Dissertations / Theses on the topic '1879-1954 Criticism and interpretation'
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Knowles, Sandra English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "The performances of a psychic privacy: waiting for the real miles Franklin." Awarded by:University of New South Wales. English, Media, & Performing Arts, 2007. http://handle.unsw.edu.au/1959.4/40564.
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Current scholarship on Miles Franklin emphasises the gaps and contradictions of a secretive and mysterious author. The eagerly awaited release of her private papers was marked by Paul Brunton's 2004 publication of her diaries, an edition that has been conceived and understood as a revelation of "the real Miles Franklin" (Lecture Title, State Library). This thesis disrupts the concept of a "real" Franklin by arguing that these diaries, in their manuscript form, give us more delay. Foregrounding the performative guises of the private diary subject, this thesis establishes that we are, and will always be, waiting for the real Miles Franklin to arrive. The insights of diary and textual theories illuminate Franklin, I will argue, as one who seeks the proliferative creativity of the anonymous author, and who would use her diary writing to escape definition within public discourse. Yet the tension between creativity and the daily enables us to see how potential is distorted into waiting in the surrogate space of these diaries, as Franklin seeks protection within the nostalgia of a national past and an Edenic vision of the future. This vantage point directs us to identify, as will be seen, the vulnerabilities and instabilities of this space for Franklin, as it implicates her in the dilemma of her times. In this way, we can ascertain how she holds the line as a "spotless virgin" (3 May 1942) in her resistance to the gender performances of new women, her refusal to be defined as one thing or another. This resistance to imitation will also be analysed as it plays out via the curse of Franklin's self-repetition in an Australia that waits, disrupting her attempts to achieve anonymity as the embodiment of a national literary tradition. In her avoidance of being a private text to be read, Franklin promotes herself, I will contend, as a "world classic" (Franklin Furphy 3) author of and in these diaries, resisting the transition from the readerly to the modernist writerly text at a time of artistic revolution (Barthes S/Z 4). In illuminating Franklin's exposure to these very vulnerabilities as a subject-in-process, in a document intended for posthumous publication, this thesis will establish that she has made a courageous contribution to the complexities of a particular moment within Australian modernity
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Gadbois, Pauline. "La parole parlée dans l'oeuvre de Jacques Brault 1954-1965 /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59886.
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Often designated as "le poete de la parole parlee", Jacques Brault, author of a substantial and rigourous work dealing with poetry, language, writing and art, is one of the most significant modern writers of Quebec. In our literature, rare are the figurative expressions inventing their own trajectory and rarer still is the emblematic used to evoke simultaneously the essence of a generation, a work, a writer, a style. The expression "la parole parlee" says it all.This figure of speech, intimately linked to though and writing, has progressed from a rhetorical to a living expression throughout the eleven years on which our study focuses. In the analysis of this period, "la parole parlee" stands out as the obscure leitmotiv which favours a dialogue between the critical and the creative in the act of writing. Finding its own way, the work discovers a refrangible and versatile universe and the unique voice of Jacques Brault.
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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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Villemure, Geneviève. "La spirale dans l'oeuvre de Normand Chaurette de 1980 à 1986." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37241.pdf.
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Cooper, Shari Susan Friedman. "J.I. Segal, between two worlds." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63954.
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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.
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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.
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Burton, Samantha. "Re-mapping modernity : the sites and sights of Helen McNicoll (1879-1915)." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83172.
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Canadian artist Helen McNicoll (1879-1915) has long been neglected in art historical scholarship. Although well-known and well-regarded during her lifetime, her work has since been marginalized as feminine and dismissed as old-fashioned. Through the lens of a modernist art historical tradition that has privileged the urban and masculine above all else, McNicoll's Impressionist depictions of sunlit beaches, open fields, and rural women at work may indeed seem quaintly nostalgic. In this thesis, I argue that these images can and should be seen as both representations of modernity and assertions of feminist thought. McNicoll travelled throughout England and Europe, and across the Atlantic Ocean in search of artistic subject matter; viewed within the context of tourism---which has been theorized as a fundamentally modern activity---her images appear modern in ways that have not traditionally been recognized.
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Johnson, Andrea C. (Andrea Carswell). "Garden imagery in the poetry of Wallace Stevens (1879-1955)." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72085.
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Creativity, for Wallace Stevens, depends on connections to the natural world which can be examined through garden imagery. Chapters one and two focus on Stevens' private writing, identifying the range of garden environments and natural expanses to which he responded and associating these responses with his aesthetic sensibilities. Continental and Adamic traditions in garden imagery are explored as are contemporary practices in conservation and horticulture. Chapter three concentrates on poems which treat the garden as a locus amoenus of repose and delight where a poet can engage his imaginative faculties with sensual reality. Chapter four analyzes poems whose garden imagery elucidates Stevens' attempts to confront social and political as well as aesthetic issues. Chapters five and six examine Stevens' consideration of the garden as a hortus mentis, emblematic of creative experience, where Stevens assesses the relation of expression to environment and celebrates life lived "in the word of it."
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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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Hobbs, Michael B. (Michael Boyd). "The Disfigured Muse : Supreme Readers in the Poetry of Wallace Stevens." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279030/.
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In "Discourse in the Novel," Mikhail Bakhtin tells us that "Every discourse presupposes a special conception of the listener, of his apperceptive background and the degree of his responsiveness." My study of Wallace Stevens's poetry examines Stevens's "conception of the listener"—in the form of his intratextual readers, their responsiveness, and the shapes that responsiveness takes—and attempts to formulate out of that examination Stevens's theory of reading embodied in his canon of poems.
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Millett, John R. ""Like decorations in a nigger cemetery" : the poetic and political adjustments of Wallace Stevens /." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/MillettJR2004.pdf.
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Butler, Ian. ""All vistas close in the unseen" : a study of the transcendent in the fiction of E. M. Forster." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001826.
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From introduction: It has become something of a commonplace among critics to remark Forster's relative lack of success in offering an alternative to the world which he satirises with such wit and humour. His comic treatment of the suburban absurdities of the Edwardian Englishman is, on the whole, far more compelling and memorable than the often vague, symbolic gestures by means of which he implies the possibility of something better. With the exception of his last and greatest novel, A Passage to India, his "alternatives" are largely factitious and contrived. Worse, the reader senses a fundamental uncertainty on the part of the author: his characteristic ambivalence in itself an indication of a perceptive and discriminating mind -- all too often suggests lack of conviction rather than an intelligent awareness of the infinitude of human possibilities.
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Irizarry, Justin Lee. "Hand Amputees have an Altered Perception of Images at Arm's Length." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28435/.
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The preface to this collection "Dust Clouding: Ambiguity and the Poetic Image," highlights the ways in which poets such as W.S Merwin and Donald Revell use ambiguity and the poetic image to strengthen their poems and encourage equality between reader and writer. Hand Amputees have an Altered Perception of Images at Arm's Length is a collection of poems and poem like adventures.
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De, Coning Alexis. "Perversity on paper taboo, abjection and literature: Iain Banks' The wasp factory, Ian McEwan's The cement garden, and Irvine Welsh's Marabou stork nightmares." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002247.
