Dissertations / Theses on the topic '1883-1924 Criticism and interpretation'
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1
McDonald, Timothy E. G. "The space of Kafka /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69777.
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The following study investigates the fictional works of an early twentieth century Czechoslovakian writer named Franz Kafka. "The space of Kafka" is explored primarily through the "identity" of his characteristic monster figures and the temporally disjunctive narratives through which they travel. Monstrosity is qualified here as a principal mode of translation through which Kafka engaged the very terms of "identity" which an "individual" faces in the appearance of any "work". The intimations of a monstrous self are probed through Kafka's work in relation to human experience, intentionality, alterity and a "present" which is en-acted specifically as one form of the past. Through Kafka's paradigmatic "monster", "double" and "bachelor" figures, we find not "alternative" orientations of the "self" which contemporary literature and architecture may choose to undertake, but intrinsic re-presentations of the very relation which any self, any author, already is in the appearance of a "work".
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Deschamps, Bernard 1957. "Schreiben als Form des Gebets : l'écriture en tant que forme de la prière dans l'œuvre de Franz Kafka." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115633.
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Franz Kafka (1883-1924) wrote this little phrase one day in a notebook: Writing as a form of prayer. This dissertation will examine his highly personal and Judaic conception of the act of writing in order to demonstrate that it constitutes in fact the cornerstone of Kafka's activity as a writer and that it can be traced in a significant number of his literary works as their regulating instance.In order to do so, we will first examine the social, political and economic conditions prevailing in Central Europe at the turn of the 20th century, in order to ascertain its tremendous impact on the Jewish communities living in that part of the world, in terms of loss of traditional Jewish identity culminating in many cases in assimilation. Kafka's work will thus firstly be situated in the historical and political context out of which it emerged.
In the course of this work, we have used the concepts of sacre and profane as developed by the historian of religions Mircea Eliade throughout in order to demonstrate that there exists in Kafka's work a constitutive tension articulated between those two poles, not only at the level of the plot, but at the level of language itself.
Since the central element at the root of this tension is expressed in terms of presence and absence, we have also analysed the philosophy of language of Walter Benjamin and Gershom Scholem, which are themselves articulated exactly in those terms.
The use of these categories has helped us show that if Kafka's work is indeed at time very close to that of Scholem and Benjamin, especially in its literary rendition of motives underlining the absence of the divine in language, it also distinguishes itself markedly from the work of the two philosophers by the use of other motives which underline the immediate presence of the message of Revelation, made directly accessible within the modern and profane language, which is also that of literature.
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Stedall, Ellie. "Herman Melville, Joseph Conrad and transatlantic sea literature, 1797-1924." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648378.
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Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
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This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
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Deschamps, Bernard. "Das Nichts der Offenbarung : Sprache und Schrift in der Kafka-Deutung Gershom Scholems und Walter Benjamins = The nothingness of revelation : language and text in the Kafka interpretations of Gershom Scholem and Walter Benjamin." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30158.
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Le present essai propose en premier lieu une analyse de la theorie linguistique de Walter Benjamin telle qu'enoncee dans son essai de 1916, Uber Sprache uberhaupt und uber die Sprache des Menschen. Dans un meme temps, il propose aussi une analyse de la theorie linguistique de la Kabbale telle qu'elaboree par Gershom Scholem tout au long de sa vie, dans un nombre non negligeable de publications, theorie dont il chercha a faire la synthese dans son essai de 1970, Der Name Gottes und die Sprachtheorie der Kabbala.Cet essai se propose ensuite de demontrer comment Scholem et Benjamin ont trouve dans l'oeuvre de Franz Kafka l'expression litteraire de leurs theories linguistiques.
En conclusion, cet essai se propose de demontrer comment Scholem et Benjamin, a partir de leurs theories linguistiques respectives, et malgre la proximite indeniable de celles-ci, en sont venus a interpreter Kafka d'une facon diametralement opposee. Scholem, en effet, voyait dans cette oeuvre l'expression d'une des theories les plus nihilistes de la Kabbale: Die Unvollziehbarkeit der Offenbarung, une negation de la Revelation divine; Benjamin voyait pour sa part chez Kafka l'expression d'une tres mince possibilite de redemption.
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Huggan, Graham. "The novelist as geographer : a comparison of the novels of Joseph Conrad and Jules Verne." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26839.
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The works of Joseph Conrad and Jules Verne share a fascination with geography: concern with geographical issues made explicit in their non-fictional works is also implicit in their fiction. Unfortunately, limited knowledge of or interest in geographic theory on the part of the literary critic has made the relation between literature and geography a relatively unpopular focus; to redress the balance, it is necessary to outline briefly some of the ways in which geographical theory may usefully inform the practice of literary criticism. Areas to be introduced include geography and literature as spatial distribution, as spatial perception, as inscription on and description of the environment, as text, as cultural matrix.
The above areas serve as a focus for the comparative analysis of a series of novels by Joseph Conrad and Jules Verne in which three issues are foregrounded: first, the interrelations between concentrated place and surrounding space in the sea-tales The Nigger of the Narcissus and Vingt mille lieues sous les mers; second, the reading and writing of cultural landscape in Heart of Darkness and Voyage au centre de la terre; third, the geopolitics of territory, boundary and landclaim in Lord Jim and L'lle mystérieuse. In each case, relevant geographical theory is drawn upon: in the first instance, the phenomenological notions of Yi-Fu Tuan and Edward Relph; in the second, the landscape evaluations of Carl Sauer and Courtice Rose; in the third, the geopolitical and politico-geographical definitions of Glassner, De Blij and Cohen.
The first section (on The Nigger of the Narcissus and Vingt mille lieues sous les mers) explores the spatial notions of topophilia, placelessness and geometricity inherent in the relation between ship and sea. The second section (on Heart of Darkness and Voyage au centre de la terre) discusses the various connotations of landscape: cultural imprint (rewriting),
false perspective (mis-reading), textual sign-system (encoding/decoding), which suggest that landscape can be interpreted as a controlling mechanism of and means of access to the text. The third section (on Lord Jim and L' Ile mystérieuse) outlines the geographical motifs of the two novels (division, (dis)possession, ascent and descent, etc.) and infers possible motives behind these motifs, relating topographical issues to personal and political ones and paying particular attention to the implications of island environments and communities and to the connections between imperialism, colonialism and narrative strategy.
Finally, the 'literary geography' of Conrad's and Verne's novels is situated in its historical context and related particularly to the late nineteenth-century debate on the relative merits of positivism and phenomenology. In Verne's work, the doctrine of positivism, which has been constituted in terms of an ideology of science, is only celebrated in so far as its limitations are recognized. In Conrad's work, man's struggle to conquer Nature through a physical and verbal mastery of his environment is reinterpreted as an attempt to overcome his own duality. Conrad's predominantly phenomenological geography of the mind serves as a critique of positivist doctrine, but its fractured topography also suggests that the attempt to substitute 'more traditional views of the social and moral order' (Watt, 163) is, perhaps, little more than a saving illusion.Arts, Faculty of
English, Department of
Graduate
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Oyakawa, Eduardo. "A luz brilha nas trevas: um estudo sobre o Deus Absconditus na literatura de Franz Kafka (1912-1924)." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20948.
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This study is dedicated to the knowledge of writer Franz Kafka’s literature, under the egis of the religious mystic interpretation. In order to accomplish this goal, Franz Kafka’s biography is presented, to allow his “personality enclosed by a glass wall” to be accurately exposed. Kafka’s life and work are so inextricably combined that it would not be possible to appropriately enlighten his literature without previously understanding his conflicting relationship with parents and girlfriends, as well as his difficulties with work – done with anxiety and discouragement – and with Judaism, basis of his family formation. Following this, this study comprehends analytical multiple visions, emphasizing the hermeneutic polissemy and difficulties of univocally understanding Kafka, without taking into consideration his “literature astonishment”, responsible for making him one of the authors that were mostly read and commented during XX and XXI centuries. Essential scope of the third session is offering a critical view about the efforts to interpret his writings under the religious mystic harness. For this, “Max Brod case” will be discussed and the hypothesis brought by the religions historian Gershom Scholem who presented Kafka as a heretic cabalist. Last but not least, textual hermeneutics will be made (Die Verwandlung, Der Prozess, Der Brau and Forschungen Eines Hund) under cabalistic perspective, trying to uncover Deus Absconditus who is shown in Kafka’s literature with the diversity of chromatic and sonorous tones as a small light shining in the dark
Este estudo é dedicado ao conhecimento da obra do escritor Franz Kafka, sob a égide da interpretação religiosa-mística. Para que logre esse intento, apresenta a biografia de Franz Kafka, a fim de desvelar acuradamente a sua “personalidade encerrada por uma parede de vidro”. Em Kafka, vida e obra se misturam inextricavelmente, de tal maneira que não se pode esclarecer convenientemente a sua literatura sem antes saber de sua relação conflituosa com os pais, com as namoradas, as suas dificuldades concernentes ao trabalho – realizado sob ansiedade e desalento – e com o judaísmo, constitutivo de sua formação familiar. A seguir, este trabalho estuda as multivisões analíticas, sublinhando a polissemia hermenêutica e as dificuldades de se compreender Kafka de maneira unívoca, isto é, sem levar em consideração o “assombro de sua literatura”, responsável por transformá-lo num dos autores mais lidos e comentados no deambular dos séculos XX e XXI. A terceira sessão tem como escopo fundamental oferecer um olhar crítico sobre as tentativas de interpretar os escritos sob o jaez místico-religioso. Para tanto, discute-se o “caso Max Brod” e a hipótese aventada pelo historiador das religiões Gershom Scholem, segundo a qual teria sido Kafka um cabalista herético. Finalmente, faz-se a hermenêutica textual (O Covil, A Metamorfose, O Processo e Investigações sobre um Cão) sob o ponto de vista cabalístico, ou seja, tentando deslindar o Deus Absconditus que, na diversidade de tons cromáticos e sonoros, incide na obra de Kafka como pequena luz brilhando nas trevas
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Smith, Jeremy Mark. "Conviction in the everyday : Joseph Conrad and skepticism." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59889.
