Dissertations / Theses on the topic '1879-1955 Criticism and interpretation'
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1
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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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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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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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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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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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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胡雅坤. "跨文化背景下的衝突與融合 : 福克納對當代中國作家影響的倫理敍事研究." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2150847.
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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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Porcina, Mark. "I am not a ceramicist." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2012, 2012. http://hdl.handle.net/10133/3393.
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Ceramics has always existed on the fringes of craft and high art. The purpose of this
thesis project is to elevate clay beyond the traditions of craft by examining the historical use of
clay and the everyday object. My research looks specifically at works by Marcel Duchamp, Andy
Warhol, Jeff Koons and Jasper Johns in order to examine the origin of displaying the massproduced
object and reflecting upon it’s validity as high status art object. In this project I am also
interested in infrastructural systems within modern architecture-- plumbing, wiring, heat ducts
vents-- with a specific focus on systems lurking inside walls and how these function to influence
architectural space. With the advent of modern plumbing, concealing these elements was
adopted as the new standard and still exists today. Through the presentation of defamiliarized
handmade objects, my exhibition presents the appearance of manufactured material through the
serial manipulation of scale, surface and quantity. The result reveals a clay piece that renders the
material unrecognizable providing the viewer with a new view on the object's tradition.v, 47 leaves : ill. ; 29 cm
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He, Donghui. "Reconstructions of the rural homeland in novels by Thomas Hardy, Shen Congwen and Mo Yan." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48645.pdf.
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Du, Plessis W. I. "Die diskoers van kerst en andere liefdesverhalen deur Kristien Hemmerechts." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002185.
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Die doel van hierdie studie was om aan te toon hoe 'n linguistiese beskouing van 'n literere teks kan meehelp om tot gefundeerde insigte in 'n teks te kom en om langs hierdie weg die beskuldiging dat literatuurstudie grotendeels 'n 'anything-goes-dissipline' is, te omseil. Om hierdie rede is daar van die standpunt uitgegaan dat kennis oor die presiese aard van die tekslinguistiek kan meehelp in die toepassing daarvan. Dit dien as motivering vir die uitgebreide diachroniese situering van die tekslinguistiek van die eerste hoofstuk. Hier word geredeneer dat die tekslinguistiek iets soos 'n pseudo-literatuurteorie is wat kan meehelp in die lees en interpretasie van en kommentaar oor 'n literere teks. Daar is grotendeels gefokus op die literere benaderings wat die ontwikkeling van die tekslinguistiek voorafgegaan en be'invloed het. Daar was drie hoofstrominge t.o.v. tekstuele benadering, nl. (i) tekssentriese (outonomistiese), (ii) linguistiese (taalsentriese), en (iii) lesersentriese benaderings. Die vemaamste tekssentriese (outonomistiese) benaderings is die Russiese Formalisme, New Criticism en Stilistiek op taalkundige grondslag. In die bespreking van hierdie benaderings is dit tel kens in verband gebring met die bestaande teorie oor die tekslinguistiek ten einde die diachroniese aard van die ontwikkelingsgang daarvan, te karteer. Die vernaan1ste eksponente van die linguistiese (taalsentriese) benaderings is die Strukteralisme, Poststrukturalisme en die Semiotiek. Daar is in hierdie afdeling duidelik aangestip hoe die standaarde