Dissertations / Theses on the topic '1885-1922 Criticism and interpretation'
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1
Laing, Kathryn. "'The Sentinel' and the evolution of Rebecca West's early writing, 1910-1922." Thesis, University of Oxford, 1998. http://ora.ox.ac.uk/objects/uuid:c622e025-601f-4138-86f6-d44bd2a8d62a.
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This thesis aims to re-examine the first decade of Rebecca West's literary and journalistic career, based on an analysis of a newly discovered novel West began writing in 1909/1910. "The Sentinel", although incomplete and unrevised, is a key text to an understanding of West's early literary and feminist apprenticeship, helping to enrich reconsiderations of West's oeuvre in recent criticism. The recovery of West's writing into a female modernist canon provides a useful starting point, although the intertextual analysis of West's fiction and non-fiction during this period will show that this kind of categorisation is an inadequate representation of the complexity of her work. The limited time-frame of this study, 1910 to 1922, magnifies West's writing processes to reveal her self-conscious negotiations as a woman writer with the ferment of ideas and changes arising during the pre-war and war period, particularly in relation to contemporary feminism and an emergent male modernist aesthetic. The first chapter is concerned with identifying, dating and examining the significance of "The Sentinel" as source material for West's later published fiction and non-fiction. Many of West's pervading interests are already evident in the novel, illustrating in retrospect how her writing was shaped by differing literary contacts, feminist affiliations, the war and personal experience. Chapters Two and Three consider the impact on West's journalism and fiction of her associations with the radical feminist journal, The Freewoman, and her introduction to avant-garde writers. West's unsuccessful attempt to rewrite "The Sentinel" as the novel, Adela, is discussed in relation to selected feminist articles and the short story, "Indissoluble Matrimony", illustrating her attempts to adapt her feminist interests to aesthetic ones. Chapter Four shows how the war provided a cutting edge and a point of definition in West's writing at this time, both in her consideration of the role of art and of the gendered structures of society. The influence of writers such as H.G. Wells, Ford Madox Ford and Henry James is discussed in relation to West's preoccupation with the role of women during the Great War. This material provides an important context for the analysis of The Return of the Soldier in Chapter Five. Chapter Six is a transitional one, describing the effect of the war and its aftermath on contemporary feminist ideology, and evaluating Rebecca West's attempt to position herself as a writer and a feminist in relation to these changes. Chapter Seven argues that The Judge (1922) offers a cumulative history of West's literary and feminist apprenticeship, at once completing the cycle begun with "The Sentinel" and initiating a different stage of writing for West during the twenties.
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Bélanger, Danielle-Claude. "Les modalités de réécriture chez Madeleine Ferron /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29494.
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My thesis studies rewriting in the works of Madeleine Ferron. I analyze passages Ferron took from her own writings and rewrote in later texts. Between 1960 and 1995, Ferron produced 114 texts; they include tales, short stories, articles, novels, ethnographic studies and biographies. The author rewrote twenty-two passages and four complete texts. My study describes and analyzes the functions of the rewriting process in these texts: it explores, among others, literary devices, thematic structures and the manner in which the rewritings determine editorial strategies. Rewriting is at the core of the Ferronian esthetic and is here characterized by the transposition of genres, and corresponding processes of fictionalization or defictionalization. I identify three stages in Madeleine Ferron's writing career: the early years (1960--1970), when Jacques Ferron (her brother, a well-known writer) rewrote Madeleine's texts, the period during which her major works were produced (1971--1989); and 1990 to 1995, the period that saw the publication of her most "personal" texts; these chronological divisions correspond to the three main chapters of this thesis.
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Ghandeharian, Minoo. "Une analyse des Gommes, du Voyeur et de la Jalousie." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25408.