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Heart of Darkness, Chance, and Lord Jim can be described as philosophical works if considered in light of "ordinary language" philosophy. Conrad wrestled with skepticism much as Wittgenstein later would, but his struggle with the "bewitchment" of skeptical thinking took a narratival form. His champion was Marlow, raconteur of the three novels, who recurrently loses and recovers his words and his capacity to tell (to judge, to narrate). In these works the Marlovian investigation of human convention, linguistic and otherwise, is shown to be a necessary but perilous task. The possibility that we may be dissatisfied with the ordinary or transcendental conditions of living is dramatized in all three novels, often (but not only) by threats to marriage. Heart of Darkness demonstrates the loss of linguistic attunement that may follow upon taking human relation to be a problem of knowledge, and links this to Kurtz's world-devouring repudiation of the ordinary. Chance explores in melodramatic form the "germ of destruction at the source of our strength", and unmasks men's denial of women as one face of skepticism. Lord Jim presents skepticism, Romanticism, and fantasy as different versions of ontological dissatisfaction, and shows how a return to the ordinary requires a practice of reading and remembering (our words).
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Stander, Aletta Sophia. "Taal wat stamel, stotter en struikel : Marlene van Niekerk se "Die sneeuslaper" (2010) as mineurletterkunde." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20061.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: The focus of this study will be on the unique way in which language is used in Marlene van Niekerk‟s collection of short stories, Die sneeuslaper (2010). When reading Die sneeuslaper it is impossible not noticing the number of Dutch words, as well as words and phrases from other foreign languages, as Bargoens, Rotwelsch, German, French, Italian, Hebrew, Greek and Maltese. Some of the characters‟ speech, as well as so called sound poems (or nonsense verses) are characterised by a number of newly invented words. However, the meaning of some of these words or phrases remains unclear. Other themes in the four short stories which will be analysed are the so called political responsibility of the artist, as well as music, rhythm and bird-noises. As a theoretical basis of this study, Deleuze and Guattari‟s Kafka Toward a Minor Literature will be used. In Kafka Toward a Minor Literature Deleuze en Guattari formulate their ideas regarding minor literature. They describe a major language as a language of dominance and power, while a minor language is a language without any power. According to them the three characteristics of minor literature are: the minor deterritorializes the major, minor literature is always political, and minor literature always has a collective function. Deleuze and Guattari‟s, as well as Bogue‟s writing regarding the territorialization and deterritorialization of the refrain, is also explored briefly. Deleuze en Guattari‟s theories regarding minor literature is used in this study to read Die sneeuslaper. In the end it is concluded that the unconventional use of language in this short story collection can be associated with the political nature of some of the stories. The unique usage of language in Die sneeuslaper, the way in which Afrikaans is transformed into a language that stammers, stutters and mumbles, can be seen as a subtle form of political protest. Therefore this collection of short stories can be seen as a form of minor literature.
AFRIKAANSE OPSOMMING: Hierdie studie fokus op die vreemde wyse waarop taal in Marlene van Niekerk se kortverhaalbundel, Die sneeuslaper (2010), aangewend word. Met die lees van Die sneeuslaper is die hoeveelheid Nederlandse woorde, asook enkele woorde en frases uit ander vreemde tale, soos Bargoens, Rotwelsch, Duits, Frans, Italiaans, Hebreeus, Grieks en Maltees, opvallend. Verder is daar in die karakters se spraak, sowel as in klankgedigte (of onsinverse), vele nuutskeppings waarvan die betekenis nie altyd so duidelik blyk nie, teenwoordig. Ander temas wat in die vier verhale figureer en ondersoek sal word is kunstenaarskap, die sogenaamde politieke verantwoordelikheid van die kunstenaar, asook musiek, ritme en voëlgeluide. As teoretiese vertrekpunt vir die studie word Deleuze en Guattari se Kafka Toward a Minor Literature, waarin hul idees oor mineurlettekunde geformuleer word, gebruik. Deleuze en Guattari onderskei tussen ‟n dominante majeurtaal en ‟n mineurtaal wat sonder mag is. Volgens Deleuze en Guattari is daar drie kenmerke van mineurletterkunde, naamlik dat die mineur die majeur deterritorialiseer, dat mineurletterkunde altyd polities is, en laastens dat mineurletterkunde altyd kollektief van aard is. Bykomend word daar ook kortliks gekyk na Deleuze en Guattari, sowel as Bogue, se skrywe oor territorialisering en deterritorialisering in die refrein. Deleuze en Guattari se teorie oor mineurletterkunde word in hierdie studie as ‟n agtergrond gebruik om Die sneeuslaper te lees. Daar word uiteindelik tot die gevolgtrekking gekom dat die onkonvensionele taalgebruik in die kortverhaalbundel wel geassosieer kan word met deterritorialisering en dat dit aansluit by die politieke aard van sommige van die verhale. Die wyse waarop Afrikaans in Die sneeuslaper getransformeer word na ‟n taal wat stamel, stotter en struikel, kan dus as subtiele, politieke protes gesien word en daarom kan dié kortverhaalbundel inderdaad as ‟n vorm van mineurletterkunde beskou word.
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Chandrasekaran, Ramya. "Hindutva Movement: Burkean Examination of Violence as Retributive Justice." Thesis, North Dakota State University, 2012. https://hdl.handle.net/10365/26670.
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The thesis examines the Hindutva movement as a rhetorical text to understand how it
contributes to the rhetorical study of social movements. The Hindutva movement is a mass
movement that has grown in influence and in number in the last thirty years and its final goal is
to wage a battle to create a Hindu rashtra (nation) in India with a monolithic Hindu culture. The
rhetorical texts of V.D. Savarkar and M.S. Golwalkar are analyzed with Burkean guiltredemption-purification cycle. These rhetorical tools provide an insight into the guiding question of this thesis: how Savarkar and Golwalkar use rhetoric in ways that justify and motivate audiences to accept violence in order to restore a Hindu Nation.
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Bubenik, Jana Marie. "Jaroslav Hašek, a rebel or a revolutionary?" Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63310.
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Doherty, Helen. "The motif of initiation in selected works by Joseph Conrad." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002263.
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This thesis explores the archetypal theme of initiation in selected texts by Joseph Conrad. The Introduction first surveys critical attention to initiatory motifs in Conrad with the objective of demonstrating the need for an approach to the topic informed by a more formal and theorized understanding of initiation. It then offers a prima facie case for the centrality of the idea of initiation in Conrad's oeuvre, based on references culled from a range of the author's writings. Chapter One seeks to contextualise initiation by providing a history of anthropological research into and theorisations of the rite, proceeding to a description of its typical structure and functions. A detailed account is given of the most widely accepted model of initiation, Arnold van Gennep's tripartite schema. Moving on to Conrad's writing, Chapter Two draws on both his fiction and more personal writings in order to provide a provisional account of the writer's own understanding of initiation and its importance, and to offer some explanation of why Conrad should have been prompted to accord the motif such prominence in his work. Conrad's presentation and (impliedly) his understanding of initiation was never entirely consistent and underwent some change in the course of his writing career. The critical assessment of "Typhoon" in Chapter Three depicts Conrad's more optimistic conception of initiation as a rite benefitting both society, by promoting solidarity, and the individual, by advancing self-knowledge. Chapter Four introduces, via analyses of the novellas "Youth" and "The Shadow Line", that variation on the motif of initiation which is more typical of its manifestation in Conrad: the failure of individuals to complete their cycles of initiation. Chapter Five identifies those characteristics of initiation which appear to be determinative in the representations of incomplete initiation in Conrad's work. Initiation seems to play out approximately seven paradoxes; the impact of some of these is examined through analysis of the initiatory ordeals of the main protagonists in The Secret Agent. Integral to this discussion is an attempt to demonstrate the vital role which initiation plays in the healthy maintenance not only of social order but also of faith and life itself. The Conclusion summarises the more important findings of the study and indicates some directions for further, related research.
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Dicks, Henry. "Being and earth : an ecological criticism of late twentieth-century French thought." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669967.
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Choinière, Paul. "Etude sur la rhétorique des premièrs écrits de Louis-Ferdinand Céline (1924-1944)." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28252.
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Since Celine's death, the pamphlets he wrote at the beginning of World War II always presented great difficulties for those who studied him. But in the last few years, for various reasons the pamphlets have stirred up researcher's interest. Following this movement, this thesis is an attempt to integrate these pamphlets to the prose of the author of Journey to the End of the Night in a general pattern of analysis.In order to do this analysis, is developed an hermeneutic model of analysis which divides Celine's work into a poetical investigation and a polemic pursuit that demonstrate that these two genres use the same rhetorical strategies.
Part I of this thesis investigates the distinct rhetoric used by Celine in mixing poetry and polemic. Part II examines the poetic investigation and the polemic pursuit separately, Celine having separated these two genres after Journey to the End of the Night.
Without eliminating the differences between poetry and polemic, this thesis aims at demonstrating the continuity and coherence of Celine's work which is particularly well suited for putting an hermeneutic model of analysis to the test because it is a work that is torn more than any other between the ravishing and the horrific, between the beautiful and the terrifying. And that is where in this profound humanity Celine's work is so rich in interpretation.
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Romanska, Magdalena. "Bulat Okudzhava : bard and voice of a waking Russian nation." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82930.
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Bulat Shalvovich Okudzhava, the originator of the style of Russian bards, was the first to express his nation's disillusionment over the country's political system and government in a new and alternative way.For this purpose, he used the direct impact of his poetry, a part of which he would sing for audiences, accompanied only by his guitar. This sort of communication between the writer and his interlocutors remained in sharp contrast with the means traditionally used by the official Soviet mass culture. The spreading of guitar poetry was impossible to control by authorities, since for popularization it used not only public gatherings, but also a new piece of technology at the time, tape recorders, a medium brilliantly used by Magnitizdat.