van tekstualiteit (De Beaugrande en Dressler, 1981), en spesifiek die standaard kohesie, terug te vind is in hierdie benadering tot teksstudie. Die Resepsie-estetika en Referensiele benadering is bespreek as eksponente van die sg. lesersentriese benadering. Die doel hiervan was om aan te dui hoe intertekstualiteit, kontekstualiteit en informatiwiteit as standaarde van tekstualiteit, in hierdie benadering terug te vind is. Met die diachroniese situering in gedagte, is daar in die tweede deel van Hoofstuk Een oorgegaan tot 'n sinchroniese karakterisering van wat die tekslinguistiek behels. In hierdie hoofstuk is daar voortgegaan met die beredenering dat die term diskoerslinguisliek • n meer akkurate benaming is vir 'n dissipline wat meer as net ' teks' in ag neem. Diskoers kan beskou word as 'n reeks taaluitinge wat 'n taalhandeling vorm. Hoewel diskoerslinguisliek die term tekslinguistiek in hierdie studie vervang, is daar duidelik aangetoon dat dit nie die doel het om aardskuddend veranderend te wees nie. Die werkswyse wat in hierdie studie gevolg is, is steeds die van die tekslinguistiek. Om hierdie rede is hierdie gedeelte van die studie grootliks teoreties, dit bespreek die interdissiplinere aard van tekslinguistiekldiskoerslinguistiek, definieer dit, en identifiseer die studieveld van 'teks'. Hierdie identifisering (sintaktiese eenheid, semantiese eenheid en pragmatiese eenheid) funksioneer breedweg as die hoofuiteensetting van hierdie studie. Tog word daar in hierdie studie aangetoon dat daar verskil word van die De Beaugrande en Dressler-aanname dat daar sewe standaarde van tekstualiteit bestaan, en word dit hier gereduseer tot twee superstandaarde, nl. kohesie en koherensie. Koherensie beskik oor sg. 'voorwilardes', nl. intensionaliteit, aanvaarbaarheid, informatiwiteit, kontekstualiteit en intertekstualiteit. Op hierdie wyse word die meganistiese indeling van die oorspronklike sewe standaarde oorkom. In Hoofstuk Twee word die teorie rondom die superstandaard kohesie toegepas op die Nederlandse teks deur Kristien Hemmerechts, Kerst en andere liefdesverhalen. Hierdie hoofstuk het die implisiete doel om aan te toon hoe 'n suiwer strukturalistiese ondersoek na 'n tekstuele gegewe kan meehelp in die identifisering van bepaalde linguistiese patrone wat, indien gesitueer in 'n pragmatiese milieu, bepaalde betekeniswaarde verkry. Verskeie aspekte rondom die konsep 'kohesie' word hier bespreek, o.a. 'n by trek van sg. storiegrammatika van die liefdesverhaal en sprokie ten einde bepaalde taalpatrone te identifiser wat pragmatiese betekenislading het. Hierbenewens word daar suiwer struktureel met die teks omgegaan met 'n identifisering van bepaalde patrone in die adjektief-aanwending, die gebruik van saakname, verwysing, polisemie, sinonimie, teenoorgesteldheid, antonimie, komplementeerbaarheid, ruimtelike opposisie en hiponimie. 'Hierbenewens word kohesiewe-bindingspatronesoos ellips, semantiese rolle en sg. tematiese kontinuHeit bespreek. Die daaropvolgende hoofstuk is 'n bye en bring van die ge"identi±iseerde talige patrone van Hoofstuk Twee en 'n situering daarvan in 'n pragmatiese raamwerk. Koherensie is die somtotaal van eenheid en betekenis soos wat dit in diskoers ervaar word. Dit het betrekking op dit wat bydra dat 'n teks vir taalgebruikers sin maak en samehang vertoon. Aangesien koherensie grootliks steun op die pragmatiek, is die fokus van hierdie afdeling van die studie grootliks pragmaties en word daar aangedui hoe die bestaan van bepaalde koordinate, 'n beginsel van samewerking en 'n spraakhandelingsteorie kan bydra tot gefundeerde insigte in die onderhawige teks.
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Suzuki-Martinez, Sharon S. 1963. "Tribal Selves: Subversive Identity in Asian American and Native American Literature." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/565575.
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Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.
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The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
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Happ, Julia Stephanie. "Literarische Dekadenz : Denkfiguren und poetische Konstellationen bei Thomas Mann, Hugo von Hofmannsthal und Rainer Maria Rilke." Thesis, University of Oxford, 2009. https://ora.ox.ac.uk/objects/uuid:bb5baef5-de44-499c-a246-b609a3f0caff.
