esta intimamente ligada a la evolution de su obra en los temas universales de la naturaleza, el amor y la muerte. El rayo que no cesa es libro clave en su evolution pues es fruto de la crisis de conciencia que motiva en el poeta una metamorfosis ideol6gica. Este libro desvela su amor frustrado debido a las normas rigidas de la sotiedad de la epoca. Miguel Hernandez expresa su amargura con imageries destructivas como cuchillo, espada y rayo, imagenes que presagian la amenaza de un destino tragico que abarco toda su existencia.
Classics and Modern European Languages
M.A. (Spanish)

Fürst Hermann von Pückler-Muskau (1785-1871) is a writer whose work enjoyed immense popularity in his lifetime. Today, however, he is largely forgotten or ignored. This thesis proposes the rehabilitation of Nickler in German literary history. His work, consisting mainly of travelogues, achieves a stylistic distinction comparable to that of Heinrich Heine, and depicts events, places and people with a political and social perception that shows him to have been far ahead of his time. Nickler has always been a controversial figure. Though seen by some of his contemporaries as one of Germany's most influential and eloquent liberal travelogue-writers, he was also denounced as a second-rate poet who pandered to the aristocracy. As far as it exists, modern Nickler scholarship grants his work its deserved position in the genre of travel literature, but does not fully recognize its importance as politically and socially committed writing. For most of his life Pückler was interested in social and political questions. During his travels in Great Britain (1826-1828), documented in the Briefe eines Verstorbenen, he was introduced to the English political system. Henceforth, he proclaimed the need for a German constitutional monarchy. While travelling in Ireland he witnessed the struggle of the Irish people and became a strong supporter of the Irish emancipation movement. In Germany, he came in close contact with the group of writers known as "Junges Deutschland." Their writings were outlawed by the authorities in 1835, because of their treatment of political issues ranging from freedom of the press, autonomy of the universities, and constitutional questions, to the need for greater social justice. When he raised these issues in Tutti Frutti (1834), Nickler narrowly escaped a ban on the publication of his works, for some reactionary circles considered him a liberal agitator. Indeed, both Nickler's early pieces and his later work, such as the travel narrative Süd Ostlicher Bildersaal(1840), depicting the Wittelsbacher reign in Greece and the author’s association with the autocratic King of the Greeks, Otto I, demonstrate liberal conviction and progressive political thinking. This thesis examines critically Nickler's writings about England, Ireland, Germany und Greece, traces the author’s attitudes towards historical circumstances and personages and argues for the importance of his work and for its location close to that of other "Young German" writers, such as Heine, Borne or Herwegh.

陳潔儀.
論文(博士)--香港中文大學, 2000.
參考文獻 (p. 389-435)
中英文摘要.
Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Chen Jieyi.
Lun wen (bo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (p. 389-435)
Zhong Ying wen zhai yao.