As opposed to Okudzhava's prose, the body of his poetry is largely understudied. One of the possible approaches to his poetic works may be that of classifying them according to their themes.
In the poetry of Bulat Okudzhava, several distinctive thematic categories can be distinguished. The themes that dominated the poet's creative years interpenetrate and overlap one another, as well as provide a reference for his secondary themes.
In the present thesis, the dominant themes will be analyzed from a biographical and historical angle. War will be the first major theme explored. This will be followed by a description of Okudzhava's works dealing with the cult of Stalin and the associated personal tragedy of the author, who witnessed the execution of his father and deportation of his mother. Subsequently, the themes of work, creator and creativity, poet and poetry, music and painting will be discussed. Other themes typical for Okudzhava are those of the city (especially Moscow), the street (especially the Arbat), nature, folklore, and Georgia. The body of the present thesis will conclude with the description of the basic thrusts of Okudzhava's ethics and philosophy, that are most clearly expressed in his "philosophical" verses (concerning belief, hope, love, destiny, women, friends, and man's inner world).
Since Okudzhava's poetry is heavily grounded in the historical context of the Stalin and post-Stalin era and is an alternative voice to what was imposed by official literature, it is natural and valuable to see it against the background of the Socialist Realist canon of Soviet state-controlled literary production.
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Fattah, Nadia Abdel. "James Baldwin's Search for a Homosexual Identity in his Novels." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5231.
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James Arthur Baldwin (1924- 1987) is one of the two major writers who have dared write about black gay men and from a black gay perspective. However, his fame as a racial spokesman and his insightful analyses of race relations in America tend to distract attention from the fact that he has been one of the most important homosexual writers of the twentieth century. Intolerance and homophobia among black and white Americans often led to a misinterpretation or misevaluation of James Baldwin's novels. James Baldwin was very courageous to come out as a black homosexual writer during the period of the Cold War and the Civil Rights movement. However, his awareness of racism and homophobia in the American society, and his difficult position of being a public figure and a spokesman for the Afro-Americans left its traces in his novels and influenced his novel writing career. The purpose of the present study is to show that out of intolerance, ignorance, and homophobia the evaluators of James Baldwin's novels often did him no justice. Baldwin through his novel writing developed a homosexual consciousness for himself. This struggle of coming-out was his personal struggle and it was marked by his burden of the doubly oppressed. I argue that Baldwin's search for an identity as a black homosexual writer is reflected in his writing. He constructed his identity through his writing. This study attempts to show that Baldwin's development of a homosexual identity took place in stages during his novel writing career. An analysis of the novels Go Tell It On the Mountain (1953), Giovanni's Room (1956), Another Country (1962), and Just Above My Head ( 1979) will demonstrate his movement from dealing with homosexuality as an underlying theme to using it as a tool to protest against any kinds of labels in the American society. Baldwin believed that discrimination cannot cease as long as the categorization of people through artificial constructs such as the "Negro" or the "homosexual" exists.
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Scaliter, Bret Logan. "Demystifying "On the Jewish question": A rhetorical and linguistic analysis of Karl Marx's essay." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1101.
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Massie, Eric. "Stevenson, Conrad and the proto-modernist novel." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.
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This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
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De, Lange Adriaan Michiel. "Conrad's impressionism the treatment of space and atmosphere in selected works." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002272.
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This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively
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楊海一. "卡夫卡和魯迅比較研究 = A comparative study on Kafka and Luxun." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636183.
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陳少娟. "呂碧城及其 曉珠詞 研究 = A study of Lu Bicheng and Xiao Zhu Ci." Thesis, University of Macau, 2006. http://umaclib3.umac.mo/record=b1636166.
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Wey, Shyh-chyi. "A rhetorical analysis of Joseph Conrad's Heart of darkness." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/923.
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Delazari, Ivan. "Musical experience in fictional narrative: William T. Vollmann, William H. Gass, and Richard Powers." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/487.
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This doctoral thesis contributes to the ongoing scholarly conversation on literary representation of musical sounds, forms, and compositions. My close examination of the tangible presences of Western art music in the fiction of three contemporary American novelists relocates traditional foci of intermediality and word and music studies from referential precision and structural equivalence across the arts to the problem of readerly experience of music through fictional narrative. Exploring a variety of diegetic encounters with music in William T. Vollmann's Europe Central (2005), William H. Gass's Middle C (2013), and Richard Powers's Orfeo (2014), I draw from cognitive narratology and the philosophy of music, among others, to construct a concise model of musical experience and a system of its literary correlatives, which can provide for the reader's enactive response to music-related themes and means in fiction. I discuss the different strategies the writers apply to communicate the presumably elitist experience of Western classical music as suggestive and relevant to their 21st-century readerships, whether big or small. I order my chapters dialectically, regarding the three authors' literary approaches to musical experience as thesis, antithesis, and synthesis. In Chapter I, Vollmann's intermedial transpositions of Dmitri Shostakovich's fictionalized works are shown to be framed by a mimetic bias, under which diegetic music functions as a characterization means for the author's historical preoccupations. The thesis (i) I infer from Vollmann's approach is that music is part of the fictional reality representative/informative/definitive of what that reality is like. Chapter II is devoted to Gass's metafictional distrust of representation, whereupon his novelistic narrative discards diegetic music almost completely and points out ways of experiencing verbal textures musically. Gass's method is thus antithetical (ii) to Vollmann's: music is a metaphor for creativity, indifferent to the subject matter and/or plot, which at representation level may well be a parodic perversion of the very idea of creativity. Powers's balanced treatment of musicalized content and form and his generous supply of multivalent experiential cues are forged to appeal to a broader reading audience, as I argue in Chapter III. In what I see as a synthesis (iii) of Vollmann and Gass, Powers's storyworld contains abundant diegetic music that constructs narrative settings and drives the events of the plot, but is itself graspable through musical metaphors. The findings of the thesis open new directions for research into musico-literary reception. Encouraging a revival of reader-response awareness in literary analysis, musicalized fiction is an untrivial subject for interactive theoretical scrutiny by psychologists and philosophers of music, transmedial narratologists, and cognitive scientists. Empirical studies of actual readers' experience of musicalized prose may prove particularly promising in further investigation of this intersectional phenomenon.
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Noble, Jenny Austin School of English UNSW. "Representations of the mother-figure in the novels of Katharine Susannah Prichard and Eleanor Dark." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/23897.
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This thesis argues that through bringing together two branches of inquiry???the literary work of Katharine Susannah Prichard and Eleanor Dark and socio-feminist theory on health, contagion and the female body???the discursive body of the mother-figure in their novels serves as a trope through which otherwise unspoken tensions???between the personal and the political, between family and nation and between identity and race in Australian cultural formation???are explored. The methodology I use is to analyse the literary mother-figure through a ???discourse on health??? from a soma-political, socio-cultural and historical perspective which sought to categorise, regulate and discipline women???s lives to ensure that white women conformed to their designated roles as mothers and that they did so within the confines of marriage. The literary mother-figure, as represented in Prichard???s and Dark???s novels, is frequently at odds with the culturally constructed mother-figure as represented in political and religious discourses, and in popular forms of culture such as advertising, film and women???s magazines. This culturally constructed ???ideal??? mother-figure is intimately linked to nationalist discourses of racial hygiene, of Christian morality, and of civic and social order controlled by such patriarchal institutions as the state, the church, the law and the medical professions during the period under review. This is reflected in Prichard???s and Dark???s inter-war novels which embody unresolved tensions in a way that challenges representations of the mother-figure by mainstream culture. However, their post-war novels show a greater compliance with nationalist ideologies of the good and healthy mother-figure who conforms more closely with an idealised notion of motherhood, leading up to the 1950s. Through a detailed analysis of the two writers??? changing representations of the mother-figure, I argue that the mother-figure is a key trope through which unspoken tensions and forces that have shaped (and continue to shape) Australian culture and society can be understood.
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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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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
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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Santos, Mariana Morás dos. "Política e Estado em Marx: uma leitura ontológica." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21748.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This work aims to discuss the Politics and State categories and their limitations and possibilities in the direction of human emancipation, under the theoretical reference proposed by Jose Chasin, with a view mainly concerning the research by the German thinker Karl Marx and the contributions that followed his thoughts. As politics are historically established to mediate and respond to the contradictions associated with the exploitation of man by man, i.e., contradictions engendered by private property, they are not inherent qualities to the Social Being in its ontological status, and are, therefore, unnecessary for the full development of social relations. The State is analyzed as an institution that shapes and ensures social contradictions and, thus, cannot be seen as a possibility to overcome sociability condensed by private property, since it is in itself the expression of this sociability. It is necessary to point out that such sociability is founded, in the production and reproduction modes of life, through labor externalization, which will be expropriated from the producer. Thus, the fruits of labor appear as foreign and strange to those who produce them. This foreign and estrangement movement is elevated towards the producer relation with the world, to the other men and to himself, since human production is a generic form of production, outlining the being that is separated from the social community. Thus, the possibility of overcoming this kind of sociability, that forges a dehumanized being, is carried out by the radical revolution of the mode of production, and it is necessary to surpass the form of work configured as foreign, since such an overtaking is itself the key to raising man to his generic conscience and, thus, oppose in order to overcome the particular forms of estrangement of being in the world, that constitute themselves as a coagulation of the inhuman, such as religion and politics. Such radical revolution must engender a reappropriation of the social forces usurped by politics, as a way of overriding the State, leading to the dissolution of the political practice of dispute of the power of State
Este trabalho pretende discutir as categorias Política e Estado, suas limitações e possibilidades no rumo da emancipação humana, sob o referencial teórico proposto por José Chasin, com um olhar principalmente às obras do pensador alemão Karl Marx e às contribuições posteriores ao seu pensamento. Sendo a política constituída historicamente para mediar e responder as contradições ligadas à exploração do homem pelo homem, ou seja, contradições engendradas pela propriedade privada, ela não é predicado inerente ao Ser Social em seu estatuto ontológico, e, por isso, é desnecessária ao pleno desenvolvimento das relações sociais. O Estado é analisado enquanto instituição que plasma e assegura as contradições sociais, de onde não pode ser visto como possibilidade à ultrapassagem da sociabilidade condensada pela propriedade privada, pois é ele mesmo a expressão dessa sociabilidade. Faz-se necessário apontar que tal sociabilidade é composta no modo de produção e reprodução da vida, por meio da exteriorização do trabalho, que será expropriado do produtor. Sendo assim, o fruto do trabalho aparece como alheio e estranho a quem o produz. Tal movimento de alienação e estranhamento é elevado à relação do produtor com o mundo, com os outros homens e consigo mesmo, por ser a produção humana forma de produção genérica, delineando o ser que está apartado da comunidade social. Assim, constata-se que a possibilidade de ultrapassar tal tipo de sociabilidade que forja um ser desumanizado é pelo revolucionamento radical do modo de produção, sendo necessário ultrapassar a forma do trabalho que se configura como estranhado, pois tal ultrapassagem é ela mesma chave para elevar o homem à sua consciência genérica e, assim, combater com vistas à ultrapassagem das formas particulares de estranhamento do ser no mundo que se constituem como coagulação do inumano, como a religião e a política. Tal revolução radical deve engendrar uma reapropriação das forças sociais usurpadas pela política, como modo de suprassunção do Estado e, assim, a dissolução da prática política de disputa do poder de Estado
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Kenderian, Nanor. "Prison to prison : the prison novels of Hagop Oshagan and Armenian penological literature." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:2352bc99-62be-4d32-8d44-f0453fb9ea48.