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My D.Phil, dissertation sheds new light on German literary decadence around 1900, its universal concepts, plurality of discourses and poetic transformations. The heuristic value of my dissertation is a refined differentiation of Dekadenz which reconstructs the literary history of the concept and for the first time proposes specific poetic constellations. In chapter 1, decadence is reviewed with its rich research heritage and introduced as a decisive concept and discourse of aesthetic modernism. Although much has been written on decadence, the concept is clearly in need of scholarly reconsideration. I argue that decadence is not only a vague epochal construct and an ensemble of motifs, but also encompasses discourses, universal concepts and a versatile literary style. In view of the stylistic eclecticism around 1900, I argue that decadence is a dynamic and malleable concept which can be combined with other aesthetic styles, movements and philosophical contexts depending on the specific author. Chapter 2 contextualizes Dekadenz from its etymology and central discourses to its universal concepts. Etymologically derived from the Latin verb de-cadere decadence signifies a downward movement and a figure of fragmentation. It evokes cultural and political decline especially that of the Roman Empire (décadence romaine) and undergoes various aesthetic transformations (1857-1894). After touching upon the precursors Baudelaire (1857), Bourget (1883) and Bahr (1889-1894), I dwell on Nietzsche to demonstrate the philosophically complex German double evaluation of decadence. I derive three universal concepts from Nietzsche (health vs. sickness, endings vs. new beginnings, fragmentation vs. wholeness) which are crucial to my literary analysis. My comprehensive literary analysis centers on three specific poetic constellations of decadence between late realism and aesthetic modernism. Chapter 3 illuminates Mann's spätrealistische Dekadenz (1894-1924) with his (Nietzschean) double evaluations. Transformations of decadence are shown in his early novellas, Buddenbrooks, Der Tod in Venedig and Der Zauberberg. Chapter 4 illustrates Hofmannsthal's ästhetizistische Dekadenz (1891-1902) in his early essays, his prose fragment Age of Innocence and Das Märchen der 672. Nacht. A significant transformation of decadence is illuminated in Ein Brief (1902), where Nietzschean decadence is concentrated and tentatively overturned. In chapter 5, Rilke's modernistische Dekadenz (1898-1910) is shown from his early fragment Ewald Tragy to his only novel Die Aufzeichnungen des Malte Laurids Brigge. His novel attempts a poetic 'revaluation of all values' and culminates in the emergence of a genuinely modernist decadence.
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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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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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Charpentier, Alain. "Sylvain Rivière, écrivain régionaliste contemporain." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82694.
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Quebec knew a long tradition of regionalistic literature since the novel of the soil, tradition with which the writers of Quebec broke for a long time. However, certain writers still practice a regionalistic form of literature, which does not have anything to see with the novel of the soil. Within the literary institution, the regionalistic writers of today seem to belong to a sphere of distinct production. In order to delimit the space occupied by the contemporary regionalistic writers, we based ourselves on the theory of the literary field of Pierre Bourdieu and the theory of the institution of the literature of Jacques Dubois. So as to apply the model of Bourdieu and Dubois to a typical example of contemporary regionalistic writer, we chose to concentrate us on the career of Sylvain Riviere, Gaspesian writer born in 1955. Sylvain Riviere seems to be the regionalistic writer par excellence, who devoted the most part of his work to his region, Gaspesia and the Magdalen Islands. The example of Sylvain Riviere shows us that in spite of his marginality, the regionalistic writer is able to find his place inside the contemporary literary field.
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Anker, Willem Petrus Pienaar. "Die nomadiese self : skisoanalitiese beskouinge oor karaktersubjektiwiteit in die prosawerk van Alexander Strachan en Breyten Breytenbach." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/1088.
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Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2007.ENGLISH ABSTRACT: This dissertation studies the depiction of character subjectivity in two text series of Alexander Strachan and Breyten Breytenbach. Strachan’s first three prose works are dealt with as a trilogy wherein one main character, Lenka, traverses three texts. Breytenbach’s five autobiographical prose works about visits to South Africa are also dealt with as a text series wherein one main character, Breytenbach, is depicted. In both instances the subjectivity, as portrayed by these authors, is read as a nomadic subjectivity, a term borrowed from the French thinkers Gilles Deleuze and Félix Guattari. The study assumes the form of a Deleuze-Guattarian reading of Strachan and Breytenbach’s work with a sustained focus on the depiction of the nomadic subject in the works of both authors. During the course of the study many philosophical concepts, developed in the work of Deleuze and Guattari, are explained and implemented as thinking and reading instruments whereby the prose texts are read in a new perspective. Although a Deleuze-Guattarian reading of prose texts is a relatively uncharted territory in circles of Afrikaans literary theory, this study purports to indicate that when a schizo-analytical view of subjectivity is used to analyse the functioning of character subjectivity within literary works, the texts gain new life in interesting ways. Using the concept of the nomadic subject empowers me to establish a useful reading strategy for the reading of a character who refuses to become wholly subjected to the text and the world within which he lives and who rather experiences an existence of perpetual becomings. Eventually it is suggested that the creation of a nomadic character is not only dependent upon a different grasp of subjectivity as indicated in the text, but that the writing of a particular, revolutionary form of literature, a minor literature, is implied. The nomadic subject’s being implies perpetual becomings, and a successful literary portrayal of this subject must depict such becomings at stylistic and formal levels. This study moves systematically from an analysis of nomadic subjects in literary texts to the more general question of how a minor literature functions so that the nomadic being of the character is also kept alive in the form and style of the text.