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Les Gommes, Le Voyeur, La Jalousie, les trois premiers romans de Robbe-Grillet, constituent la premiére phase de l'oeuvre de l'écrivain. Dans cette étude il s'agira de voir ce qui sépare la vision du monde et l'écriture de Robbe-Grillet de la tradition littéraire qui l'a précédé, ce qui, de cette tradition, subsiste encore chez lui, et ce en quoi consistent l'originalité et la spécificité de l'univers romanesque robbe-grilletien. D'une part, Robbe-Grillet rompt avec les formes et normes romanesques établies, d'autre part, il crée son propre univers romanesque. Cette rupture est manifeste dans Les Gommes comme l'est l'apparition d'un nouvel espace littéraire dans Le Voyeur, et surtout dans La Jalousie. Pour bien comprendre l'art et la position théorique de Robbe-Grillet, pour bien comprendre son oeuvre, il est absolument indispensable de connaltre la rupture d'avec l' " ancien " et le début d'un processus littéraire propre a Robbe-Griliet. L'une et l'autre se dessinent clairement dans Les Gommes, Le Voyeur, et La Jalousie.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Jaeck, Lois Marie. "Marcel Proust and the text as macrometaphor." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25813.
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Marcel Proust and the Text as Macrometaphor proposes that metaphor may provide the key to understanding the structure and effect of some novels. Some literary works give rise to an inexpressible impression that transcends its component elements. This dissertation attempts to prove that such texts reflect on a macro-scale the structure of a poetic metaphor, and thus function as "macrometaphors". Because Marcel Proust established a connection in Le temps retrouvé between metaphor and a literary work, his investigation of the metaphorical process and the means by which it suggests to its reader the internal reality of things is utilized as the theoretical basis for a comparative analysis of six novels from the perspective of the metaphor-like structures that underlie their characterizations, organization, ideas, imagery, milieus, and symbols.
The Introduction discusses the validity of using Proust's A la recherche du temps perdu as an illustration of the novel as macrometaphor, and considers other theoretical studies which also suggest a possible connection between text and metaphor.
Chapter One analyzes Proust's theory of metaphor as set forth in Le temps retrouvé, elucidating first of all the meaning of the word "metaphor" as used by Proust. It then explores briefly how his usage fits into the history of the concept of metaphor from the time of Aristotle to the present day, and next explicates the steps taken by the narrator that culminate in his recognition of the metaphorical process and its relationship to art and life. Finally, it clarifies the structures and conditions that constitute metaphor as understood by Proust.
Chapter Two demonstrates how the totality of the novel A la recherche du temps perdu reflects the structure of metaphor as defined in Le temps retrouvé. The similarities shared by the structure of the text and the structure of metaphor are the grounds for viewing the text as a macrometaphor.
Chapter Three presents brief, comparative structural analyses of five other novels (Cervantes' Don Quixote, Diderot's Jacques le fataliste et son maître, Thomas Mann's Der Zauberberg, Julio Cortázar's Rayuela, and Gabriel García Márquez' Cien años de soledad) in order to demonstrate that these works reflect the structure of metaphor also.
The Conclusion presents some general ideas about the relationship of thought, discourse, metaphorical structure, literary works in general and novelistic structure in particular.Arts, Faculty of
English, Department of
Graduate
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Beaulé, Sophie. "Cancer, fulgurance : Robbe-Grillet, de l'avant-garde au paralittéraire." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36544.
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The aim of this study is to analyse the web of meaning underlying the presence of plots and images from paralitterature in the work of Alain Robbe-Grillet. This presence is explained by a transformation in the bookmarket, cultural environment and literary landscape, and corresponds to the malaise in the social discourse raised by the crisis.The bookmarket changed rapidly in the years following the war. Its reorganization along industrial lines lead to recurrent periods of crisis. That part of the market consisting of mass produced books came under the influence of American popular fiction. This situation had repurcussions on the literary field. People no longer saw books and authors as special, and the readership of serious literature decreased markedly. The avant garde itself seemed exhausted. Works of paralitterature, on the other hand, entered in a process of legitimation.