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The prison novels (Haji Murat, Haji Abdullah and Süleyman Effendi) of Western Armenian writer Hagop Oshagan (1883-1948) articulate two unprecedented sociocultural critiques of Armenian experience. Like much of Oshagan's works, these novels, comprising the cycle Haryur Mék Tarvan [101 Years' Imprisonment] (1933), have scarcely been studied. The task of this study is to reveal the nature of Oshagan's critique, and to revise two chief Armenian literary critical trends: that of either de-contextualizing or instrumentalizing these novels' nationalist preoccupations; that is, either overlooking their contextual relevance as responses to contemporaneous nationalist dogmas, or distorting them to seem ideologically sympathetic. Oshagan's novels rather deploy the prison trope to foreground and question the aesthetic and ideological influence of late 19th century Armenian nationalist-revolutionary movements. They moreover undermine the persisting paradigm borne of nationalist-revolutionary rhetoric that collectively represents Armenians and Turks as victims and victimizers respectively. The present study reads Oshagan in the wider context of Armenian penological literature, and locates his engagement with nationalist-revolutionary ideology as an overtly critical, rather than sympathetic project. It provides an unprecedented appraisal of such political movements' primarily negative impact upon late 19th and early 20th century Western Armenian literature, a tradition that has presented 'Armenianness' through an almost exclusive narrative of subjection. This literary historical background allows Oshagan's singularity to appear. He is the first to recognize the prison trope as the preferred nationalist-revolutionary literary convention, a trope he then reconfigures in order to formulate an alternative, a literary mode of nationalism - namely, mystic nationalism - informed by his readings of Dostoevsky's novels. Oshagan imagines and articulates anew the Armenian-Turk relationship in terms that complicate, subvert and transcend the normative master/slave model instituted by nationalist-revolutionary rhetoric. In the process, he elaborates a conception of these movements as inadvertently complicit in the discursive - and, ultimately, also political - (self)-subjection of Armenians culminating as experiences of absolute subjection. After Oshagan, this study constitutes the first comprehensive analysis of literary renderings of both Armenian-Turk relations and nationalist-revolutionary ideology.
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Teles, Gabriela Caramuru. "A tecnologia no capitalismo dependente: a superexploração da força de trabalho em Karl Marx e Ruy Mauro Marini." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2779.
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O presente trabalho se debruça sobre o desenvolvimento tecnológico particular dos países da América Latina. Para tanto faz uso da obra “O Capital” de Karl Marx e de obras selecionadas de Ruy Mauro Marini, referência teórica da Teoria Marxista da Dependência. O objetivo do estudo consiste em formular uma crítica acerca do papel da tecnologia nas economias dependentes da América Latina a partir das categorias de Marx e Marini, no contexto de superexploração da força de trabalho e transferência de capitais. Como justificativa vemos a necessidade de superar as reproduções eurocêntricas sobre desenvolvimento tecnológico e compreender a tecnologia na América Latina sob o crivo do materialismo histórico. A metodologia empregada consiste na revisão bibliográfica, análise teórico reflexiva e aproximação da realidade das categorias selecionadas. Para Marini, com as trocas desiguais, a importação de tecnologia e dívida pública verificamos uma brutal transferência de valor a partir da América Latina que como política de compensação das perdas por transferência, a estratégia de superexploração da força de trabalho é largamente empregada - intensificação do trabalho, extensão da jornada e pagamento abaixo do valor de reprodução. Com mercados reduzidos pelos baixos salários, presenciamos um divórcio entre a produção e a realização de mercadorias, de modo que as mercadorias produzidas pelos países dependentes são consumidas majoritariamente pelos países centrais. Assim se agrava a divisão internacional do trabalho, onde os países da América Latina produzem matérias-primas baratas para a exportação e os países centrais tem na industrialização seu eixo produtivo. O caráter particular da exploração da força de trabalho na América Latina denuncia o subdesenvolvimento como um estado permanente de exploração dos países dependentes pelos países centrais, apresentando, inclusive, dependência interna entre os países dependentes. Dessa maneira, conforme Marini, verificamos a consolidação de etapas de produção mais complexas no centro e menos complexas nos países dependentes. Assim, o desenvolvimento tecnológico da América Latina se encontra limitado nos marcos dos países centrais, com: industrialização pautada na produção de bens de capital de centro; importação de pacotes tecnológicos obsoletos para amortizar a maquinaria descartada no centro pela concorrência; uso de força de trabalho superexplorada ainda que com o uso de maquinaria; desenvolvimento tecnológico não generalizado, mas restrito a ilhas de produção; não barateamento das mercadorias consumidas pelos trabalhadores; superexploração como movimento para competir com ilhas de tecnologias mais produtivas; ou ainda, a dependência do capital internacional para investimentos. A dissertação defende que, para Marini, o desenvolvimento tecnológico na América Latina não significou aumento de produtividade com bens salários, e consequente melhora na qualidade de vida dos trabalhadores. Mas, em sentido oposto, agrega-se como mais um elemento na superexploração da força de trabalho, levando à intensificação do trabalho como movimento de concorrência com os isolados ramos mais produtivos.The present works looks over the tecnological development spefically from the countries in Latin America. Therefore making the use of the work “Capital”, by Karl Marx and selected works by Ruy Mauro Marini, a theorical reference of the Marxist Dependency Theory. The goal of this work consists in analyzing the role of technology in the dependant economies of Latin America from the categories of Marx and Marini, in the context of the super-exploitation of work and trasnference of capital. The justification of this research is the need to overcome the eurocentric views and reproductions on technological development and to undestand technology in Latin America under the inquest of Historic Materialism. With unequal trades, tecnology import and public debt we verify a brutal transference of capital from Latin America. As a compensation policy of loss by transference, the strategy of super-exploitation of workforce is largely used - intensification of work, extended work hours and payments under the production value. With markets reduced by low incomes, we witness a divorce between production and the making of goods, in a way that the good produced by dependent countries are mostly consumed by central countries. Thereby aggravating the international division of work, where Latin American countries produce cheap feedstock for exportation and central countries have their productive axis in industrialization. This particular character of exploitation of work in Latin America reveals underdevelopment as a permanent relashionship between dependent and central countries, exhibiting also internal dependency in dependent countries. Thus, we can verify a consolidation of more complex production stages in the Center and less complex ones in dependent countries. So, the Latin American technological development finds itself limited by the boudaries of central countries, with: industrialization lined by production of capital goods by the Center; importation of obsolete technological packets to refund the machinery discarded in the Center by the competition; the use of super-explited work force in detrimento of machinery use; technological development, but restricted only to a manufacturing island and not generalized; never to cheapen the goods cosumed by workers; super-exploitation as a movement to compete with more productive manufacturing islands; or yet the dependency on international capital for investments. The dissertation defends that, for Ruy Mauro Marini, the technological development in Latin America didn’t mean a raise in productivity with the cheapen of goods, and hence the improvement of life quality for workers. But, in na opposite direction, it is an element of the super-exploitation of work and leads to the intensification of work as a movement of competition with isolated and most productive branches in the internal scope, related to international production.
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Rodriguez, Sergio (Guitarist). "Comparison of the Méthode Pour La Guitare by Fernando Sor with the Méthode Complète Pour La Guitare Par Ferdinand Sor, Rédigée Et Augmentée De Nombreux Exemples Et Leçons Suivis D'une Notice Sur La 7e Corde by Napoléon Coste." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011789/.
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The nineteenth century presents a great increase in publications of guitar methods. Most authors of the time published several versions of their works. Fernando Sor, perhaps the most prominent guitar composers of the time—whose Méthode is regarded today as the most important of the period—only published one edition. However, Napoleon Coste took on the task to do a second account. The literature reviewed shows substantial existing information regarding background, type of text, tone, and contents of Sor's work, but comparisons to date are not substantial. Therefore, there is a need to compare these two texts side by side to yield a complete view of their pairing. The existing negative views of Coste's edition hinder the importance of Coste's work as reference to Segovia's publication of Sor studies, and as a clearer pedagogical application of many of Sor's concepts which are sidetracked by his response to criticism and his elaborations in matters beyond his main subject matter. I provide a comprehensive review of Sor's method, an outline and a consideration of his concepts. Then I offer a complete English translation of Coste's method which is inexistent until now. The comparison follows pointing at differences and similarities. Results show that Coste clarifies and complements many of the principles in less text and simpler language. He modifies certain others either to approach Sor's practice or to depart to a newer standard. He offers his own lessons and sections to apply Sor's concepts. Coste's text heads towards a pedagogical synthesis of Sor's method, but it is incomplete because he omits some concepts without leading the readers to consult Sor. Coste's pedagogical and practical relevance is fundamental for modern standard techniques.