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This thesis explores the notion of perversity in literature, specifically with regard to representations of taboo and abjection in Iain Banks‟ The Wasp Factory, Ian McEwan‟s The Cement Garden, and Irvine Welsh‟s Marabou Stork Nightmares. Julia Kristeva‟s Powers of Horror: An Essay on Abjection, as well as her notion of revolt, constitute the central theoretical framework for my analysis. However, I also draw upon the concepts of monstrosity, grotesqueness and the uncanny in order to explicate the affect of abject fiction on the reader. I posit, then, that to engage with literary works that confront one with perversity, abjection and taboo entails exposing oneself to an ambiguous or liminal space in which culturally established values are both disrupted and affirmed. The subversive and revolutionary potential of the aforementioned novels is discussed with reference to the notion of the perverted Bildungsroman since, in their respective transgressions of taboos, the narrators of these novels disrupt social order, and their narratives end on a note of indeterminacy or the absolute finality of death, rather than self-actualisation. Moreover, in exposing the binaries of sex and gender as arbitrary and fluctuating, these narrators‟ perverse sexual and gender performativities gesture towards alternative modes of being (beyond social sanction), and invoke Kristeva‟s notion of individual revolt as a „condition necessary for the life of the mind and society‟.
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Heterick, Garry R. (Garry Raymond) 1965. "Dethroning Jupiter : E.M. Forster's revision of John Ruskin." Monash University, English Dept, 1998. http://arrow.monash.edu.au/hdl/1959.1/8604.
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Thompson, Erik Robb. "The Map and the Territory in the Poetry of Wallace Stevens." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12205/.
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In this dissertation, Wallace Stevens' imagination-reality problem as depicted in his poetry is discussed in terms of an eco-critical map-territory divide. Stevens's metaphor of "the necessary angel" acts to mediate human necessity, the map, with natural necessity, the territory, in order to retain contact with changing cultural and environmental conditions. At stake in this mediation are individual freedom and the pertinence of the imagination to the experience of reality. In Chapter 2, the attempt at reconciliation of these two necessities will be described in terms of surrealism. Stevens's particular approach to surrealism emphasizes separating and delineating natural necessity from human necessity so that through the poem the reader can experience the miracle of their reconciliation. In Chapter 3, this delineation of the two necessities, map and territory, will be examined against Modernist "decreation," which is the stripping bare of human perception for the purpose of regaining glimpses of the first idea of the external world. And in Chapter 4, Stevens's approach to the problem of the map-territory divide will be considered against his alienation or internal exile: balancing nature and identity through mediating fictions results in a compromised approach to the marriage of mind and culture in a historically situated place.
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Roets, Kristel. "'n Vergelykende studie van twee jeugromans : Winterijs (2001) deur Peter van Gestel en Roepman (2004) deur Jan van Tonder." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2528.
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Thesis (MA (Afrikaans and Dutch))--Stellenbosch University, 2008.This thesis is a comparative literature study of a Dutch and an Afrikaans novel that can be read by the youth and adults alike and display similarities with regard to genre, content, structure and theme. The novels are Winterijs (2001) by Peter van Gestel and Roepman (2004) by Jan van Tonder. Chapter 1 serves as an introduction. In chapter 2 concepts such as “crossover literature”, “cross publication”, “dual audience authors” and “dual audience literature” are discussed. Chapter 3 presents an overview of the theory that provides a conceptual framework for this study. The method of investigation that is followed by Helma Van Lierop-Debrauwer and Neel Bastiaansen-Harks (2005) in their study of the similarities and differences between an adolescent novel for the youth and an adolescent novel for adults is used, as well as the theory of Victor Turner (1969) on the concept of liminality. As it provides a useful method for approaching and analyzing the two texts, the above mentioned theories are applied to Winterijs and Roepman in Chapters 4 and 5, with specific reference to the representation of a male child narrator with liminal characteristics. In chapter 6 the similarities and differences between the two novels are pointed out and summarized. Conclusions are drawn and possibilities for further research are presented in chapter 7.
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Mudzanani, Nndanduleni Bethuel. "Die verhouding tussen literêre teorie en kritiek in die Afrikaanse literêre sisteem binne die sg. "nuwe paradigma" aan die hand van gekose figure Marianne de Jong, Joan Hambidge en Gerrit Olivier." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1002174.
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Currently, in the period of Poststructualism literature is widely approached as a cultural and social phenomenon and the aims of literary studies as the illuminating of social codes, ideology etc. embedded in literature. This study evaluates the contribution of specific critics working within the so-called "New paradigm". The concept "New paradigm" is used as an umbrella term covering a number of distinct developments, referring to literature as a system of literary "actions" rather than as a canon of books. In recent years several Afrikaans critics have embraced or adapted current theories in the domains of Deconstruction, Ideology Criticism, Literary, Sociology, Recepticm Aesthetics, Semiotics and Feminism. This study explores and evaluates the application of such theoretical paradigms to their work in the field of practical criticism. This study also explores the relationship between current theories of literature and their antecedents. The notion of current literary theory and practice not only as a broadening of scope and content of the notion of the "literary" but on the other hand as a liberation of theory and practice from an over-deterministic thrust (i.e. the approach of literature as no more than a set of social documents) is also evaluated in this study. A twofold aim of this study can thus be defined: a. to determine the extent to which the shift from the "old" to "new" theories was made necessary by the developing literary and social scene; b. to examine the links beween theory and practice in the work of specific, key figures in Afrikaans. Is it possible for theory and practice to be separated? Is there an important consistence in the relationship between the two in the work of the figures chosen?
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Bell, Alan Nigel. "The male novelist and the 'woman question' George Meredith's presentation of his Heroines in The Egoist (1879) and Diana of the Crossways (1885)." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002245.
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Focusing on four early works, then three from his middle period and three from the 1890s, this dissertation explores Meredith’s role as a novelist in the unfolding of a social and literary paradox, namely, that with the death of George Eliot in 1880, the dominant writers of fiction were male, and this remained the case until the advent of Virginia Woolf, while at the same time the woman’s movement for emancipation in all spheres of life—domestic, commercial, professional and political—was gathering in strength and conviction. None of the late nineteenth-century male novelists—James, Hardy, Moore and Gissing, as well as Meredith—was ideologically committed to the feminist cause; in fact the very term ‘feminist’ did not begin to become current in England until the mid-1890s. But they were all interested in one aspect or another of the ‘Woman Question’, even if James was ambivalent about female emancipation, and Gissing, on the whole, was somewhat hostile. Of all these novelists, it was Meredith whose work, especially in its last two decades, most copiously reveals a profound sympathy for women and their struggles to realize their desires and ambitions, both inside and outside the home, in a patriarchal world. The dissertation therefore concentrates on his presentation of his heroines in their relationships with the men who, in one way or another, dominate them, and with whom they must negotiate, within the social and sexual conventions of the time, a modus vivendi—a procedure that will entail, especially in the later work, some transgression of those conventions. Chapter 1 sketches more than two centuries of development in female consciousness of severe social disadvantage, from literary observations in the mid-seventeenth century to the intensifying of political representations in the writings of Mary Wollstonecraft, and the rise of the woman’s movement in the course of the Victorian century. The chapter includes an account of the impact on Meredith of John Stuart Mill’s The Subjection of Women (1869), and an examination of some of his female friendships by way of illuminating the experiential component of his insights into the ‘Woman Question’ as reflected in his fiction and letters. His unhappy first marriage is reserved for consideration in Chapter 2, as background to the discussion of The Ordeal of Richard Feverel (1859). This early novel, Meredith’s first in the realist mode, is widely accepted as being of high quality, and is given extended treatment, together with briefer accounts of three other early works, The Shaving of Shagpat (1855), Evan Harrington (1861), and Rhoda Fleming (1865), and one from Meredith’s middle period, Beauchamp’s Career (1876). Two more novels of this period, The Egoist (1879) and Diana of the Crossways (1885), are generally considered to be among his best works, and their heroines are given chapters to themselves (3 and 4). Chapter 5 provides further contextualization for the changing socio-political circumstances of the 1880s and 1890s, with particular reference to that heightening of feminist consciousness represented by the short-lived ‘New Woman’ phenomenon, to which Diana of the Crossways had been considered by some to be a contribution. Brief discussion of some other ‘New Woman’ novels of the 80s and 90s follows, giving literary context to the heroines of Meredith’s three late candidates in the genre, One of Our Conquerors (1891), Lord Ormont and His Aminta (1894), and The Amazing Marriage (1895). The dissertation concludes with a glance at Meredith’s influence on a few early twentieth-century novelists.