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Tan, Wen Qi. "Case study of Goldblatt's translation of The Garlic Ballads from skopos perspective." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954285.
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Hurlburt, Christopher. "Paul Claudel and World War One." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/HurlburtCG2005.pdf.
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Heleno, Gilberto. "O homem e o seu entorno: metafísica e antropologia, em José Ortega y Gasset." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21041.
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This hermeneutic and critical analysis of José Ortega y Gasset’s philosophy undertakes to examine the various circumstances from which his philosophy sprang, and to understand the metaphysical discovery of life as a radical reality and the typology of becoming human as coming from the relationship with one’s environment. Ortega creates a philosophy grounded in his people and his country. Underlying his philosophy is, on one hand, the deep crisis immersing Spain and, on the other hand, the ineffective way of facing this crisis by the Spanish people. His philosophy is an answer to an inner call and in it he takes position as a political leader and gives an intellectual reference of his time. His philosophy arises using particular circumstances: he uses newspapers, conferences, courses and classes. In this way, it reaches the Spanish people, whom Ortega wishes to educate, more quickly. The originality of his philosophy comes from his raciovitalismo, a synthesis of life and reason, giving greater emphasis on the former, since he wishes to restore life to a place it lost through rationalism, and to circumscribe reason within the broader reality of human life. According to Ortega, this is the theme of his time. His anthropology is bound to his metaphysics, since, for him, humans must undertake what is the radical reality of life as a project, as a quehacer. Depending on which answer a human gives to that call of life, which Ortega understands as a vocation, he or she becomes either a human of the masses or a noble human. By leaving behind pure reason, Ortega chose what at first he called vital reason and, later, historical reason, to understand human life, which, according to him, is built upon the dialectic of its own experiences
A tese é uma análise hermenêutica e crítica da filosofia de José Ortega y Gasset, procura destacar as várias circunstâncias nas quais nasce a sua filosofia, compreender a descoberta metafísica da vida como realidade radical e a tipologia de homem oriunda da relação com o seu entorno. Ortega faz uma filosofia vinculada ao seu povo e ao seu país. O que o impulsiona a filosofar é a crise na qual se encontra a Espanha e a maneira ineficaz que o homem espanhol responde a essa crise. Ele atende a uma chamada interior e procura se colocar como líder político e referência intelectual de seu tempo. Nessas circunstâncias, surge a sua filosofia, que, vindo à luz através de revistas e jornais, conferências, cursos e aulas, chega mais rápido ao povo espanhol, que Ortega entende formar. A originalidade da filosofia de Ortega vem do raciovitalismo, síntese da vida e da razão, com maior preponderância para a primeira, em que pretende dar à vida o lugar que ela perdeu para o racionalismo e circunscrever a razão dentro da realidade mais ampla que é a vida humana. Para Ortega, esse é o tema do seu tempo. Sua antropologia estará coligada à sua metafísica, na medida em que a vida como realidade radical deve ser assumida pelo homem como um projeto, como um quehacer. Dependendo da resposta do homem a esse chamamento da vida, que Ortega entende como vocação, ele poderá ser considerado um homem-massa ou um homem-nobre. Abandonando a razão pura, Ortega elege a razão vital e, posteriormente, a razão histórica, para compreender a vida humana que, segundo ele, vai se construindo na dialética de suas experiências
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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.
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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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Lawrence, Faith. "'True receivers': Rilke and the contemporary poetics of listening (Part 1) ; Poems: Small weather (Part 2)." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7418.
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Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'.
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Batista, Miguel. "Bildung and initiation : interpreting German and American narrative traditions." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.
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This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.
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Dreyer, Nicolas D. "'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.
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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.
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"莫言「民間寫作」研究: 以《檀香刑》、《四十一炮》及《生死疲勞》為例." 2008. http://library.cuhk.edu.hk/record=b5896799.
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歐韻賢."2008年10月".
"2008 nian 10 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 401-415).