The New Novelists, and especially Robbe-Grillet, find in paralitterature expressions of the social discourse more powerful than those available in canonical literature. Popular fictions, rife with violence and agression, capture the worries and pessimism about society and the alienation of the individual. In Robbe-Grillet's work, the world is conceived as containing a cancer, one that threatens the social order. Reality is distorted in his fiction, and the characters are fragmented and lost in their imaginary world. The image of a cancerous society is crystallized in the motif of the ritual sacrifice of a woman. For Robbe-Grillet, though, this motif also suggests the origin of fantasy, and in doing so might rejuvenate the creative impulse. Behind the violence and eroticism of his fiction, then, and behind the anomia contaminating literature, is the desire to retrace the lightening of fantasy in the hope of dealing with both the modern world and the predicament of the novel, and possibly find a catharsis through it.
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Wright, Ross M. "Karl Barth's academic lectures on Ephesians (Göttingen, 1921-1922) : an original translation, annotation, and analysis." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/399.
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This thesis consists of an original translation, annotation, and analysis of Karl Barth’s Academic lectures on Ephesians, delivered in Göttingen, winter semester, 1921-1922. The translation is composed from a typescript of Barth’s handwritten manuscript, located in the Karl Barth Archives, Basel, and is annotated for scholarly research, including complete bibliographical information on Barth’s sources. Barth’s exposition is a detailed exegesis of the Greek text of Eph. 1:1-23, comprising 13 lectures, with a summary of Ephesians 2-6 in the final chapter. Materially and formally, the exposition strongly resembles Romans II and Barth’s 1919 sermons on Ephesians, which the study examines. It also exhibits the theological objectivity of the Göttingen period, chiefly because of Barth’s explication of gnosis in Ephesians and his appropriation of Calvin’s theology of the knowledge of God. Barth made a material discovery in his study of Ephesians that fundamentally shaped his subsequent theology. He observes in Eph. 1:3-14 a train of thought which witnesses to God’s action to the creature in Christ and the creature’s subsequent movement to God. He concludes that we have come from God, who has chosen us in eternal election, and we are moving toward the glory of God, our divinely appointed goal. The exposition’s central theme is expressed in Barth’s claim that “the knowledge of God is the presupposition” and “the goal” of human existence. The distinguishing mark of Barth’s theological exegesis is its concreteness, that is, his ability to speak about the text’s contemporary meaning without lapsing into theological abstraction. This concreteness is the consequence of his theological hermeneutic. He describes the interpretive event as a field of action, consisting of the biblical text, the activity of the interpreter, and the divine speech act.
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Loundagin, G. John. "Signing the blues : toward a theoretical model based on the intertextuality of psycholinguistic metonymy and jazz phraseology for reading the texts of Jack Kerouac and Langston Hughes." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/897530.
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That marginalized discourse communities practice differing modes of communication is a claim recently argued; critics have focused on the trope of metonymy as a means of signifying a discriminated-against group's silenced status within the mainstream society. What seems to be ignored in this discussion is how differing media--literature, music, painting--constitute texts that cut across discursive space (the site of these media) in a similar fashion. By positing the intertextuality (i.e., the similarity) of psycholinguistic metonymy and jazz phraseology, this thesis demonstrates how literary texts issuing from marginalized discourse communities can speak their subjectivities' full names. In Langston Hughes' "The Blues I'm Playing," metonymy and jazz serve as methods of analysis which show the subject-object relationship in artistic production. Jack Kerouac's On The Road constitutes a narrative subjectivity that, like jazz music, metonymically disrupts itself as silences speak from the realm of an Other. By accounting for the similarities between metonymy and jazz, this thesis asserts that more accurate readings can be derived from literature issuing from discourse communities which use jazz to signify.Department of English
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Grimanis, Catherine. "The narrator in D.H. Lawrence's travel fiction : nostalgia, disillusion, and vision." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61874.
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Prévost, Maxime. "Gaiete perverse et rire de force dans l'œuvre de Victor Hugo." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37816.