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Alves, Antônio José Lopes 1966. "A cientificidade na obra marxiana de maturidade : uma teoria das Daseinsformen." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280418.
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Orientador: João Carlos Kfouri Quartim de MoraesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A presente tese resulta de pesquisa de doutoramento a qual teve por objeto o padrão de cientificidade que orienta e estrutura a crítica marxiana da economia política em sua fase de maturidade. Nesse sentido, buscou-se apreender, compreender e explicitar o conjunto de elementos e determinações conceituais a partir dos quais se organizou o pensamento de Marx no enfrentamento da decifração do modo capitalista de produção da vida humana, bem como quando da tarefa de avaliação de pensadores e correntes da economia política que pretenderam explicar cientificamente o mundo da produção do excedente. A questão inicial a que se volta Marx é precisamente explicitar a natureza do mais-valor, a forma da riqueza como capital, superando as aporias e inconsistências que caracterizaram as aproximações teóricas dos economistas. O trabalho de investigação dos textos marxianos evidenciou a existência de uma teorização cuja base é a definição do estatuto das categorias como Daseinsformen, Existenzbestimmungenen, como formas sociais de ser do existente, seja este ente, processo ou relação. As relações sociais mesmas apareceram a partir desse horizonte como formas de existência historicamente determinada dos indivíduos sociais, de sua atividade e dos produtos desta. Essa determinação vai de encontro com o que a tradição das interpretações marxistas, majoritariamente, assumia como base da exercitação científica de Marx: a dialética hegeliana. Contrapondo-se a essa posição predominante, a pesquisa, e a tese que nela se arrima, intentou descortinar e revelar o caráter da teoria marxiana acerca do capital, como uma analítica categorial das formas de ser da produção capitalista. No âmbito do desenvolvimento da pesquisa, buscou-se então determinar o mais precisamente possível o que distingue essa analítica, a delimitação da differentia specifica do objeto da reflexão marxiana. Nesse contexto, o Forschungsweise marxiano, o seu modo de investigação, e não tanto o seu modo de apresentação constante de O Capital, foi prioritariamente considerado como o centro da própria atividade científica de Marx. Assim, o Darstellungsweise revelou-se como instância determinada, e não determinante do discurso marxiano, estando sempre subsumida à ordem da analítica da forma do existente em questão a cada momento, bem como das relações que aquele guarda com outras determinações dentro de um complexo particular. Resulta disso, que a determinação mesma do momento preponderante não é tributária da eleição a priori de uma categoria em particular tomada como princípio ou chave explicativa. Ao contrário, depende da marcha da analítica como tal, da articulação que preside o ser da coisa como concreto efetivamente existente, independentemente da teoria ou dos procedimentos. A esse respeito, a própria questão de método acabou por ser reposicionada em função disso, não sendo mais entendida como núcleo da cientificidade, mas como momento igualmente determinado pelo talhe do objeto. O que encaminhou a tese da existência de um antimétodo no pensamento marxiano
Abstract: This thesis results from doctoral research which had the object of scientific standard and structure that guides the Marxian critique of political economy at its stage of maturity. Accordingly, we sought to learn, understand and explain the range of conceptual and determinations from which was organized Marx's thought in coping with the unraveling of the capitalist mode of production of human life, and when the evaluation task of thinkers and currents of political economy that sought to explain scientifically the world's production surplus. The threshold issue that turns Marx is precisely explain the nature of surplus-value, the shape of wealth as capital, overcoming the aporia and inconsistencies that have characterized the theoretical approaches of economists. The research of the Marxist texts revealed the existence of a theory whose foundation is the definition of status categories as Daseinsformen, Existenzbestimmungen as social forms of being of the existent, is this entity, process or relationship. The same socials relations that emerged from the horizon as the existence of historically determined forms of social individuals, their activity and products thereof. That determination runs counter to the tradition of Marxist interpretations, mostly, assumed as the basis of scientific exercitation Marx: the Hegelian dialectic. Opposed to this dominant position, research, and the thesis that it is anchored, brought uncover and reveal the character of the Marxian theory of capital as an analytical categorical ways of being of capitalist production. In developing the survey, we sought then to determine as precisely as possible what distinguishes this analysis, the delimitation of the differentia specifica of the object of Marxist reflection. In this context, the Marxian Forschungsweise, its mode of inquiry, rather than its mode of presentation contained in the Capital, was primarily considered as the center of scientific activity itself of Marx. Thus, the Darstellungsweise proved to be instance specific, not a determinant of Marxian discourse, being always subsumed to the order of the analytical form of matter exists in every moment, as well as that of relations with other custody determinations within a particular complex. It follows that the same determination of the tax is not currently leading the election in advance of a particular category or taken as a key explanatory principle. Rather, it's the march of analytics as such, who chairs the joint is the real thing as actually existing, regardless of theory or procedures. In this respect, the very question of method turned out to be repositioned because of this, no longer seen as core scientific, but also time as determined by the intaglio of the object. What forwarded the theory that there was an antimetod in Marxian thought
Doutorado
Filosofia
Doutor em Filosofia
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Soares, Filho Antonio Coutinho. "Cosmogonia profana: uma leitura de O visitante, de Osman Lins." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20148.
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Universidade Estadual do Maranhão - UEMA
In the whole of Brazilian literature, Osman Lins is a name that stands out for the quality and diversity of his production. Novelist, playwright, essayist, among other attributions, the writer has an aesthetic refinement as well as a reflexive posture in face of the cultural, social and political obstacles of the country. The osmanianos studies often highlight the author's romanesque experiments in his so-called maturity phase. Not exclusively, the prior creation to this period still lacks major critical exams, such as the novel debut, The Visitor (1955) corpus of this research. Besides the interesting textual warp, this work presents a humble fortune review, which gives rise to this work. It should be added that on several occasions the writer affirms that the cosmogonical attitude along with the preoccupations with the national ills and the reflection on the creative process, guide his life and the literary work. That said, one wonders how this worldview is presented in The Visitor. Taking into account the traced interdiscurssive of the narrative and the novelist’s social-critcism and point of view. The proposed analysis considers the mythological, biblical, and liturgical inscriptions as well as the development of his story in the plot. In the face of it, there’s a hypothesis is that Lins, in a subversive modulation brings to the scene elements of the Eden myth and Christian liturgy but he also highlights the contradictions of a society that privileges appearances, victimizing the woman mainly. In the theoretical-critical articulation a review of the analytical itinerary of the corpus is done, with the help of Nitrini (1987, 2001, 2003, 2004), Andrade (2001, 2004, 2014) and Ribeiro (2016), among others. The concepts of threshold — Benjamin (1987), Gagnebin (2010); Devices and profanation, according to Agamben (2009, 2010, respectively), also guide this research. The theoretical-critical complete this framework itself, brings reflections on the poetic–myth creation according to the thinking of Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) and Bastazin (2006). The methodological course, starting from the narrative structure and the critical fortune of the work, examines the aesthetic inversions operationalized by osmanian writing. The visitor, Osman Lins' first creative gesture despite his myth-poetic features presents through an introspective plot a sharp vision of the manipulation game that sustains the society, a principle that distorts the essence of the being and search to conceal the contradictory nature of power
No conjunto da literatura brasileira, Osman Lins é um nome que se destaca pela qualidade e pela diversidade de sua produção. Romancista, dramaturgo, ensaísta, dentre outras atribuições, o escritor possui um requinte estético bem como uma postura reflexiva em face dos entraves culturais, sociais e políticos do país. Os estudos osmanianos, com frequência, destacam os experimentos romanescos do autor em sua chamada fase de maturidade. Não exclusivamente, a criação anterior a esse período ainda carece de maiores exames críticos, a exemplo do romance de estreia, O visitante (1955), corpus desta pesquisa. Além da interessante urdidura textual, essa obra apresenta uma fortuna crítica modesta, o que enseja este trabalho. Acrescente-se que, em várias ocasiões, o escritor afirma que a atitude cosmogônica, aliada às preocupações com as mazelas nacionais e à reflexão sobre o processo criativo, orientam sua vida e o ofício literário. Isso posto, pergunta-se como essa cosmovisão se presentifica em O visitante. Levando em conta o traçado interdiscursivo da narrativa e a postura crítico-social do romancista, a análise proposta considera as inscrições mitológicas, bíblicas e litúrgicas, bem como seus desdobramentos escriturais no enredo. Diante disso, a hipótese é que Lins, numa modulação subversiva, traz à cena elementos do mito edênico e da liturgia cristã, como também expõe as contradições de uma sociedade que privilegia as aparências, vitimando, principalmente, a mulher. Na articulação crítico-teórica, faz-se uma revisão do itinerário analítico do corpus, ao que se conta com o auxílio de Nitrini (1987; 2001; 2003; 2004), Andrade (2001; 2004; 2014) e Ribeiro (2014), dentre outros. Os conceitos de limiar — Benjamin (1987), Gagnebin (2010); dispositivos e profanação, segundo Agamben (2009; 2010, respectivamente), também orientam a pesquisa. Completam o quadro teórico-crítico da mesma, as reflexões em torno da criação mito-poética conforme o pensamento de Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) e Bastazin (2006). O percurso metodológico, partindo da estrutura narrativa e da fortuna crítica da obra, examina as inversões estéticas operacionalizadas pela escritura osmaniana. Portanto, O visitante, primeiro gesto criativo de Osman Lins, não obstante seus traços mito-poéticos, apresenta, por meio de uma trama introspectiva, uma arguta visão do jogo de manipulação que sustenta a sociedade, princípio que desvirtua a essência do ser e busca ocultar a natureza contraditória do poder
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Konstantinova, Natalia P. "The short stories of Ivan Turgenev - the link between French and Russian naturalism : a comparative approach." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/70.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Foreign Languages
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Oliveira, Severino Gomes de. "A categoria marxista “revolução” na sociologia política de Florestan Fernandes." Universidade Federal de Alagoas, 2012. http://www.repositorio.ufal.br/handle/riufal/3534.