Abstracts in Chinese and English.
Ou Yunxian.
Chapter 第一章： --- 引言 --- p.1
Chapter 第一節： --- 硏究動機 --- p.5
Chapter 第二節： --- 硏究目的 --- p.6
Chapter 第三節： --- 硏究範圍 --- p.8
Chapter 第四節： --- 硏究方法 --- p.9
Chapter 第二章： --- 莫言小說的硏究槪況 --- p.11
Chapter 第一節： --- 從軍事文學的角度看莫言小說的硏究槪況 --- p.15
Chapter 第二節： --- 從尋根文學的角度看莫言小說的硏究槪況 --- p.22
Chapter 第三節： --- 從先鋒文學的角度看莫言小說的硏究槪況 --- p.31
Chapter 第四節： --- 從民間的角度硏究莫言小說的硏究槪況 --- p.37
Chapter 第五節： --- 本章結語 --- p.41
Chapter 第三章： --- 「民間」的槪念 --- p.43
Chapter 第一節： --- 民間的定義 --- p.45
Chapter 第二節： --- 民間立場 --- p.59
Chapter 第三節： --- 民間的審美價値 --- p.68
Chapter 第四節： --- 「民間」的寫作技巧 --- p.78
Chapter 一、 --- 結構 --- p.78
Chapter 二、 --- 敍事角度 --- p.84
Chapter 三、 --- 語言 --- p.87
Chapter 第五節： --- 本章結語 --- p.90
Chapter 第四章： --- 莫言小說中的民間立場 --- p.93
Chapter 第一節： --- 作爲老百姓寫作´ؤ´ؤ寫自我的自我寫作 --- p.96
Chapter 第二節： --- 農民式的思維´ؤ´ؤ站在民間的立場設想 --- p.107
Chapter 第三節： --- 以民間的立場說大歷史 --- p.112
Chapter 第四節： --- 本章結語 --- p.129
Chapter 第五章： --- 莫言小說中的民間審美價値 --- p.130
Chapter 第一節： --- 「大紅大綠」的民間審美價値 --- p.132
Chapter 第二節： --- 從「肉體」體現民間審美價値 --- p.139
Chapter 第三節： --- 從「開放的孔穴」體現民間審美價値 --- p.147
Chapter 第四節： --- 從審美到「審醜」 --- p.155
Chapter 第五節： --- 本章結語 --- p.160
Chapter 第六章： --- 莫言小說中的民間寫作技巧 --- p.162
Chapter 第一節： --- 民間的結構 --- p.162
Chapter 第二節： --- 民間的敍事角度 --- p.177
Chapter 第三節： --- 民間的語言運用 --- p.184
Chapter 第四節： --- 本章結語 --- p.193
Chapter 第七章： --- 結語 --- p.195
Chapter 附錄一： --- 《檀香刑》附錄 --- p.202
Chapter 附錄二： --- 《四十一炮》附錄 --- p.266
Chapter 附錄三： --- 《生死疲勞》附錄 --- p.321
Chapter 附錄四： --- 莫言作品篇目 --- p.360
參考書目： --- p.401
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Hanor, Stephanie. "Jean Tinguely: useless machines and mechanical performers, 1955-1970." Thesis, 2003. http://hdl.handle.net/2152/625.
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Kapitza-Meyer, Marlene Lydia. "Denaturalized nature - strategies of representation in selected works of Penelope Siopis and William Kentridge." Thesis, 1994. https://hdl.handle.net/10539/25922.
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A Dissertation submitted to the Faculty of Arts, University of the Witwatersrand,
Johannesburg, in partial fulfilment of the requirements for the degree of Master of
Arts in Fine Arts.American critic Hal Foster argues that conceptions of 'the natural' are not universal, they are historically and discursively produced, There is no unmediated presence of 'the natural' in painting. He proposes 'denaturalization' as a form of critical postmodemist aesthetic which questions universalist tendencies in contemporary cultural production" This research examines selected theories and visual. representations of 'the natural' in order to explore different ways in which Foster's notion of denaturalization may be productive in assessing the complexity of critical visual art practice in South Africa. My approach to the topic is largely fragmentary in order to reflect on and engage with the diverse terms of 'the natural' as manifest in visual art practice. To this end I discuss selected works of contemporary South African artists William Kentridge and Penelope'Siopis, While Foster's notion of denaturalization is productive in trying to engage with"critical issues' of art practice it is difficulr, if not impossible to determine if cenaln works conform with either his notion of a postmodernism of resistance or postmodernism of reaction. I will also explore the notion of denaturalization with reference to my practical work.