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This thesis studies the theme of laughter in the works of Victor Hugo, distinguishing two topical networks: that of perverse gaiety and that of forced laughter. Part One (La Gaiete perverse) shows how Hugo, drawing various commonplaces related to cruel laughter in the gothic novel, creates a first family of characters whose laugh derives from their demented nature (the monster, the headsman, the priest, the outlaw, the mob, the court jester). Part Two (La Tristesse des justes) concerns the Hugo which, between 1845 and 1862, fashions a mythology of the People renewing with commonplaces related to perverse gaiety, which he now links to characters seen as pillars of the Second Empire (the tyrant, the soldier, the police officer). While the wicked laugh, the just man cries, and the laughter of the oppressed (the convict, the prostitute, the street urchin) is constrained. Part Three (Le Rire de force) considers three works dating from Hugo's exile, including L'Homme qui rit, where the author clearly defines what constitutes forced laughter: a victim's exultation caused by the perversity of his social torturer, the tyrant. This transition from perverse gaiety (which stems from individual perversion) to forced laughter (the result of society's perversion) will be interpreted as the reflexion of a shift in the identity of Hugo's implied reader. While the first Hugo wrote about the people, the later Hugo aspires to write for the people, which considerably affects the meaning conferred to various commonplaces used throughout his writing career.
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Ritchie, Fairlie. "Depth and destiny : religious significance in the symbolism of Isak Dinesen's literature." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66082.
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Hardel, Frédéric. "Rhétorique abolitionniste des romans de Victor Hugo." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79944.
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The death penalty occupies an essential place in Victor Hugo's work, notably in his narrative work where he emphasizes the rhetoric resources in attempts to convince his reader of the necessity of abolishing this practice which he considers "barbaric". This memoir suggests a reading of this rhetoric, concentrating on various specific Hugolian arguments and suggesting a global vision of his reasoning. The first chapter demonstrates that the opposition between law and his application lies at the root of the judicial criticism according to Hugo, from which also stems the question of death penalty to begin with. We then study the genesis and the functioning of multiple arguments depicting the consistency and persistency of Hugo's reasoning, these arguments being interpreted from novel to novel. Finally, in the third chapter, we analyze history's role as a meta-argument of the abolishment; the historical development often structuring the opposition of Hugo's theory regarding the excessive use of capital punishment.
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Jones, Chris. "A deeper "Well of English undefyled" : the role and influence of Anglo-Saxon in nineteenth- and twentieth-century poetry : with particular reference to Hopkins, Pound and Auden." Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/14708.
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This thesis challenges the assumption that Chaucer is the father of the living English poetic tradition. Nobody would deny that poetry existed in a form of English before the fourteenth century, but it is commonly assumed that linguistic and cultural changes have made Anglo-Saxon poetry a specialist area of concern, of no use or interest to modern poets. It is demonstrated that during the nineteenth century, advances in linguistic and textual scholarship made Anglo-Saxon poetry more widely available than had been the case, probably since the Anglo-Norman period. Knowledge of Anglo-Saxon literature is subsequently communicated to poets, particularly after the subject is institutionalized in English departments at British and American universities. Chapter One charts this rise in awareness of Anglo-Saxon poetry and considers its effects on several nineteenth-century poets (William Barnes, Henry Longfellow, Alfred Tennyson and William Morris). Major studies then follow of Gerard Hopkins, Ezra Pound and W. H. Auden and the uses that they make of Anglo-Saxon in their own poetry. It is argued that through these writers Anglo-Saxon has had a more important impact on modern poetry than has been thought previously. Moreover, Anglo-Saxon is often included as part of a poetics that might be called 'modernist'. For each of the three poets under study, the nature of their contact with Anglo-Saxon poetry is determined from documentary evidence (whether at university, or via secondary literature), and different stylistic debts are examined by close readings of a number of poems. No previous work has attempted a detailed analysis of the uses to which these three writers put Anglo-Saxon poetry. This thesis offers such an analysis and synthesizes the different approaches to Anglo-Saxon in order to provide an overview of this phenomenon in nineteenth- and twentieth-century poetry.
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Gaudreau, Marie-Josée. "La Venise de Proust : le voyage comme élaboration du livre." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60069.