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This study seeks to develop an investigation into the presence of revolutionary theory of Karl Marx in political sociology of sociologist Florestan Fernandes. With that overall goal, put as the central focus of the analysis the category “revolution” of Marxian thought and the way the Brazilian sociologist promotes a recovery of the concept in order to develop explanations about the socio-political processes that occurred in Brazil governed by military dictatorship and the period know as “democratization”. Still, led by this overview seeks to build an argument that identifies possible connections consistent continuity between what Marx described as “Communist” intellectual allies in the ideological-political to the working class, and advocacy and support offered by the Florestan “Cuban Revolution”, the struggle for democracy “social” and against the traditional conservatism of Brazilian politics, and his admission to the Workers’ Party (PT) and a parliamentary constituency. In suggesting a discussion of how a Brazilian Marxist articulates in his political action and the main political ideas that involve the revolutionary conception of Marx, the research proposal developed here attempts to answer, within its possibilities and limitations, what it meant to be Florestan a “revolutionary” in Brazil and the relationship that this position has the meaning given the term by Marx.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O presente estudo procura desenvolver uma investigação sobre a presença da teoria revolucionária de Karl Marx na sociologia política do sociólogo Florestan Fernandes. Orientado por esse objetivo geral, põe como foco central da análise a categoria “revolução” do pensamento marxiano e a forma como o sociólogo brasileiro promove uma recuperação do conceito, a fim de elaborar explicações a respeito dos processos sócio-políticos que ocorreram no Brasil governado pela ditadura militar e no período que ficou conhecido como “redemocratização”. Ainda, conduzido por essa perspectiva geral busca construir uma argumentação que identifique possíveis nexos de continuidade coerente, entre o que Marx descreveu como “comunista”, intelectual que se alia no plano ideológico-político à classe trabalhadora, e a defesa e apoio oferecido por Florestan à “Revolução Cubana”, a luta pela democracia “social” e contra o tradicional conservadorismo da política brasileira, e o seu ingresso no Partido dos Trabalhadores (PT) como parlamentar constituinte. Ao sugerir uma discussão sobre como um marxista brasileiro articula em sua obra e ação política as principais idéias políticas que envolvem a concepção revolucionária de Marx, a proposta da pesquisa aqui desenvolvida intenta responder, dentro de suas possibilidades e limites, o que significou para Florestan ser um “revolucionário” no Brasil e a relação que essa posição tem com o sentido dado por Marx ao termo.
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Driver, Daniel R. "Brevard Childs : the logic of scripture's textual authority." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/754.
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Brevard Childs argues for the inner logic of scripture’s textual authority as an historical reality that gives rise to the material condition by which the church apprehends and experiences God in Christ. The church’s use of (or by) scripture thus has a larger interiority: the shaped canon of scripture, Old and New Testaments, is a rule of faith which accrues authority in the church, through the vehicle of the sensus literalis. Childs’ work has been misplaced, however. Part one locates it internationally, attending to the way it has been read in English and German and finding that it has enjoyed a more patient reception in Europe than in Britain or North America. To illustrate, Childs’ definition of biblical theology is contrasted with that of James Barr. Their differences over gesamtbiblische theology involve opposite turns toward and away from Barthian dogma in biblical inquiry. Part two examines Childs on biblical reference, introducing why intertextuality is not midrashic but deictic—pointing to the res. This coincides with an understanding of the formation of biblical literature. Childs’ argument for canonical shaping is juxtaposed with Hermann Gunkel on tradition history, showing “final form” to be a deliberate inversion of form critical principles. Childs’ interest in the Bible as religious literature is then set alongside his studious confrontation of Judaism, with implications for inter-religious dialogue. Barr and Childs are compared again in part three, which frames their respective senses of indirect and direct biblical reference in terms of allegory. Both see allegory at work in the modern world under certain rules (either biblical criticism or the regula fidei). Their rules affect their articulations of trinitarian dogma. Finally, Psalm102 highlights divergences between modern and pre-modern interpreters. If scripture comprehends the present immediately, some postures of the church toward the synagogue may be excluded.
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Prikladnicki, Fábio. "Reinscrevendo a responsabilidade : figurações da alteridade entre o humano e o animal." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131624.
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Informada pelos pressupostos da área interdisciplinar conhecida como estudos animais, esta tese propõe uma leitura a contrapelo das figuras animais na literatura, na qual elas não são entendidas apenas como metáforas de certos aspectos da vida humana, mas como presenças textuais com um estatuto de personagens e, nessa condição, são interrogadas em sua alteridade. A questão central em pauta é: o que a metáfora diz sobre os animais e sobre a relação entre os animais e os seres humanos e o que significa des-figurar a metáfora e explorar a possibilidade de re-significar, a partir da textualidade ficcional, a relação humano-animal. Para tanto, desenho um panorama dos estudos animais, abordando o estado da arte no Brasil, inserindo tais estudos nas possibilidades de inovação no campo da literatura comparada. A seguir, elaboro um aporte teórico a partir da filosofia animal de Jacques Derrida, ao qual incorporo e coloco em discussão posicionamentos teóricos de Calarco (2008), Krell (2013), Lawlor (2007) e Naas (2010) sobre a questão em pauta. Por fim, realizo leituras comparadas entre A metamorfose (1915), de Franz Kafka, e Porcarias (1996), de Marie Darrieussecq, ambos sobre o tornar-se animal, e entre Flush (1933), de Virginia Woolf, e Timbuktu (1999), de Paul Auster, ambos sobre a domesticação de animais.Following the tenets of the interdisciplinary area of animal studies, this dissertation presents a reading of animal figures in literature against the grain, which means that they are not taken only as metaphors of certain aspects of human life but as textual presences with a status assigned to characters and, in this condition, are interrogated in their alterity. The central question to be explored is: what the animal metaphor says about animals and the relation of animal and human beings and what it means to de-figure the metaphor in order to explore the possibility of re-signifying, in ficcional textualities, the human/animal relation. In order to address these issues, I draw a panorama of animal studies, including the state of the art in Brazil, to contend that this area adds to the possibilities of innovation in the field of comparative literature. Then, I consider a theoretical framework of Jacques Derrida’s animal philosophy, also discussing theoretical positions of Calarco (2008), Krell (2013), Lawlor (2007) and Naas (2010) on this topic. Finally, I propose comparative readings of Franz Kafka’s The metamorphosis (1915) and Marie Darrieussecq’s Pig tales (1996), from the perspective of becoming animal, and of Virginia Woolf’s Flush (1933) and Paul Auster’s Timbuktu (1999), both on domesticating animals.
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Becker, Katrin. "Viva vox iuris, oder die juridische Stimme der Literatur : Kafkas Der Proceß und Hoffmanns Der Sandmann im Spiegel der dogmatischen Anthropologie Pierre Legendres." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040123.
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La thèse propose une redéfinition des relations entre droit et littérature, en s’appuyant sur des concepts issus de l’ « anthropologie dogmatique » développée par Pierre Legendre. Partant d’un aperçu de l’état de la recherche et d’une présentation détaillée de la théorie legendrienne, l’étude avance l’hypothèse que l’étroit enchevêtrement du droit et de la littérature confère à la littérature le pouvoir soit d’accroître l’efficacité de la normativité culturelle, soit de l’influencer – influence à comprendre dans le sens d’une force modificatrice. La cohérence de cette hypothèse est ensuite vérifiée à l’aide de l’analyse de deux romans, Le Procès de Kafka et L’Homme au Sable de Hoffmann. Le Procès est présenté comme un roman mettant en scène un échec fondamental d’interprétation – l’interprétation étant, selon Legendre, la technique première qui, dans la culture, assure le non-délire de l’existence humaine. Ici, l’interprétation est vouée à l’échec au niveau diégétique, pour l’auteur ainsi que dans la relation texte – lecteur. Le lecteur est confronté à l’absence d’un système de sens et comprend ainsi, ex negativo, la nécessité d’être inscrit dans un ordre de Référence, véhiculé par le droit ainsi que par la littérature. L’analyse de L’Homme au Sable repose sur une combinaison entre le concept de témoignage et deux concepts centraux de l’anthropologie dogmatique : l’altérité et la représentation. Ainsi, la thèse montre comment la dissolution de la frontière entre réalité et fiction, typique du fantastique et poussée à bout dans le roman, donne au lecteur un aperçu de la contingence des structures qui forment le fond de l’ordre culturel ainsi que de la subjectivitéThe doctoral dissertation “Viva vox iuris” is aimed at extending the research on law and literature by developping a new perspective, based on Pierre Legendre’s “dogmatic anthropology”. Starting with an overview of the current state of research in this field, and based on a detailed presentation of Legendre’s theory, the dissertation develops the hypothesis that the deep entanglement of law and literature confers upon literature the capacity of either reinforcing the effectivity of cultural normativity, or of influencing it in the sense of a modificatory force. The plausibility of this hypothesis is then assessed by a thorough analysis of Kafka’s The Trial and Hoffmann’s The Sandman. The Trial is presented as being a novel that stages the failure of interpretation on the diegetic, hermeneutic as well as the production level, i.e. with regard to the author (– interpretation being, from Legendre’s perspective, the fundamental cultural technique assuring a non-delusional human existence). Being confronted with this failure and the consequent lack of a regime of sense, the reader gains insight, ex negativo, into the necessity of being inscribed, by way of interpretation, into an order of Reference that needs to be mediated by literature and law. With regard to The Sandman, the dissertation undertakes to show, through a combination of the concept of testimony with the dogmatic-anthropological core concepts of alterity and representation, how the fantastical blurring of the limits between reality and fiction, as staged in the novel, provides insights into the contingency of the fundamental structure of the normative order of cultural and subjective identity
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"呂碧城及其詞研究." 2008. http://library.cuhk.edu.hk/record=b5896801.
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黃小蓉."二零零八年七月".
"2008 nian 7 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 246-261).
Abstracts in Chinese and English.