Andrew Chakane 2018
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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.
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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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Keefer, James Robinson. "Dynasties of demons : cannibalism from Lu Xun to Yu Hua." Thesis, 2002. http://hdl.handle.net/2429/13094.
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Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of
representations of the body in modern Chinese fiction. My interest concerns the relationship, or
correspondence between "textual" bodies and the physical "realities" they are meant to represent,
particularly where those representations involve the body as a discursive site for the intersection
of state ideology and the individual. The relationship between the body and the state has been a
question of profound significance for modern Chinese literati dating back to the late Qing, but it
was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a
Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for
cannibalizing its own people.
In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct,
though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness,"
which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative
strategy for critiquing traditional Chinese culture without contributing to or stimulating his
reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern
Chinese literature to write about Lu Xun's erasure of the spectacle body.
In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua,
respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic
words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce
that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism
the feasting began in earnest.
Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction"
from quite different perspectives, which I have characterized in the following way: Han
Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As
becomes evident through my analysis of selected texts, despite their very significant differences
(personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in
and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman.
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"文藝與政治之間: 論洪深、田漢夏衍與中國現代戲劇的轉向 = Between literature and politics : a study of Hong Shen, Tian Han, Xia Yan and the transformation of modern Chinese drama." 2015. http://library.cuhk.edu.hk/record=b6115317.
Full textAbstract:
在中國現代文學中，文藝與政治之間有著密切而複雜的關係，此一問題在現代戲劇中尤其值得重視。過往戲劇研究長期位處邊緣，這與戲劇此一文類所獨具的綜合藝術特質不無關係，其橫跨文學、美術、音樂、表演等領域的跨藝術特徵，導致其複雜性實際上遠超純文學的範疇。另一方面，戲劇運動的集團性和政治性，亦導致論者對於中國現代戲劇發展較為簡單化的論述，戲劇史的書寫往往與時代話語緊密連繫。不論是純粹文藝化還是政治化的角度，皆很可能遮蔽了戲劇本身一體兩面的問題，導致研究單一化和簡單化。洪深 (1894-1955)、田漢 (1898-1968)和夏衍 (1900-1995)均是中國現代重要戲劇家，同時亦長期被定位為左翼文藝陣營中的重要成員。戲劇家和政治家的身分重疊，導致他們的研究情況往往與時代的意識形態掛鈎，而目前有關他們的研究更是受到冷落，與他們的文學成就並不相稱。本文以三位劇作家為研究對象，希望通過他們的不同面向，重新審視文藝與政治之間各種複雜關係的可能性。本文分為五章。第一章為導論，主要介紹本文的寫作理念、方法和背景。第二章以洪深為研究對象，重新探討他的現實主義戲劇創作和主張。洪深對改譯劇的主張和實踐，體現了他與晚清鴛鴦蝴蝶派文學和西方戲劇的深刻淵源，而他和蕭伯納之間的文學關係，反映了他對早期文明戲的戲劇改革和西方舞台的繼承，突顯了洪深如何在中西文化之間思索中國現代戲劇中的現實主義問題。第三章從西方唯美主義和先鋒文學運動的角度，重新探討田漢的創作和政治轉向。本章考察田漢對外國文學的譯介活動，當中包括英國唯美主義作家威廉．莫里斯、德國表現主義影劇、俄國和日本左翼劇場，反映了田漢戲劇運動的左翼國際主義特徵；然而田漢對日本作家佐藤春夫和谷崎潤一郎的翻譯，則體現了他對唯美主義的回歸。第四章以夏衍的戲劇創作為研究對象，重新探討夏衍的戲劇文學的獨特性。本章把夏衍此時期的劇作分為歷史劇和上海都市劇兩個角度作出分析，並將它們放在當時文學場域中與郭沫若的歷史劇、國防文學、現代派小說和左翼電影作一比較，並分析夏衍的現實主義與左翼現實主義的相異。第五章為結論，綜合前文各章的討論，重新思考三位劇作家的戲劇實踐，並重審中國現代戲劇中文藝與政治之間的複雜關係。
There is a complicated relationship between literature and politics in modern Chinese literature, especially in modern Chinese drama. As a result, the research of modern Chinese drama has long been placed at a marginal position. Drama is an integrated artistic form consisting of literature, art, music, and performance, and therefore presents a complexity that goes far beyond "pure literature". On the other hand, the history of modern Chinese drama is closely integrated with historical discourse as a result of the organizational and political characteristics of drama movements. This shows that either literary or political point of view may confine the interpretation of their inter-related complexity and interaction. Hong Shen (1894-1955), Tian Han (1898-1968) and Xia Yan (1900-1995) are three of the most important dramatists in modern Chinese literature, who were also regarded as representative members in the left-wing literary camp. Due to their dual identities as dramatist and politician, their images are often connected with historical and ideological discourses. This has also resulted in desolation in their researches, which is not commensurate with their literary achievements. This dissertation, therefore, focuses on the three dramatists by presenting different perspectives of their works and activities, with the aim to explore the possibilities of various relations between literature and politics.