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Beauchamp, Claude. "Henry-Emile Chevalier et le feuilleton canadien-français (1853-1860)." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61277.
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Henry-Emile Chevalier was forced in exile by the December 1851 Coup d'Etat in France. In March 1853, he came to Montreal and joined Georges-Hippolythe Cherrier who had just started a new periodical called La Ruche Litteraire Illustree. In addition, during his stay in Montreal, Chevalier worked for several periodicals, was an active member of the Institut canadien de Montreal, and wrote many novels and serials depicting Canada's exoticism. This thesis will provide the most accurate biography of Chevalier up to date, it will also present an analysis of the exoticism in his novels and serials (1853-1960), and of his contribution to the evolution of serials in French Canada.
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Murray, Paul Leonard. "The historiographic metafiction of Etienne van Heerden." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53120.
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Thesis (MA)--Stellenbosch University, 2002.ENGLISH ABSTRACT: This thesis investigates the possibility that there are other ways in which to represent the past, not just the traditional way as practised by historians. For instance, other forms such as historical fiction in the historical novel, and therefore, narrative, can act as an important conduit for conveying historical meaning. Through the examination of the historiographic metafiction of the South African writer, Etienne Van Heerden, this study has concluded that through a reading of both the author's belletristic and theoretical texts, readers interested in history and literature will gain some understanding of the problems that come with writing up the past. At the same time, they will gain some knowledge of a different way of writing about South African history, because the author portrays the historical events in a refreshing, vivid and imaginative way. However, it needs to be said from the outset that in no way is the writer of this thesis neglecting the merits of traditional history or advocating its abolition, which is, ultimately, the scientific way of representing the past and remains sacred and paramount for the historian, both amateur and professional.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die moontlikheid dat die verlede volgens ander sienswyses voorgestel kan word en nie slegs volgens die tradisionele sienswyses van historici nie. Daar is byvoorbeeld ander vorme, soos historiese fiksie wat in historiese novelles gebruik word, en daarom kan die narratief as 'n belangrike kanaal dien om historiese betekenis mee oor te dra. Deur 'n ondersoek van die historiese metafiksie van die Suid-Afrikaanse skrywer, Etienne van Heerden, kom hierdie studie tot die gevolgtrekking dat deur die lees van beide die skrywer se belletristiese en teoretiese tekste, lesers wat in die geskiedenis en literatuur belangstel, 'n begrip sal kry van die problematiek wat gepaard gaan met die skryf van geskiedenis. Terselfdertyd sal hulle 'n begrip kry van 'n alternatiewe skryf van die Suid-Afrikaanse geskiedenis, omdat die skrywer historiese gegewens in 'n verfrissende, helder en verbeeldingryke wyse oordra. Dit moet egter beklemtoon word dat die skrywer van hierdie tesis geensins die meriete van tradisionele geskiedskrywing negeer of die afskaffing daarvan voorstaan nie, aangesien die wetenskaplike voorstelling van die verlede kosbaar en van kardinale belang vir beide amateur en professionele historici bly.
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Wyrill, Beth Alexandra. "The interface of history and fiction in Russel Brownlee’s Garden of the plagues, Ingrid Winterbach’s To hell With Cronjé, and Etienne van Heerden’s The long silence of Mario Salviati." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015517.
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Both historiographical and literary practices have undergone revision in recent years in attempting to address the inheritance of nineteenth-century realism. Since the object of realist stylistics, employed in both the writing of fiction and history, is to render authorship authoritative or even invisible, the ideological import of these narratives is often such that the constructedness of the historical record and its absences are veiled. In developments beginning in the 1980s with the advent of ‘New Historicism’ and with the emergence of postmodern literary techniques, the interface of literature and history became of seminal importance, since both were now credited as being products of narrative and discourse, and hence, to varying degrees, of the literary imagination. This movement intersects interestingly with developments in postcolonial studies, since it is the voices of the marginalized and disempowered colonized peoples that are routinely co-opted and excised from nineteenth-century realist histories. These concerns are now being fully explored in the literature of the contemporary post-transitional South African moment, since authors in this country seemingly now feel freed up to look back to histories that precede the immediate traumas of apartheid. The concern, in relation to apartheid developments but also on a broader universal scale, is this: if history is viewed as perpetual emergences of modernities, then one of the great absences in the record is the historical determinants of any given epistemology. The attempt to recreate such an epistemological genealogy is thus simultaneously postcolonial, historiographical, and literary. Russel Brownlee’s Garden of the Plagues (2005), Ingrid Winterbach’s To Hell with Cronjé (2010), and Etienne van Heerden’s The Long Silence of Mario Salviati (2002) attempt to bridge this gap in the recorded sensibilities of any historical moment by representing a ‘lived experience’ of the past, and in the process imaginatively recreating the cultural, historical and psychological locations of the proponents of an emerging modernity. This study concerns itself with the ways in which these authors address the influence of realist historiography through the use of literary innovations that allow for the departure from realist stylistics. Most commonly, all three authors draw on forms of magic realism, but multiple refigurings and recombinations of notions of temporality, narrative, and characterization likewise work to defamiliarize the once stable discourse of history.
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Vieira, Filho Edgar Rosa. "A antropofagia como poética do traduzir: diálogos com Oswald de Andrade." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20357.