Huang Xiaorong.
Chapter 第一章 --- 緒論
Chapter 第一節 --- 引言 --- p.1
Chapter 第二節 --- 硏究綜述 --- p.1
Chapter 第三節 --- 硏究方法及組織 --- p.8
Chapter 第二章 --- 呂碧城生平及著作
Chapter 第一節 --- 生平槪述 --- p.12
Chapter 第二節 --- 著作槪述 --- p.20
Chapter 第三章 --- 呂碧城交遊考略
Chapter 第一節 --- 呂碧城與樊增祥、英歛之、嚴復、費樹蔚的交遊 --- p.24
Chapter 1.1 --- 樊增祥 --- p.25
Chapter 1.2 --- 英歛之 --- p.27
Chapter 1.3 --- 嚴復 --- p.32
Chapter 1.4 --- 費樹蔚 --- p.37
Chapter 第二節 --- 呂碧城在京津及上海時期的交遊(1904-1925) --- p.41
Chapter 2.1 --- 京津交遊 --- p.41
Chapter 2.1.1 --- 秋瑾 --- p.42
Chapter 2.1.2 --- 北洋官員 --- p.45
Chapter 2.1.3 --- 詩侶名流 --- p.48
Chapter 2.2 --- 上海交遊 --- p.55
Chapter 2.2.1 --- 南社交遊 --- p.56
Chapter 2.2.2 --- 葉恭綽 --- p.61
Chapter 2.2.3 --- 楊圻 --- p.62
Chapter 2.2.4 --- 佛道人士 --- p.63
Chapter 2.2.5 --- 其他 --- p.66
Chapter 第三節 --- 呂碧城在歐美時期的交遊(1926-1935，1939-1940) --- p.69
Chapter 3.1 --- 遊學同窗、友人 --- p.70
Chapter 3.2 --- 中外護生和佛門同道 --- p.71
Chapter 3.3 --- 國內、國外同胞 --- p.77
Chapter 第四節 --- 香港及南洋時期的交遊(1935-1943) --- p.82
Chapter 4.1 --- 香港交遊 --- p.83
Chapter 4.1.1 --- 佛道同人 --- p.83
Chapter 4.1.2 --- 文化界及護生友人 --- p.90
Chapter 4.1.3 --- 龍榆生 --- p.92
Chapter 4.2 --- 南洋交遊 --- p.98
Chapter 4.2.1 --- 佛道同人 --- p.98
Chapter 4.2.2 --- 丘煒薆 --- p.98
Chapter 附錄一: --- 林愣真〈呂碧城女士捨報實紀〉(書影) --- p.100
Chapter 第四章 --- 呂碧城思想探析
Chapter 第一節 --- 婦女解放思想 --- p.102
Chapter 1.1 --- 提倡女權，興辦女學 --- p.103
Chapter 1.2 --- 呂碧城婦女解放的思想的繼承與開創 --- p.105
Chapter 第二節 --- 佛家思想 --- p.115
Chapter 2.1 --- 皈依佛門的原因和歷程 --- p.115
Chapter 2.2 --- 護生、弘法的實踐和意涵 --- p.121
Chapter 第五章 --- 呂碧城詞的題材内容
Chapter 第一節 --- 第一期´ؤ´ؤ從成名奮發到失意退隱 --- p.130
Chapter 1.1 --- 時代憂患，奮發上揚 --- p.130
Chapter 1.2 --- 成長磨鍊，思考人生 --- p.132
Chapter 1.3 --- 寄情山水，遊歷抒懷 --- p.135
Chapter 第二節 --- 第二期´ؤ´ؤ由海外飄零到仙境傲遊 --- p.137
Chapter 2.1 --- 海外新詞，異國風光 --- p.138
Chapter 2.2 --- 覊旅飄零，故國之思 --- p.141
Chapter 2.3 --- 天人合一，佛道之思 --- p.143
Chapter 第三節 --- 第三期´ؤ´ؤ感悟塵世而皈依淨土 --- p.145
Chapter 3.1 --- 熱帶風光，南亞生活 --- p.146
Chapter 3.2 --- 人間憂患，出世之思 --- p.148
Chapter 3.3 --- 佛家思想，弘法護生 --- p.152
Chapter 第六章 --- 呂碧城詞藝術特色(上)´ؤ´ؤ步武前賢
Chapter 第一節 --- 浪漫麗密，哀感頑艷´ؤ´ؤ步武楚騷、晚唐 --- p.157
Chapter 1.0 --- 學養師承及時代風氣 --- p.157
Chapter 1.1 --- 夢抱曉珠歸舊闕，一笑水空雲邈´ؤ´ؤ逼真義山 --- p.159
Chapter 1.2 --- 手把芙蓉誦楚詞，搴芳凝睇黯遐思一步武楚騷 --- p.167
Chapter 附錄一 --- 呂碧城詞用李商隱詩舉例 --- p.173
Chapter 附錄二 --- 呂碧城詞用《楚辭》舉例 --- p.176
Chapter 第二節 --- 典雅精工，沈厚密麗´ؤ´ؤ步武清真、夢窗 --- p.178
Chapter 2.0 --- 近代詞風及師承學養 --- p.178
Chapter 2.1 --- 典雅精工 --- p.181
Chapter 2.2 --- 沈厚密麗 --- p.195
Chapter 附錄三 --- 呂碧城詞用吳文英詞舉例 --- p.199
Chapter 第七章 --- 呂碧城詞藝術特色(下)´ؤ´ؤ拓新境界
Chapter 第一節 --- 剛柔並濟，深於寄託一一突破女性詞傳統 --- p.201
Chapter 1.0 --- 女性詞傳統及南社創作風氣 --- p.201
Chapter 1.1 --- 言情寫怨，深婉蕴藉 --- p.205
Chapter 1.2 --- 言志抒懷，豪放沈鬱 --- p.211
Chapter 1.3 --- 呂碧城與歷代女詞人比較 --- p.214
Chapter 1.3.1 --- 從婉約到豪放 --- p.214
Chapter 1.3.2 --- 從陽性風格到女性意識 --- p.219
Chapter 第二節 --- 融新入舊一一海外詞的開拓 --- p.224
Chapter 2.0 --- 近代文學改革運動及文學世界化 --- p.224
Chapter 2.1 --- 新舊交融 --- p.230
Chapter 2.2 --- 浪漫瑰麗 --- p.235
Chapter 2.3 --- 中西交融 --- p.237
Chapter 第八章 --- 結語 --- p.243
參考書目 --- p.246
38
Hallis, Robert Harry. "Reevaluating the compositional process of Anton Webern, 1910-1925." Thesis, 2004. http://hdl.handle.net/2152/2007.
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Wolfe, Edith Angelica Gibson. "Melancholy encounter: Lasar Segall and Brazilian modernism, 1924-1933." Thesis, 2005. http://hdl.handle.net/2152/2192.
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"Abstract conception versus concrete realization in twelve-tone music: uses of symmetry in Schoenberg's Moses und Aron and Webern's Symphony Op.21." 2012. http://library.cuhk.edu.hk/record=b5549043.
Full textAbstract:
此論文旨在探究對稱技巧在十二音創作概念與實踐之間的關係。前者抽象、後者具體。我先在第一章指出十二音系統内的對稱潛質，再在其後兩章分析對稱技巧在荀白克的《摩西與亞倫》及魏本的交響曲作品21第二樂章内的展現。荀白克“音樂意念及“發展變奏這兩個概念，在《摩西與亞倫》扮演着重要的角式，大大影響了作品内對稱的處理；而魏本對音樂的“一體性“及“可瞭解性“的堅持，亦決定了交響曲第二樂章中對稱的演譯。最後一章總括十二音作曲概念及實踐的關係，並展望日後的研究方向。Through an analytical study of Schoenberg’s Moses und Aron and Webern’s Symphony Op.21, second movement, my thesis aims at exploring a central issue in interpreting symmetry in twelve-tone music: the relationship between abstract conception and concrete realization.
In Chapter one, I endeavour to contextualize the uses of symmetry in twelve-tone music within contemporary theoretical perspectives. After defining my methodology, subsequent chapters are analytical examinations of two pieces. Chapter two explores how Schoenberg’s uses of symmetry in the opening of Moses und Aron might be closely associated with his conception of “idea and “developing variation. Chapter three considers the ways in which the symmetrical manifestations in Webern’s variation movement demonstrate his concern for “unity and “comprehensibility. After studying the two composers’ different symmetrical treatments Chapter 4 revisits the relationship between abstract conception and concrete realization in twelve-tone composition, and suggests implications for further research.
Detailed summary in vernacular field only.
Liu, Man Yee.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in Chinese.
Abstract --- p.i
Abstract (Chinese) --- p.ii
Acknowledgements --- p.iii
List of Figures --- p.vi
List of Music Examples --- p.viii
Chapter Chapter 1 --- Abstract Conception versus Concrete Realization in Twelve-Tone Music --- p.1
The Twelve-Tone System and its Symmetrical Potentials --- p.5
Methodology, Selection of Pieces and Overview of Chapters --- p.8
Chapter Chapter 2 --- Schoenberg’s "Idea" and Twelve-Tone Symmetry --- p.11
Compositional Concerns
Row Design, Motive, Developing Variation and "Idea" --- p.14
Moses und Aron: The Idea of God and the Twelve-Tone System --- p.20
Pre-Compositional Plan
Schoenberg’s Divine Order --- p.28
Compositional Practice
Realization of Unimaginable God --- p.33
Realizations of Basic Set (P₉) and its Inversion (I₀) --- p.38
Implications: Manifestation of Divine Order --- p.44
First "Image": Musical Representation of the Row by Aron --- p.47
Second "Image": Musical Representation of God by Aron in the Golden Calf scene --- p.53
Schoenberg’s Allegory: Irreconcilability in Realizing "Idea" --- p.58
Chapter Chapter 3 --- Webern’s Variationen and Twelve-Tone Symmetry --- p.64
Compositional Concerns
Webern and Symmetry --- p.69
Analytical Perspectives on Symphony Op.21, Second movement --- p.70
Pre-Compositional Plan
Webern’s Statement on Symphony Op.21, Second movement --- p.73
Compositional Practice
Thema --- p.77
Variation I --- p.81
Variation II --- p.85
Variation III --- p.92
Variation IV --- p.96
Variation V --- p.101
Variation VI --- p.105
Variation VII --- p.107
Coda --- p.110
Summary --- p.112
Chapter Chapter 4 --- Epilogue --- p.115
Pre-Compositional Row Designs --- p.116
Presentations of Rows in Their Music --- p.116
Implications for Further Research --- p.119
Select Bibliography --- p.121
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"《黑奴籲天錄》的敘事者與譯文操縱." 2000. http://library.cuhk.edu.hk/record=b5895839.