There are five chapters in the dissertation. Chapter one introduces the framework, method and background of the research. Chapter two re-examines the realistic works and theories of Hong Shen. Hong’s adaptation reflects his literary relationship with both the Mandarin Ducks and Butterflies literature and the Western drama. Moreover, Hong’s literary relationship with Bernard Shaw reflects his succession of both the tradition of the civilized drama and the Western theatre. This highlights that the characteristics of Hong Shen’s realistic theories were adapted from both China and the West. Chapter three re-explores the political transformation of Tian Han from the Western literary movements of aestheticism and the avant-garde. This chapter demonstrates the characteristics of left-wing cosmopolitanism in Tian Han’s drama movements by studying his translation activities of international literature, which include the English poet William Morris, German expressionist cinema and theatre, Russian and Japanese left-wing theatre. In the meantime, Tian Han’s translations of Japanese writers Sato Haruo and Tanizaki Junichiro reflect his return to aestheticism. Chapter four discusses the uniqueness of Xia Yan’s literary works, including his historical drama and his modern drama centering on Shanghai. This chapter emphasizes the difference of Xia Yan’s realistic style from left-wing realism by comparing Xia’s works with National Defence Literature, modernist fictions, left-wing cinema, as well as the historical drama by Guo Moruo. Chapter five concludes the significance of the dramatic transformation by Hong Shen, Tian Han and Xia Yan, and reviews the relationship between literature and politics in modern China.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
盧敏芝.
Parallel title from added title page.
Thesis (Ph.D.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 135-157).
Abstracts also in English.
Lu Minzhi.
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Ralph, Iris. "An ecocritical study of William Carlos Williams, James Agee, and Stephen Crane by way of the visual arts." Thesis, 2005. http://hdl.handle.net/2152/2282.
Full text
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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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Tan, Chang 1978. "Playing cards with Cézanne : how the contemporary artists of China copy and recreate." 2008. http://hdl.handle.net/2152/18363.
Full textAbstract:
My dissertation investigates the concepts and techniques of “copying” and appropriation in contemporary Chinese art, which, despite its phenomenal growth, has seldom been credited as original. Critics either condemn the Chinese artists’ willingness to appropriate from others as a lack of individuality, or declare it as a peculiarly “Chinese” quality. This paper, instead, argues that the Chinese artists deliberately adopt such “copying” as a visual strategy, in order to reexamine the traditions they “borrowed”, to reflect on their own cultural status in the modern world, and to challenge the conventional concept of originality--namely, to show that originality is not created by irreducible individuality or mystified inspiration, but by the author’s choice as well as manipulation of contexts. This strategy, I argue, is essential to the proper evaluation and interpretation of contemporary Chinese artworks. The first two chapters of my dissertation focus on laying out the context from which this art grows. I review how the ideas, styles and institutional structures of western modern art were imitated, questioned and redefined by the Chinese artists, from 1978 to the present; I then examine the conceptual complexity of originality and “copying” in the theories of modernism, postmodernism, postcolonialism and in traditional Chinese art. The next two chapters focus on, respectively, calligraphy and photography in contemporary Chinese art, both of which contain the paradox between originality and “copying” in their very nature. The works of four artists, Xu Bing, Qiu Zhijie, Hong Hao and Zhao Bandi, are discussed in details. Xu's site-specific reproduction of “pseudo characters” manage to engage its targeted audiences, psychologically and physically; Qiu's obsessive yet futile copying of a canon of calligraphy returns the act of writing to its essence--a physical pursuit of one's spiritual state of being; Hong's photographic emulation of an ancient masterpiece suggests that painting may excel photography in its ability to portray a grand cityscape; Zhao’s simulacrum of pop culture paradigms enables him to evade political censorship, and to have an substantial yet ironic impact in a broader public sphere. Each of these works has made a unique contribution to the redefinition of artistic originality.text
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Rae, Charles Bodman 1955. "Original compositions, recorded performances, and published writings submitted for the degree of Doctor of Music / by John Charles Bodman Rae." 2003. http://hdl.handle.net/2440/38473.