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Pontifícia Universidade Católica de São Paulo - PUCSP
The present dissertation aims at discussing the appropriateness of the approximation between the concept of anthropophagy, put forward by Oswald de Andrade (1890-1954) in the Brazilian modernist movement in the 1920’s, and the phenomenon of literary translation, more specifically the translation of poetry. In order to verify the possibility of defining a poetics of translating as anthropophagic, we traced the modernist metaphor/concept back to its creation (1928), going through its first association with the phenomenon of translation, proposed by the Brazilian poet and translator Augusto de Campos in the introduction of his book “Verso, reverso, controverso” (1978), and through the critical-reflexive elaboration carried out by Eneida Maria de Sousa (1985) and Else Ribeiro Vieira (1990), reaching the studies on amerindian perspectivism and shamanism, associated with the translation practice in Helena Martins (2012) and Álvaro Faleiros (2013). We then sought suitability in the traced associations, by analyzing Oswald’s translation of the poem “Hechos pasados” (Canto do passado), by the Chilean poet Arturo Torres-Rioseco (1897-1971), inserted in the collection of translated poems “Arturo Torres-Rioseco: Poesias” (1945). Although Oswald himself never approximated his cannibalistic metaphor to the translation phenomenon, as seen in current reflections in the Translation Studies field, we decided to bring up this discussion, since his attitude and choices as a translator seem to suggest the appropriateness of such association
A presente dissertação tem como objetivo discutir a pertinência da aproximação entre o conceito de antropofagia, desenvolvido pelo movimento modernista da década de 1920, especialmente na figura de Oswald de Andrade (1890-1954), e a prática de tradução literária, em específico a tradução de poesia. A fim de verificarmos a possibilidade de se pensar em uma poética antropofágica do traduzir, propõe-se um rastreamento da metáfora/conceito modernista desde a sua idealização (1928), passando por sua primeira associação ao fenômeno da tradução, realizada pelo poeta e tradutor Augusto de Campos na introdução do livro Verso, reverso, controverso (1978), e pela elaboração crítico-reflexiva realizada pelas pesquisadoras Eneida Maria de Sousa (1985) e Else Ribeiro Pires Vieira (1990), até chegar-se aos estudos sobre perspectivismo e xamanismo ameríndios associados à prática tradutória em Helena Martins (2012) e Álvaro Faleiros (2013). Verificou-se a razoabilidade das aproximações rastreadas, por meio da análise da tradução oswaldiana do poema “Hechos pasados” (Canto do passado) do poeta chileno Arturo Torres-Rioseco (1897-1971), inserida no livro Arturo Torres-Rioseco: Poesias (1945). Embora Oswald não tenha relacionado sua metáfora canibal ao fenômeno da tradução, como vê-se em reflexões atuais no campo dos Estudos da Tradução, adentraremos essa discussão, uma vez que a postura do poeta ao traduzir parece nos sugerir a pertinência de tal aproximação
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別業青. "王安憶與張愛玲的小說藝術比較研究 = A comparative study on the novelistic aethetics of Wang Anyi and Eileen Chang." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2143966.
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Tsai, Tsung-Han. "Hearing Forster : E.M. Forster and the politics of music." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4424.
Full textAbstract:
This thesis explores E. M. Forster's interest in the politics of music, illustrating the importance of music to Forster's conceptions of personal relationships and imperialism, national character and literary influence, pacifism and heroism, class and amateurism. Discussing Forster's novels, short stories, essays, lectures, letters, diaries, and broadcast talks, the thesis looks into the political nuances in Forster's numerous allusions and references to musical composition, performance, and consumption. In so doing, the thesis challenges previous formalistic studies of Forster's representations of music by highlighting his attention to the contentious relations between music and political contingencies. The first chapter examines A Passage to India, considering Forster's depictions of music in relation to the novel's concern with friendship and imperialism. It explores the ways in which music functions politically in Forster's most ‘rhythmical' novel. The second chapter focuses on Forster's description of the performance of Lucia di Lammermoor in Where Angels Fear to Tread. Reading this highly crafted scene as Forster's attempt to ‘modernize' fictional narrative, it discusses Forster's negotiation of national character and literary heritage. The third chapter assesses Forster's Wagnerism, scrutinizing the conjunction between Forster's rumination on heroism and his criticism of Siegfried. The chapter pays particular attention to Forster's uncharacteristic silence on Wagner during and after the Second World War. The fourth chapter investigates Forster's celebration of musical amateurism. By analysing his characterization of musical amateurs and professionals in ‘The Machine Stops', Arctic Summer, and Maurice, the chapter discusses the gender and class politics of Forster's championing of freedom and idiosyncrasy.
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Eliopoulos, Mariamne. "Esthétique et intertextualité dans les films des frères Coen." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030136.
Full textAbstract:
L’intertextualité filmique de l’oeuvre des frères Coen permet un recyclage des formules génériques et stylistiques qui font partie des traditions du cinéma. Les frères Coen empruntent des techniques et des thèmes tant au cinéma de l’époque des studios qu’à des écrivains du XXe siècle comme Raymond Chandler ou James Joyce. Une étude narratologique des procédes des frères Coen apportera une appréciation de leursinnovations dans la mise en scène. Leurs réécritures des schémas du passé donnent à ces films des ancrages dans la contemporanéité. Cette esthétique de réécriture sera analysée dans le contexte de l’histoire des idées et dans le contexte de la civilisation américaine contemporaine. Une mise en rapport avec des metteurs en scène de l’histoire du cinéma, comme Fritz Lang et Alfred Hitchcock, permettra d’évaluer les effets de leurs films sur le spectateurFilm intertextuality in the Coen brothers’ films allows generic formulas and styles to be reformulated, in a reworking of cinema traditions. The Coen brothers borrow techniques and themes from the era of the Hollywood studio system as well as those of writers of the twentieth century like Raymond Chandler or James Joyce. A study of thenarratology of the Coen brothers’ oeuvre allows readers to appreciate their innovations in film direction. Their rewriting of schemas of the past is analyzed in the context of the history of ideas and of contemporary American civilization. In comparing their work to that of other directors in the history of cinema, such as Fritz Lang and Alfred Hitchcock,the effects of intertextuality on the spectator will be evaluated
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Yoder, Rachel M. "Performance Practice of Interactive Music for Clarinet and Computer with an Examination of Five Works by American Composers." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33219/.
Full textAbstract:
Since the development of interactive music software in the 1980s, a new genre of works for clarinet and computer has emerged. The rapid proliferation of interactive music resulted in a great deal of experimentation, creating a lack of standardization in both the composition and performance of this repertoire. In addition, many performers are reluctant to approach these works due to unfamiliarity with the genre and its technical and musical considerations. Performance practice commonly refers to interpretation of a written score, but the technology involved in interactive music requires a broader definition of performance practice; one that also addresses computer software, coordination between the performer and computer system, and technology such as microphones and pedals. The problems and potential solutions of interactive music performance practice are explored in this paper through review of the relevant published literature, interviews with experts in the field, and examination of musical examples from works for clarinet and computer by Lippe, May, Pinkston, Rowe, and Welch. Performance practice considerations of interactive music fall into the categories of notation, technology, collaboration, interpretation, and rehearsal. From the interviews and the literature, it is clear that the performance of interactive music requires specific knowledge and skills that performers may not encounter in other genres of contemporary music, including microphone technique, spatialization, sound processing, and improvisation. Performance practice issues are often mediated by close collaboration between performers and composers, but they can inhibit the accessibility of these works to new performers, and may be detrimental to the long-term viability of interactive music. Recommendations for resolving these issues are directed at both composers and performers of interactive music. A listing of over one hundred interactive works for clarinet and computer is also included.
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"論王安憶小說中的上海文化意涵." 1997. http://library.cuhk.edu.hk/record=b5896223.