Full textAbstract:
張婉麗."2000年8月"
論文 (哲學碩士)--香港中文大學, 2000.
參考文獻 (leaves 208-219)
附中英文摘要.
"2000 nian 8 yue"
Zhang Wanli.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (leaves 208-219)
Fu Zhong Ying wen zhai yao.
摘要 --- p.i
前言 --- p.v
目錄
Chapter 第一章 --- 引言 --- p.1
Chapter 第二章 --- 小說敘事者與操縱理論 --- p.8
Chapter 2.1 --- 小說的敘事者 --- p.8
Chapter 2.2 --- 操縱理論 --- p.14
Chapter 2.3 --- 《黑奴籲天錄》的敘事者與譯文操縱 --- p.24
Chapter 第三章 --- 《黑奴籲天錄》的翻譯背景 --- p.26
Chapter 3.1 --- 原文的内容 --- p.26
Chapter 3.2 --- 原文的文化系統 --- p.28
Chapter 3.2.1 --- 政治 --- p.28
Chapter 3.2.2 --- 宗教 --- p.3 2
Chapter 3.2.3 --- 婦女地位 --- p.33
Chapter 3.2.4 --- 作者 --- p.35
Chapter 3.3 --- 對 Uncle Tom´ةs Cabin 的評論 --- p.40
Chapter 3.4 --- 譯文的文化系統 --- p.48
Chapter 3.4.1 --- 政治 --- p.49
Chapter 3.4.2 --- 教會的活動 --- p.52
Chapter 3.4.3 --- 婦女地位 --- p.53
Chapter 3.4.4 --- 翻譯的功利主義 --- p.55
Chapter 3.4.5 --- 譯者 --- p.58
Chapter 3.4.5.1 --- 林纾 --- p.58
家庭 --- p.58
政治思想 --- p.60
婦女觀 --- p.63
文學作品 --- p.65
Chapter (一） --- 創作及文學觀 --- p.65
Chapter (二） --- 翻譯及翻譯觀 --- p.68
Chapter 3.4.5.2 --- 魏易 --- p.73
Chapter 3.5 --- 對《黑奴籲天錄》的評論 --- p.75
Chapter 第四章 --- 《黑奴籲天錄》的敘事者（一） ´ؤ´ؤ宗教的表述及婦女形象的表述 --- p.85
Chapter 4.1 --- 宗教的表述 --- p.86
Chapter 4.1.1 --- 基督教與小說中的人物 --- p.89
Tom與湯姆 --- p.90
Cassy與凱雪 --- p.107
Quimbo與昆蒲、Sambo與三蒲 --- p.110
Topsy與托弗收 --- p.112
其他 --- p.115
George與哲而治 --- p.116
Chapter 4.1.2 --- 基督教與敘事者聲音 --- p.126
Chapter 4.1.3 --- 宗教的表述´ؤ´ؤ總結 --- p.135
Chapter 4.2 --- 婦女形象的表述 --- p.137
Chapter 4.2.1 --- 婦女形象 --- p.138
婦女角色 --- p.138
女性讀者 --- p.148
Chapter 4.2.2 --- 廚房的比喻 --- p.156
Chapter 4.2.3 --- 婦女形象的表述´ؤ´ؤ總結 --- p.164
Chapter 第五章 --- 《黑奴籲天錄》的敘事者（二） ´ؤ´ؤ敘事距離與奴隸制度的關係 --- p.166
Chapter 5.1 --- 敘事者與小說人物的距離 --- p.166
Chapter 5.2 --- 敘事者與讀者的距離 --- p.172
Chapter 5.3 --- 總結 --- p.184
Chapter 第六章 --- 結語 --- p.187
Chapter 6.1 --- 譯者對敘事者的操縱 --- p.187
Chapter 6.2 --- 「忠實的譯者」 --- p.199
參考書目 --- p.208
42
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.
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Sinutko, Natasha Marie 1969. "Passing on the melting pot : resistance to Americanization in the work of Gertrude Stein, Alice Corbin Henderson and William Carlos Williams." 2001. http://hdl.handle.net/2152/10835.
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44
Resler, Johanna Elizabeth. "SARA’S TRANSFORMATION: A TEXTUAL ANALYSIS OF FRANCES HODGSON BURNETT’S SARA CREWE AND A LITTLE PRINCESS." Thesis, 2007. http://hdl.handle.net/1805/1614.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)Frances Hodgson Burnett’s life revolved around her love of story-telling, her sons, nature, and the idealized notion of childhood. Burnett had an ability to recapture universal aspects of childhood and transform them into realistic stories containing elements of the fantastic or fairy tales. Her ability to tell stories started at a young age when she and her sisters were given permission to write on old pieces of paper. Burnett’s love for storytelling, reading, and writing was fostered in her parents’ household, in which a young Burnett was given free reign to explore her parents’ book collection and also left unhindered to imagine and act out stories by herself and with her sisters and close friends. Later her love for telling tales became a means of providing for her family—beginning with short story submissions to magazines. Although Burnett did not necessarily start out writing for children her career ended up along that path after the success in 1886 of her first children’s book, Little Lord Fauntleroy. After this success, she was a recognizable author on both sides of the Atlantic. Sara Crewe; or, What Happened at Miss Minchin’s, the 1887–88 serial publication in St. Nicholas magazine and the 1888 short story publication both were titled the same, and the subsequent reworkings of Sara’s world in the forms of two plays, A little un-fairy princess (England, 1902), and A Little Princess; Being the Whole Story of Sara Crewe, Now Told for the First Time (United States, 1903), and the 1905 full-length novel which retained the American 1903 play’s title, outlines the creative process that Burnett undertook while exploring the world of Sara Crewe. By examining the above forms, readers and scholars gain an insight into not only the differences between the forms, but also a view of how the author approached adapting an already published work, and the influence of editors on an authors work. The examination of the development of Sara’s timeline will bring light onto Burnett’s growth as a writer and specifically her transition into her role as a children’s literature author.
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Mahala, Siphiwo. "Inside the house of truth : destruction and reconstruction of Can Themba." Thesis, 2017. http://hdl.handle.net/10500/25231.
Full textAbstract:
This study is, by its intention at any rate, an attempt at assembling the scattered fragments of
Can Themba’s life to make a composite being out of the various existing phenomena that
shaped the contours of his life in both literary and literal senses.
Given the disjunctive manner in which Can Themba and his work have been represented thus
far, a combination of Historical and Biographical research methods will underpin the approach
of this study. The resultant approach is the Historical-Biographical method of research.
According to Guerin et al (2005, 22) the Historical-Biographical approach “sees the work
chiefly, if not exclusively, as the reflection of author’s life and times or the life and times of
the characters in the work.”
This research is premised on the conviction that an individual is a constellation of multiple
factors that play a pivotal role in the construction of their persona. These factors will be traced
from his family background, early schooling, tertiary education, socio-economic conditions as
well as his contribution to various newspapers and journals.
While so much has been written about Themba and his work, there is no comprehensive
biography of Can Themba as a person. Most importantly, the factors that contributed to his
making as well as his breaking, or destruction, have not been interrogated in a form of
comprehensive academic research.
Rightly or wrongly, Themba’s meteoric rise into the South African literary canon is often traced
from the moment he won the inaugural Drum Magazine short story competition. Themba
became one of the most popular journalists and rose within the ranks of Drum to become the
Assistant Editor. However, my research demonstrates that winning the Drum short story
competition was the culmination of a literary talent that was developed and had been simmering
for a number of years. Themba studied at the University of Fort Hare between 1945 and 1951
alongside the likes of Dennis Brutus, Ntsu Mokhehle, Robert Mangaliso Sobukwe,
Mangosuthu Buthelezi, and many other prominent individuals. He was a regular contributor to
The Fortharian, a university publication that published opinion pieces, poems and short stories.
This is a vital component of Themba’s intellectual growth and it remains the least explored
aspect of his life. As a result, what has been discursively documented by various scholars,
writers and journalists, thus far, is a very parochial representation of Can Themba’s oeuvre.English Studies
D. Litt. et Phil. (English Literature)
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Jappie, Achmat Ahdiel. "The development of the arabic essay and short story with particular reference to the contributions of Mustafā Lutfī al-Manfalūtī." Diss., 2007. http://hdl.handle.net/10500/1656.
Full textAbstract:
The dissertation firstly looks at how the Arabic essay and short story developed in Egypt since the beginning of the nineteenth century. Then a discussion follows on the life and contribution of the Egyptian author, Mustafā Lutfī al-Manfalūtī, as representative of this literary evolution.
The general influences on Egyptian literature are discussed, and the general development of Arabic prose from 1850 onwards is then detailed, including the efforts to save Arabic literature from stagnation and degeneration. Following this, the focus is on the origins of the essay and short story. This leads to dealing with the growth and advancement of the essay and short story, together with the revival of the Arabic heritage and how the Arabic novel came into being.
Then Mustafā Lutfī al-Manfalūtīs biography, environmental circumstances and personalities that influenced his writings are focused on. Afterwards, the core discussion is Al-Manfalūtīs seven literary works, and his ideas and opinions as reflected in his writings. In conclusion, the relevance of his writings and an appraisal of his literary contributions are detailed.Religious Studies & Arabic
M.A. (Arabic)