Full textAbstract:
"October 2003."Includes bibliographical references
592 leaves. :
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Chiefly in English; some Polish text in pt. B.
Comprises three types of material: composition (pt. A); performance (pt. C); and, musicology (pt. B.), and is intended to reflect the author's professional activities as composer, pianist and writer. The various writings and texts all relate to the life and music of Witold Lutoslawski (1993-2003). Earlier publications have been excluded because they are referred to (and reflected in) the author's thesis: Pitch organisation in the music of Witold Lutoslawski since 1979 (Thesis (Ph.D.)--University of Leeds, 1992)
Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2004?
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Fossey, Natalie. "Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge." Thesis, 2012. http://hdl.handle.net/10413/10623.
Full textAbstract:
Key words:
William Hogarth
Exhibition; Hogarth in Johannesburg (1987-1988)
Series; A Rake’s Progress, Marriage-a-la-Mode and Industry and Idleness
Artists; Robert Hodgins Deborah Bell William Kentridge William Hogarth
Caversham Press, KwaZulu-Natal, South Africa
Printmaking
Printmaking in South Africa
Resistance art
Narratology, narrative, discourse, story, plot, Transference of narratives
Sequential art narrative and comics
This dissertation considers the prints by South African artists, William Kentridge,
Deborah Bell, and Robert Hodgins for the Hogarth in Johannesburg exhibition (1987) in
the context of William Hogarth’s historical suites of prints referred to in the title of the
exhibition, and contemporary theories about Sequential Art and Narrative.
Produced for the artists at The Caversham Press of Malcolm Christian in KwaZulu-Natal,
particular emphasis is placed on the images created by Deborah Bell, Robert Hodgins and
William Kentridge (such as Industry and Idleness, Marriage-a-la-mode and A Rake’s
Progress), and shown in their combined exhibition Hogarth in Johannesburg, in 1987.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.
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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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"Adequacy of landscape: subjectivity in Wallace Stevens' and Wang Wei's poetry." Chinese University of Hong Kong, 1993. http://library.cuhk.edu.hk/record=b5887744.
Full textAbstract:
by Gara Pin Han.Thesis (M.Phil.)--Chinese University of Hong Kong, 1993.
Includes bibliographical references (leaves 99-103).
Chapter Chapter One: --- Introduction --- p.1
Chapter A. --- Focus of study --- p.1
Chapter B. --- Background of Research --- p.4
Chapter C. --- Main Objectives --- p.7
Chapter D. --- Structural Clarification --- p.8
Notes to Chapter One --- p.10
Chapter Chapter Two: --- Background of Wallace Stevens' View of Nature --- p.11
Chapter A. --- The View of Nature of Stevens' Predecessors --- p.11
Chapter B. --- The View of Nature of Stevens' Contemporaries --- p.23
Notes to Chapter Two --- p.32
Chapter Chapter Three: --- Wallace Stevens' View of Nature --- p.33
Chapter A. --- "Wallace Stevens' ""Double Vision"" Towards Nature" --- p.33
Chapter 1. --- Human Perception Versus Nature --- p.36
Chapter 2. --- Human Construct Versus Nature --- p.46
Chapter B. --- Wallace Stevens' View on Reality and Imagination --- p.57
Chapter Chapter Four: --- Criticism of Wang Wei's Poetry --- p.62
Chapter A. --- Major Opinions on Wang Wei's Landscape Poetry --- p.62
Chapter B. --- Limitation of Human Perception --- p.70
Chapter C. --- Limitation of Human Construct --- p.80
Notes to Chapter Four --- p.91
Chapter Chapter Five: --- Conclusion --- p.94
Notes to Chapter Five --- p.98
Works Cited --- p.99