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林綺雯.論文(碩士) -- 香港中文大學硏究院中國語言及文學學部, 1997.
參考文獻: leaves 214-259.
Lin Qiwen.
Chapter 第一章： --- 緖論 --- p.1-16
Chapter 1.1 --- 引言 --- p.2
Chapter 1.2 --- 文中重要概念的闡釋 --- p.3-8
Chapter 1.2.1 --- 上海人的含義
Chapter 1.2.2 --- 上海文化的含義
Chapter 1.2.2.1 --- 上海文化與上海味
Chapter 1.2.2.2 --- 兩種含義的上海文化
Chapter 1.2.2.3 --- 上海文化與海派
Chapter 1.3 --- 研究目的及範圍 --- p.9-10
Chapter 1.4 --- 研究方法 --- p.11
Chapter 1.5 --- 小結 --- p.12
註釋 --- p.13-16
Chapter 第二章： --- 王安憶小傳、創作理論及作品分期 --- p.17-47
Chapter 2.1 --- 引言 --- p.18
Chapter 2.2 --- 王安憶小傳 --- p.19-25
Chapter 2.2.1 --- 童年及成長時期
Chapter 2.2.2 --- 插隊及文工團時期
Chapter 2.2.3 --- 回城後的日子
Chapter 2.2.4 --- 美國之行後的日子
Chapter 2.2.5 --- 創作上的轉折期
Chapter 2.3 --- 創作理論 --- p.26-33
Chapter 2.3.1 --- 早期創作理論
Chapter 2.3.1.1 --- 生活與小¨®Ơ的關係
Chapter 2.3.1.2 --- 藝術感覺與修練
Chapter 2.3.1.3 --- 把筆觸伸向人的心靈
Chapter 2.3.2 --- 後期創作理論
Chapter 2.3.2.1 --- 小¨®Ơ敘述形式
Chapter 2.3.2.2 --- 小¨®Ơ敘述語言
Chapter 2.3.2.3 --- 紀實和虛構的關係
Chapter 2.4 --- 作品分期 --- p.34-38
Chapter 2.4.1 --- 預備期
Chapter 2.4.2 --- 探索期
Chapter 2.4.3 --- 轉折期
Chapter 2.4.4 --- 成熟期
Chapter 2.5 --- 小結 --- p.39
註釋 --- p.40-47
Chapter 第三章： --- 預備期´ؤ´ؤ文革對上海人生活的影響 --- p.48-84
Chapter 3.1 --- 引言 --- p.49
Chapter 3.2 --- 文革造成精神文化的流失 --- p.50-55
Chapter 3.2.1 --- 市民盲目追隨革命
Chapter 3.2.2 --- 文革強制改造社會
Chapter 3.3 --- 從亂世狀況反省上海人面對生活的態度 --- p.56-64
Chapter 3.3.1 --- 亂世裏的生存智慧
Chapter 3.3.2 --- 保留私人精神空間
Chapter 3.3.3 --- 精神家園的寄托
Chapter 3.4 --- 撥亂反正後上海人如何重新適應生活的轉變 --- p.65-74
Chapter 3.4.1 --- 樂觀的生活態度
Chapter 3.4.2 --- 認眞的生活態度
Chapter 3.4.3 --- 失去人生目標的迷惘
Chapter 3.4.4 --- 及時行樂的思想
Chapter 3.5 --- 小結 --- p.75-76
註釋 --- p.77-84
Chapter 第四章： --- 探索期一一從不同角度探討上海生活的狀態 --- p.85-123
Chapter 4.1 --- 引言 --- p.86
Chapter 4.2 --- 從人際關係的角度探討上海生活狀態 --- p.87-94
Chapter 4.2.1 --- 疏離的人際關係
Chapter 4.2.3 --- 扭曲的男女關係
Chapter 4.2.4 --- 扭曲的家庭關係
Chapter 4.3 --- 從個人與地域的關係探討上海生活狀態 --- p.95-109
Chapter 4.3.1 --- 上海人對自我身份的驕傲感
Chapter 4.3.2 --- 新移民追尋身份的確認
Chapter 4.3.3 --- 冒險家的「樂園」
Chapter 4.3.4 --- 城市人理想的失落
Chapter 4.4 --- 小結 --- p.110-111
註釋 --- p.112-123
Chapter 第五章： --- 轉折期一一從身份確認問題看上海人與上海的關係 --- p.124-163
Chapter 5.1 --- 引言 --- p.125-126
Chapter 5.2 --- 確認身份的原因 --- p.127-136
Chapter 5.2.1 --- 城市人缺乏歷史意識
Chapter 5.2.1.1 --- 現實的價値觀念
Chapter 5.2.1.2 --- 遷徙流動的性質
Chapter 5.2.2 --- 城市人缺乏深刻的社會關係
Chapter 5.2.2.1 --- 城市流動生活造成的障礙
Chapter 5.2.2.2 --- 個人複雜身份造成的障礙
Chapter 5.3 --- 確認身份的方法 --- p.137-149
Chapter 5.3.1 --- 上溯歷史確認身份
Chapter 5.3.1.1 --- 憑借正史創造家族神話
Chapter 5.3.1.2 --- 憑借野史傳¨®Ơ創造家族神話
Chapter 5.3.2 --- 積極融入上海社會
Chapter 5.4 --- 小結 --- p.150-151
註釋 --- p.152-163
Chapter 第六章： --- 成熟期´ؤ´ؤ從上海人的生活狀態重構上海歷史 --- p.164-205
Chapter 6.1 --- 引言 --- p.165-166
Chapter 6.2 --- 從個人與政治的關係重構上海歷史 --- p.167-172
Chapter 6.2.1 --- 個人迴避政治事件對生活的影響
Chapter 6.2.2 --- 個人對政治思想的嘲弄態度
Chapter 6.3 --- 從個人對日常生活重構上海歷史 --- p.173-187
Chapter 6.3.1 --- 個人日常生活的細節
Chapter 6.3.1.1 --- 聲色之娛
Chapter 6.3.1.2 --- 吃喝之樂
Chapter 6.3.1.3 --- 穿衣
Chapter 6.3.2 --- 個人生活文化的記憶
Chapter 6.3.2.1 --- 電影及攝影
Chapter 6.3.2.2 --- 時裝
Chapter 6.3.2.3 --- 舞會
Chapter 6.4 --- 從小¨®Ơ呈現的男女關係重構上海歷史 --- p.188-193
Chapter 6.4.1 --- 亂世中相濡以沫的感情
Chapter 6.4.2 --- 共同文化記憶下產生的感情
Chapter 6.5 --- 小結 --- p.194-195
註釋 --- p.196-204
Chapter 第七章： --- 總結 --- p.205-213
Chapter 7.1 --- 上海文化在王安憶小說裏的重要性 --- p.206-207
Chapter 7.2 --- 王安憶小¨®Ơ對書寫上海的重要性 --- p.208-209
Chapter 7.3 --- 王安憶的未來創作路向 --- p.210-211
註釋 --- p.212-213
與王安憶有關的參考資料 --- p.214-251
凡例 --- p.214
Chapter (一) --- 王安憶著作 --- p.215-226
Chapter (1) --- 個人別集
Chapter 甲、 --- 小¨®Ơ集
Chapter 乙、 --- 散文集、游記及其他
Chapter (2 ) --- 未收入集的作品
Chapter (二） --- 與王安憶有關的參考文章 --- p.227-251
Chapter (1) --- 發表地區：中國大陸
Chapter (2) --- 發表地區：香港
Chapter (3) --- 發表地區：台灣
其他參考書目及論文 --- p.252-259
凡例 --- p.252
Chapter (一） --- 參考書目 --- p.253-256
Chapter (二） --- 參考論文 --- p.257-259
附錄一：《紀實和虛構》的敘述手法 --- p.260-275
Chapter (一） --- 引言 --- p.260
Chapter (二） --- 間線叙述結構 --- p.261
Chapter (三） --- 素材的運用一一紀實和虛構互滲的手法 --- p.262-268
Chapter (1) --- 紀實素材
Chapter (2) --- 紀實和虛構互滲
Chapter (甲） --- 如何揭示小¨®Ơ的虛構性質
Chapter (乙） --- 眞實作者與敘事者的關係
Chapter (四） --- 視點的運用 --- p.269-270
Chapter (五） --- 小結 --- p.271
註釋 --- p.272-275
附錄二：王安憶小說編年 --- p.276-281
後記 --- p.282
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Pillay, Ivan Pragasan. "Recovered from obscurity : "structures of feeling" and discourses of identity and power relations through the peripheral characters in the novels of Charles Dickens." Thesis, 2011. http://hdl.handle.net/10413/8010.