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Just below the surface of A la recherche du temps perdu by Marcel Proust, a theme is slightly distinguishable. As the work progresses, this theme becomes omnipresent, in the narrator under the guise of a wish; this theme is travel.At first glance, it is the very movement of travelling (real and imaginary) which propels the text. Although all Proustian characters travel, the richness of this theme is most eloquently expressed in Marcel. For this character, travelling takes on many forms: dreamed, accomplished, and written; it becomes at once real and mythic.
It has often been said that the Recherche told the story of a literary career. Given this, it seems that the search for writing is an integral part of this narrative of travel. Let us say that the very construction of the story, which is more related to the imaginary than to a real description of Venice, emphasizes the transition of reading to writing. It is this passage we wish to illustrate in this master's thesis; for Marcel, the act of reading is intimately connected to his desire of travel.
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Cavendish-Jones, Colin. "Pavilioned on nothing : nihilism and its counterforces in the works of Oscar Wilde." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3515.
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This thesis explores the role of Nihilism in Oscar Wilde's thought and writing, beginning with the depiction of Russian Political Nihilism in Wilde's first play; Vera, or the Nihilists and tracing the engagement with philosophical Nihilism in his fiction, drama and essays, up to and including De Profundis. It is argued that Russian Political Nihilism derives from the same sources and expresses the same concerns as the philosophical Nihilism discussed by Nietzsche in The Will to Power, and that Nietzsche and Wilde, working independently, came to a strikingly similar understanding of Nihilism. Philosophical Nihilism is defined in two ways; as the complete absence of values (Absolute Nihilism) and as a sense that, while absolute values may exist, they are unattainable, unknowable or inexpressible (Relative Nihilism). Wilde uses his writing to express Nihilism while simultaneously seeking aesthetic and ethical counterforces to it, eventually coming to see Art and the life of the Artist as the ultimate forms of resistance to Nihilism. Wilde's philosophical views are examined in the context of his time, and in the light of his exceptionally wide reading. He is compared and contrasted with Nietzsche, the philosopher who has done most to shape our view of what Nihilism means, in his ethical and aesthetic response to Nihilism. The conclusion also considers the reception of Wilde's expression of Nihilism and his employment of Art as the only superior counterforce in the first half of the twentieth century, with particular reference to the works of Gide and Proust. Their engagement with Nihilism is explored both in historical context and as a way of addressing a problem which has become uniquely pervasive and pressing in the modern era.
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Tannenbaum, Peter M. S. "Schoenberg's theories on the evolution of music applied to three works by Alban Berg." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66139.
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El-Mouelhy, Mossino Lauretta. "Beppe Fenoglio e le tradizioni celtiche del Piedmonte." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30165.
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Reading of the poetics of Beppe Fenoglio in relation to the philosophical and religious systems of the ancient Celts, a people who dominated the territory of Piedmont from the IV century BC to the I century AD.A brief explanation of the history of Piedmont from prehistoric times, through Ligurian and Celtic domination, to Roman conquest and the consequent partial romanization of the territory will introduce the subject.
Certain aspects of the religion of the Celts, as described both by classical authors and modern scholars, will be examined in the context of beliefs, customs, and traditions of modern rural Piedmont using interviews (See Appendix ) conducted in Beppe Fenoglio's homeland, the Langhe.
Rural Piedmontese traditions and beliefs will be identified in the works of Fenoglio, particularly in Il partigiano Johnny and La malora, in order to describe the nexus that ties the concept of nature and the view of life and death expressed in the works with the naturalism of the ancient Celts.
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Brophy, Mary-Beth. "Some lost bliss : tracing the dark night of the soul in Jack Kerouac's 'Visions of Gerard', 'The dharma bums', 'Desolation angels', and 'Big Sur' : and an excerpt from the novel 'Mayor of Hollywood'." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2132.