Full textAbstract:
Many of Charles Dickens‟s peripheral characters have not received critical attention through a de-centered reading in a single, unified body of work. For reasons which are related largely to his biography, Dickens had a deep and abiding interest in the members of the lower classes who feature prominently in his novels. This thesis, on the eve of the bi-centennial anniversary of the author‟s birth, examines his representations of a selection of these characters that appear to have been, to a large extent, forgotten and lie in obscurity, submerged in the vast storehouse of his creations.
In his novels, Dickens vociferously champions the rights of the marginalised whilst he, simultaneously, evinces a discerning consciousness of their susceptibility to forms of conduct which he disapproved of. His empathy is, therefore, of a kind which is tinged with distrust, fear and, at times, repulsion. Central to this thesis is Dickens‟s ambivalence towards the proverbial small man/woman which is examined in terms of its genesis, development and resolution. In its engagement with these characters, this study draws, primarily, on the New Historicist (particularly the work of Stephen Greenblatt) and Cultural Materialist approaches to the reading of literary texts and is foregrounded in Raymond Williams‟s formulation of “structures of feeling”. Aligned to this, is Michel Foucault‟s conceptualizations of power.
My Introduction defines the parameters within which this thesis is situated. The need for a study of this nature is outlined and an overview of the theoretical positions, intimated above, is presented. The central ideas which link Foucault, Greenblatt and Williams are clearly spelt out and their relevance to Dickens‟s peripheral characters is anticipated. Of the 14 novels discussed, David Copperfield, because of its strong autobiographical connections, is read as most crucial in the shaping of Dickens‟s attitudes towards the lower classes. Chapter 1 is therefore devoted, exclusively, to this novel which serves, initially, as a gateway to this thesis and, thereafter, as its nodal point. Chapter 2 (“Voices in the Crowd”) picks up the links from David Copperfield as it explores the realm of public space. It identifies and draws to the centre those characters that constitute the crowd, as it is seen in
everyday contexts. Chapter 3 (“The World of the Public-House”) takes the reader into the Victorian tavern – that microcosm of society where “social energies” are seen to “circulate” in complex configurations. Chapter 4 (“Servants and Dickens‟s Double Vision”) discusses the representatives of the lower classes as they are seen in their roles as servants – a crucial area of Victorian “cultural poetics” and one that was very near to Dickens‟s heart. In my Conclusion I revisit the question of Dickens‟s ambivalence and situate this in the context of the posthumously published, and relatively unknown, The Life of Our Lord.
It would seem that many commentators tend to allude to Dickens‟s ambivalence without actually offering a detailed examination of the peripheral characters, as they are seen in different contexts. In bringing together some of the smallest of the small in a unified body of work (for what may possibly be the first time), this thesis offers fresh insights into the ways in which the writer knew and understood the lower classes.Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.
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Garbus, Julia Anne. "Service and learning at the turn of two centuries lessons from Vida Scudder /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3101208.
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"An analysis of the work of Kazuo Ishiguro, his biculturalism and his contribution to new internationalism." Thesis, 2012. http://hdl.handle.net/10210/5539.
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M.A.This study was prompted principally by two events: reading Kazuo Ishiguro's The Remains of the Day (1989), and encountering Pico lyer's Time article "The Empire Writes Back" (1993). lyer argues that the late twentieth century has been witness to an important event in the world of literature: the emergence of a new generation of writers writing in English, but not necessarily originating from British-colonial (or postcolonial) backgrounds. Among the writers lyer mentions are Vikram Seth, Michael Ondaatje, Ben Okri and - most notably - Kazuo Ishiguro. Ishiguro was born in Japan but emigrated with his parents to the United Kingdom at the age of six. This study focuses on his biculturalism and the impact that his mixed upbringing has had on his style and thematic concerns. This forms the principal focus of the first part of the study. The influence of Japanese writers, that of Japanese film and, finally, that of the European literary tradition are looked at in turn. The core of this study is a comparative analysis of Ishiguro's first three novels: A Pale View of Hills (1982), An Artist of the Floating World (1986), and The Remains of the Day (1989). Here certain common pre-occupations are identified and discussed - chiefly, Ishiguro's concern with memory, with constructions of the past, and his use of "unreliable" first-person narrators. It is argued that Ishiguro returns insistently to these thematic concerns in his first three novels, and that they can therefore be seen as constituting a three-part exploration of the notion of memory, of "reconstructing" the past. A separate chapter briefly examines Ishiguro's most recent work, The Unconsoled (1995), in which these themes are once again present, although they are bodied forth in a strikingly different style. The purpose of examining this novel is mainly to illustrate its formal and stylistic divergence from the first three (far more successful) novels - a divergence which in turn serves to throw into relief the thematic integrity of the first three novels. The study concludes by drawing together the discussion of the first three novels before moving on to a consideration of Ishiguro's place in what has become known as "New Internationalism". Here it is argued that Ishiguro's work has important resemblances to that of other writers loosely grouped into this literary movement and that he deserves his place among this illustrious group of writers who are changing the face of world literature written in English.
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Linscott, James Alfred. "Voices form the margins : an analysis of the cultural politics of E.M. Forster's fiction." Thesis, 2002. http://hdl.handle.net/10413/3398.
Full textAbstract:
This thesis seeks to offer an explicitly political reading of E.M. Forster's fiction, focusing on three of his novels (A Room with a View, Howards End and Maurice) and two of his short stories ("The Life to Come" and "The Other Boat"). Throughout I have used a combination of close reading techniques and elements of critical theory to show how Forster's fiction is characterised by a prolonged and ongoing analysis of the political notion of the intersection of mainstream and marginal cultures. In this regard, I argue that the majority of Forster's novels and short stories are concerned
with issues surrounding characters who are somehow marginalised from mainstream power structures and who then have to rebel against the cultural centre in their personal quests for political autonomy. It is this cultural issue, I argue, that gives Forster's novels and short stories their thematic unity and continuity. In probing this theme, I hope to move beyond restrictive (and often reductive) liberal humanist styles
of criticism, which tend to downplay the political implications of Forster's fiction by fore grounding only the metaphysical questions posed by his writing.
However, this thesis is also informed by certain deconstructive theoretical
concepts, which I have loosely drawn upon in tracing the development of this theme. In particular, I argue throughout that the oppositional quality of the novels and short stories identified by the liberal humanist critics is only truly evident in the early novels, such as A Room with a View. In the later novels, I argue, it is evident that Forster had significantly re-evaluated his understanding of the relationship between the dominant culture and its dissident, subordinate subcultural strands, and that he had begun to conceive of the interaction between the two in a vastly more fluid and
pluralistic manner than has been acknowledged by earlier critics. In particular, Forster seems to apprehend in the later works the manner in which a subject can be simultaneously both at the centre and the margins of hislher respective cultural system. It is for this reason that I stress that Forster sees the relationship between mainstream and marginal cultures as an intersection rather than an opposition. I also stress throughout this thesis the fact that the mainstream/marginal theme extends beyond issues raised in the novels and short stories and includes the author himself. As a male homosexual living in a sexually repressive society, Forster was
himself a marginalised member of society, and this cultural positioning must therefore be seen to infonn the themes raised in his writings. However, as a middle-class male, Forster was himself also an empowered subject, and his writing thus also reflects his own complicity in the power structures he was seeking to subvert. This is particularly evident when one considers the recurrent misogyny his novels and short stories display. In addition, Forster's particular historical positioning as an early twentieth
century writer means that his novels resonate with several of the non-literary discourses so prominent in the period, such as feminism and sexology. It is when one considers the manner in which the novels actively engage with these non-literary discourses that the considerable political invective of Forster's writing becomes apparent.
In the light of the issues outlined above, I interpret Forster's novels as an
attempt on the author's part to vocalise the feelings, hopes and aspirations of those groups somehow marginalised from the dominant culture.Thesis (M.A.) - University of Natal, Pietermaritzburg, 2002.
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Yannacci, Christin Essin. "Landscapes of American modernity: a cultural history of theatrical design, 1912-1951." Thesis, 2006. http://hdl.handle.net/2152/3444.
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Kolodney, Uri. "A different war, a different sex : gay identity politics in Israeli cinema." Thesis, 2014. http://hdl.handle.net/2152/28286.
Full textAbstract:
This thesis deals with gay identity politics and its relation to the Zionist ethos as it is portrayed in several Israeli films. It primarily analyzes two different points of view of two film directors whose homosexuality plays a central role in their cinematic work – Amos Gutman and Eytan Fox – and examines the way they perceive their gay lived experience. Analyzing Gutman’s Drifting (1983), Bar 51 (1985), and Himmo, King of Jerusalem (1987), I show how he encloses himself in his own queer universe and demands to be acknowledged as such, practicing his authenticity separately from the hegemonic discourse. On the other hand, the sexual politics in Fox’s Yossi & Jagger (2002) and Yossi (2012), suggests that homosexual men should join the national hegemonic space while ignoring their otherness. Since the films in question use the Zionist narrative and the national identity of their protagonists as points of reference, these two approaches are discussed in relation to the Zionist ethos. Several other films with similar points of reference are analyzed as well, including Fox’s Time Off (1990), Walk on Water (2004) and The Bubble (2006), Dan Wolman’s Hide & Seek (1979), Ayelet Menachemi’s Crows (1987), Nadav Gal’s A Different War (2003), Yair Hochner’s Good Boys (2005), and Mysh Rozanov’s Watch over Me (2010). Discussing the Zionist ethos, I emphasize Daniel Boyarin’s concept of the parallel between Jewishness, queerness, and abnormality. I show how the Zionist yearning for normalcy (the wish ‘to be like all nations’) and the identification of the homosexual as abnormal are embodied in the cinematic representations. The analysis in this thesis is mainly based on queer theory, as it strives to deconstruct and destabilize the traditional binaries of heterosexuality and show how the hegemonic discourse is based on those limited binaries. It challenges any political discourse that by naturalizing heterosexuality enforces heteronormative practices. By highlighting queer marginality in the cinematic text and linking it with elements of post-colonial theory and its analysis of the other, I show how gay identity politics discourse subverts or yields to the Zionist ethos.text
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Roothman, Linda. "Transliggaamlikheid, kriptosoölogie en dieresiele in Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) en Dwaalpoort (Alexander Strachan, 2010)." Diss., 2015. http://hdl.handle.net/10500/19690.
Full textAbstract:
Text in AfrikaansIn hierdie studie word die verbandhoudende teoretiese begrippe van trans-liggaamlikheid, kriptosoölogie en dieresiele ondersoek met verwysing na drie magies-realistiese Afrikaanse romans, naamlik Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) en Dwaalpoort (Alexander Strachan, 2010). Die gewaande dualisme tussen kultuur en natuur word in die tekste bevraagteken en vrye interaksie tussen biologiese, klimatologiese, ekonomiese en politieke magte vind plaas in die onderskeie romanruimtes. Die toenemende druk op die omgewing word uitgebeeld en in hierdie opsig sluit die romans aan by ʼn eietydse tendens in die (Afrikaanse) letterkunde waar die klem op ekologiese kwessies val. Hierdie drie kontemporêre romans reflekteer voorts die komplekse interaksie tussen menslike en niemenslike diere en kan beskou word as dierenarratiewe (met ’n mitiese onderbou) waar tradisionele beskouings oor diere in die samelewing deurentyd ondermyn word.
In this research report, related theoretical concepts such as transcorporeality, cryptozoology and animal souls will be explored with reference to the magic-realistic Afrikaans novels Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) and Dwaalpoort (Alexander Strachan, 2010). The perceived dualism of nature versus culture is undermined in the respective novels and the environment is exposed as a space where the interaction between biological, climatological, economical and political forces takes place freely. The novels portray the increasing demands on the environment and in this respect these texts become representative of a current trend in (Afrikaans) literature to reflect ecological issues. The three contemporary novels further reflect the complex interaction between human and nonhuman animals and can be described as animal narratives (underpinned by myths) where traditional perspectives on animals in society are constantly subverted.
Afrikaans and Theory of Literature
M.A. (Afrikaans)
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Radhamony, Manu Manjeesh Laal Vazhooreth. "Translation as a creative act: cultural hybridity as a concept in selected contemporary artworks." Diss., 2018. http://hdl.handle.net/10500/25549.
Full textAbstract:
Text in English with abstracts in English, Afrikaans and Setswana.