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The research and creative portions of this thesis develop from the various responses individuals experience in the wake of a loss. The research into the evolution of faith in author Jack Kerouac's 'Duluoz Legend' and the central storyline of the novel 'Mayor of Hollywood' spring from the same well: the crossroads between death and faith. The research piece concerns itself with Kerouac's exploration of the spiritual interior in the wake of the death of his protagonist's older brother, developing a personal faith that blends Buddhism and Catholicism unfettered by formal religious practice, mirroring instead an older path of Catholic mysticism. Mayor of Hollywood explores the opposite side of the religious coin: the protagonist, Lucy Cassidy, has little compelling interest in her own spiritual existence but must address the practicalities of her partner's formal practice of Catholicism, including dietary restrictions, regular worship, moral strictures, and the religious formalization of the guilt process. At the same time, Lucy and Mark must resolve several deaths that have occurred, substituting the secular path of crime detection for the more spiritual quest to reunite with God. Linked by the shared topic of death, the two halves of the thesis address faith as a whole, exploring the interior and exterior spiritual life.
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Bell, Alan Nigel. "The male novelist and the 'woman question' George Meredith's presentation of his Heroines in The Egoist (1879) and Diana of the Crossways (1885)." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002245.
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Focusing on four early works, then three from his middle period and three from the 1890s, this dissertation explores Meredith’s role as a novelist in the unfolding of a social and literary paradox, namely, that with the death of George Eliot in 1880, the dominant writers of fiction were male, and this remained the case until the advent of Virginia Woolf, while at the same time the woman’s movement for emancipation in all spheres of life—domestic, commercial, professional and political—was gathering in strength and conviction. None of the late nineteenth-century male novelists—James, Hardy, Moore and Gissing, as well as Meredith—was ideologically committed to the feminist cause; in fact the very term ‘feminist’ did not begin to become current in England until the mid-1890s. But they were all interested in one aspect or another of the ‘Woman Question’, even if James was ambivalent about female emancipation, and Gissing, on the whole, was somewhat hostile. Of all these novelists, it was Meredith whose work, especially in its last two decades, most copiously reveals a profound sympathy for women and their struggles to realize their desires and ambitions, both inside and outside the home, in a patriarchal world. The dissertation therefore concentrates on his presentation of his heroines in their relationships with the men who, in one way or another, dominate them, and with whom they must negotiate, within the social and sexual conventions of the time, a modus vivendi—a procedure that will entail, especially in the later work, some transgression of those conventions. Chapter 1 sketches more than two centuries of development in female consciousness of severe social disadvantage, from literary observations in the mid-seventeenth century to the intensifying of political representations in the writings of Mary Wollstonecraft, and the rise of the woman’s movement in the course of the Victorian century. The chapter includes an account of the impact on Meredith of John Stuart Mill’s The Subjection of Women (1869), and an examination of some of his female friendships by way of illuminating the experiential component of his insights into the ‘Woman Question’ as reflected in his fiction and letters. His unhappy first marriage is reserved for consideration in Chapter 2, as background to the discussion of The Ordeal of Richard Feverel (1859). This early novel, Meredith’s first in the realist mode, is widely accepted as being of high quality, and is given extended treatment, together with briefer accounts of three other early works, The Shaving of Shagpat (1855), Evan Harrington (1861), and Rhoda Fleming (1865), and one from Meredith’s middle period, Beauchamp’s Career (1876). Two more novels of this period, The Egoist (1879) and Diana of the Crossways (1885), are generally considered to be among his best works, and their heroines are given chapters to themselves (3 and 4). Chapter 5 provides further contextualization for the changing socio-political circumstances of the 1880s and 1890s, with particular reference to that heightening of feminist consciousness represented by the short-lived ‘New Woman’ phenomenon, to which Diana of the Crossways had been considered by some to be a contribution. Brief discussion of some other ‘New Woman’ novels of the 80s and 90s follows, giving literary context to the heroines of Meredith’s three late candidates in the genre, One of Our Conquerors (1891), Lord Ormont and His Aminta (1894), and The Amazing Marriage (1895). The dissertation concludes with a glance at Meredith’s influence on a few early twentieth-century novelists.
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Oliveira, Maria Rita Aguilar Nepomuceno de. "Pier Paolo Pasolini, l'uomo arrabbiato = um percurso para o trágico." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283969.