Translated titles in Afrikaans and Setswana suppliedDataset link: https://doi.org/10.25399/UnisaData.14101913.v1
The gap between diverse cultures living in a globalized world is not intransigent nor unassumingly flexible. This space is an arena of dissimilarities and correlations, which result in interactions that incite unusual expectations. ‘Cultural hybridity’ is clearly mirrored within contemporary society. New methods and approaches are required to comprehend the lived experiences of escalating displacement. This research traces the trajectory of migration, identity, self and other from the point of view of contemporary diasporic artists. Notions of ethnicity, authenticity, identity, transnationality, singularity and duality are debated against the backdrop of the creative practices of Anish Kapoor and Yinka Shonibare. Informed by Homi K. Bhabha’s concept of the third space, and also theories of hermeneutic translation by Georg Gadamer and Paul Ricoeur, this dissertation creatively and critically investigates the ambiguities and ambivalences in this field of inquiry.
Die gaping tussen uiteenlopende kulture wat in ’n geglobaliseerde wêreld woon, is nóg onversetlik nóg pretensieloos veerkragtig. Hierdie ruimte is ’n arena van ongelykhede en korrelasies wat lei tot interaksies wat ongewone verwagtings ontketen. “Kulturele hibridisme” word duidelik in die eietydse samelewing weerspieël. Nuwe metodes en benaderings word vereis om die werklike ervarings van toenemende ontheemding te verstaan. Hierdie navorsing spoor die trajektorie van migrasie, identiteit, self en ander vanuit die oogpunt van eietydse diasporiese kunstenaars na. Idees rondom etnisiteit, egtheid, identiteit, transnasionaliteit, enkelvoudigheid en tweevoudigheid word teen die agtergrond van die kreatiewe praktyke van Anish Kapoor en Yinka Shonibare bespreek. Hierdie verhandeling, wat geïnspireer is deur Homi K. Bhabha se konsep van die derde ruimte, asook teorieë van hermeneutiese verplasing deur Georg Gadamer en Paul Ricoeur, ondersoek op ’n kreatiewe en kritiese wyse die dubbelsinnighede en teenstrydighede in hierdie ondersoekveld.
Sekgala magareng ga ditso tse di farologaneng tse di tshelang mo lefatsheng le le susumetsanang ga se a tsepama le mme ga se obege bonolo. Sebaka seno ke serala sa dipharologano le dikamano tse di lebisang kwa dikgolaganong tse di tlhosetsang ditsholofelo tse di sa tlwaelegang. Tota 'motswako wa setso' o bonala sentle mo setšhabeng sa sešweng. Go tlhokega mekgwa le selebo se sentšhwa go tlhaloganya maitemogelo a phuduso e e oketsegang. Patlisiso eno e lebelela motlhala wa bofudugedi, boitshupo, jwa sebele le jo bongwe go tswa mo mogopolong wa batsweretshi ba sešweng go tswa mo mafelong a bofudugedi (diaspora) Go ganetsanwa ka megopolo ya lotso, boammaaruri, boitshupo, boditšhaba, bongwefela le bobedi go lebeletswe ntlha ya ditiragatso tsa boitlhamedi tsa ga Anish Kapoor le Yinka Shonibare. Thesisi eno e e theilweng mo mogopolong wa ga Homi K. Bhabha wa sebaka sa boraro, le ditiori tsa saense ya boranodi ka Georg Gadamer le Paul Ricoeur, e batlisisa ka boitlhamedi le ka tshekatsheko, ketsaetsego e e mo lephateng leno la dipatlisiso.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)
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Hedley, Jocelyn School of English Media & Performing Arts UNSW. "The unpublished plays of Miles Franklin." 2007. http://handle.unsw.edu.au/1959.4/40895.
Full textAbstract:
With the publication of her novel, My Brilliant Career, in 1901, Miles Franklin became the darling of the Sydney literati. Great things were expected of the little girl from the bush. But five years later, nothing had eventuated; her talent, Miles thought, was barely recognised in Australia. In the hope of gaining greater writing opportunities, she shipped to Chicago where she became involved in social reform. It was hard work and ill paid, and though she bewailed the fact that it sapped her writing energy, she nonetheless felt a commitment to the cause such that she remained for almost a decade. In her spare time, though, she continued to write -- and not just prose. More and more she wrote for the theatre, attempting to push into a world of which she had always dreamed. Blessed with a beautiful singing voice, she had long desired to be on the stage. This was impossible, though; her voice, she believed, had been ruined by bad training in her youth. To write for the stage, then, though a poor substitute, was at least in the field of her original ideal. Miles' plays, though, are not remembered today, and are little thought of in scholarship, are considered, in fact, to have failed. This gives the false impression that they were always little thought of. Her correspondence, however, reveals that at least five of the plays were produced, indicating a certain level of success. Miles Franklin's theatrical work, then, is surely worthy of further examination. This thesis looks at five of the plays in the light of Miles' life and in the light of the society in which she found herself. In turn, it uses the plays to reveal something of the nature of the playwright herself and to show that Miles Franklin's theatrical writing did not fail as once thought. In addition, it provides a complete bibliography of the plays (inclusive of locations), lists the duplications as they appear under alternate titles and provides synopses of a large number. This will make up for a gap in Miles Franklin scholarship and will facilitate other scholars in accessing the plays. This thesis, then, is an introduction to a new facet of Miles Franklin scholarship.
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Langenegger, Roland. "Die Plausibilisierung des christlichen Glaubens in einer postmodernen Gesellschaft : eine kritische Auseinadersetzung mit dem apologetischen Ansatz von Heinzpeter Hempelmann." Diss., 2011. http://hdl.handle.net/10500/5541.
Full textAbstract:
Text in GermanWe live in a time of postmodern influence which proclaims that there are no absolute values and all opinions are equal. Consequently it is thought that no one can judge whether something is right or wrong. But, according to the Bible`s instructions, that is exactly what we should do. We shouldn’t conform to the world, but let God change our thinking and being. This is the only way to recognize right or wrong (Romans 12:2). As Christians we have been commissioned by Jesus to carry the gospel into all the world and to lead people to become his followers. For this reason we have to ask the question in this age of how the gospel can be made plausible in a postmodern context and how Christian values can be made understood. H-P Hempelmann has already dealt with such questions intensively. For this reason, this thesis will, among other things, examine his apologetic method.
Wir leben in einer Zeit postmoderner Einflüsse, in der dafür eingetreten wird, dass es keine absoluten Werte gibt und alle Meinungen gleichwertig sind. Dies hat zur Folge, dass angeblich keiner mehr beurteilen kann, ob etwas richtig oder falsch ist. Doch genau dies sollen wir nach den Anweisungen der Bibel tun. Wir sollen uns nicht der Welt anpassen, sondern unser Denken und Wesen von Gott verändern lassen. Nur auf diese Weise ist es möglich, zu erkennen, was richtig oder falsch ist (Röm 12,2). Als Christen haben wir von Jesus Christus den Auftrag erhalten, das Evangelium in alle Welt hinauszutragen und Menschen in seine Nachfolge zu führen. Aus diesem Grund stellt sich in der heutigen Zeit die Frage, wie das Evangelium im postmodernen Kontext plausibilisiert werden kann und wie christliche Werte verständlich gemacht werden können. Heinzpeter Hempelmann hat sich bereits sehr intensiv mit solchen Fragen auseinandergesetzt. Deshalb wird in dieser Arbeit u.a. sein apologetischer Ansatz überprüft.
Systematic Theology & Theological Ethics
M. Th. (Systematic Theology)