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Orientadores: Antônio Fernando da Conceição Passos, Maria Betânia AmorosoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa tem como objetivo levantar e analisar os aspectos trágicos do drama cinematográfico de Pier Paolo Pasolini, através da análise da sua produção artística (documentários, ficções, teatro) e também da sua vida. O primeiro capítulo apresenta a biografia do poeta, da sua formação até o início da sua atividade cinematográfica. O segundo capítulo apresenta os aspectos trágicos dos seus primeiros filmes (Accattone, Mamma Roma, Il Vangelo secondo Matteo, os filmes cômicos com os atores Ninetto e Totó). O terceiro capítulo expõe a sua ideia de um "teatro da palavra" e a presença dos mitos trágicos nas peças Orgia, Affabulazione e Pilade. O quarto capítulo expõe a sua ideia de documentário como "filme sobre um filme por fazer" e os aspectos trágicos dos filmes documentários La Rabbia e Appunti per un'Orestiade africana. O quinto capítulo desenvolve a concepção semiológica de cinema de Pasolini (o cinema como língua escrita da realidade); e também estilística ( roteiro, uso do plano/contraplano, sua visão de "cinema de poesia"). O sexto capítulo articula os possíveis desdobramentos cinematográficos da tragédia como forma artística e como "estrutura de sentimento", alinhando a concepção de cinema moderno àquela de tragédia moderna. O sétimo capítulo analisa as tragédias gregas filmadas por Pasolini como ficção (Edipo Re e Medea) e a tragédia moderna filmada Teorema, através do levantamento de informações críticas e das evidências do trágico no cinema deste autor. Este trabalho verificou que a possibilidade de um trágico como instrumento de expressão e estrutura de sentimento se resolve em Pasolini pela poesia (a poesia media a representação do mito trágico, no teatro e no cinema). Pasolini encontra o trágico na diversidade de poeta, no escândalo da sinceridade e da autenticidade impossíveis ao homem e ao mundo "irreais" da "normalidade" "burguesa". Assim é que o trabalho apresenta e analisa a apropriação do autor dos mitos trágicos articulando-os às necessidades da estrutura de sentimento (trágica) do autor de cinema moderno de que Pasolini faz parte
Abstract: This research rises and analyses aspects of the tragedy in Pier Paolo Pasolini's work, through analysis of his artistic production (documentaries, fiction, drama) and also of his life. The first chapter presents biographic aspects of his personal trajectory until the beginning of his film activity. The second chapter presents tragic aspects of his first films (Accattone, Mamma Roma, Il Vangelo secondo Matteo, the comic films with the actors Ninetto and Totó). The third chapter exposes Pasolini's idea of a "theater of the word" and how the tragic myth appears on it. The fourth chapter lays out his idea of documentary as "a film about a film to be make" and analyse the tragic aspects of his documentaries La Rabbia and Appunti per un'Orestiade Africa. The fifth chapter develops Pasolini's idea of cinema; his semiological approach (the cinema as the written language of reality), as well as his personal film style ( script, use of the "shot reverse shot" and his vision of the "cinema of poetry"). The sixth chapter articulates the possible consequences of the tragedy as an artistic form and a "feeling's structure" adapted to the cinematic instruments, aligning the concept of "modern cinema" with that of "modern tragedy". The seventh chapter analyses the tragedies filmed by Pasolini as fiction (Edipo Re and Medea) and the filmed "modern tragedy" Teorema, gathering critical information and evidences of the tragic vision in Pier Paolo Pasolini's films. We noticed that the possibility of the tragedy as an instrument of expression and a structure of feeling for the cinema is solved in Pasolini's work by the poetry (is the poetry that mediates the author's representation of the tragic myth in his dramas and films). Pasolini finds the tragedy in his poet's condition of diversity, in the scandal of sincerity and in the authenticity inside the "unrealistic" situation of the bourgeois world and its "normality". Thus the present Research analyses the author's ownership of the tragic myths articulating it to the feeling's structure (the tragic vision) of the authorisme in the "modern cinema" which Pasolini's work belongs
Mestrado
Multimeios
Mestre em Multimeios
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Alves, Cláudia Tavares 1988. "O ensaísmo corsário de Pier Paolo Pasolini." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270079.
Full textAbstract:
Orientador: Maria Betânia AmorosoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Dentre as diversas atividades literárias e cinematográficas às quais Pier Paolo Pasolini se dedicou ao longo de sua carreira, seu trabalho jornalístico ganhou grande destaque entre o público em geral e a crítica especializada por ter um caráter de intervenção política. A intenção do presente trabalho é buscar caminhos para compreender o percurso intelectual percorrido pelo escritor italiano nos meios de comunicação de massa, iniciando a pesquisa por artigos publicados na década de 1960 em periódicos de menor circulação e culminando em uma análise mais longa e reflexiva sobre o momento que ficou conhecido como o do corsarismo. Tal denominação foi extraída do livro Scritti corsari, de 1975, o qual reúne uma série de textos escritos para grandes jornais italianos, como o Corriere della Sera, a fim de denunciar a dominação de um modo de vida burguês em detrimento de outras manifestações sociais e culturais na Itália após o fim da Segunda Guerra Mundial e seus consequentes avanços econômicos. Nosso objetivo é então pensar o que foi esse momento corsário na obra de Pasolini e de que maneira suas escolhas estilísticas constituíram uma forma muito particular de escrever ensaios jornalísticos
Abstract: Among all different literary and cinematographic activities developed by Pier Paolo Pasolini, his work in newspapers gained great importance with the general public and the critics because of the political intervention it represented. The purpose of this thesis is to search for means to comprehend the intellectual journey made by the Italian writer when he has written for big mass medias. The first step was related to writing reviews about his articles published during the 1960s in smaller journals and then a deeper and reflexive analysis of corsarismo was made. Corsarismo is a designation extracted from the book Scritti corsari (1975), which gathers many texts published in big newspapers, such as Corriere della Sera. These articles were written to denounce the domination of a certain bourgeois way of life to the detriment of other social and cultural manifestations in Italy after Second World War and its consequent economical improvements. Our main goal is to think of what has been this corsair moment in Pasolini¿s work and in which way his stylistic choices became part of a very particular way of writing essays
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
21
Vacani, Wendy. "A sense of place and community in selected novels and travel writings of D.H. Lawrence." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/15154.
Full textAbstract:
In 1919 Lawrence left England to search for a better society; his novels and travel sketches (the latter are usually seen as peripheral to the novels) continually questioned the values of Western society. This study examines D.H. Lawrence's great 'English' novels in the light of their vivid portrayal of place and community. However, to procure a new emphasis the novels and travel writing are brought into close alignment, in order to examine the way in which the sorts of philosophical questions Lawrence was interested in - ideas on human character, marriage, social structures, God, time, and history - influence his portrayal of place and community across both these genres. Chapter I, on Sons and Lovers, emphasises the way social and historical factors can shape human relationships as powerfully as personal psychology. In Chapter II, on Twilight in Italy, discussion of the effect of place on human character is broadened into a consideration of the differences between the Italian and English psyche; the philosophical passages are read in the light of revisions made to the periodical version. Chapters III and IV, on The Rainbow and Women in Love, conscious of the critique of English society that Lawrence made in Twilight, recognise that although Lawrence is concerned to show the flow of individual being he is no less interested in the relationship between the self and society, and the clash between psychological needs and social structures like work, marriage and industrialisation. Chapter V, on Sea and Sardinia, examines Lawrence's realisation that the state of travel engages with the present and impacts on individual needs and identity. Chapter VI, on Mornings in Mexico, studies the way Lawrence transcended the journalism usual to the travel genre and maintained a deep spirituality as he pondered the attributes of a primitive society and its appropriateness to Western Society. Because travel writing is both reactive and subjective (a writer's reaction to a country is underpinned by the metatext of his own concerns), I ask if Lawrence's presentation of experience can be thought of as accurate or whether places and people are constructs of his imagination. Chapter VIII examines Lady Chatterley's Lover as Lawrence's attempt to bring together the attitudes to sex, class and education witnessed on his travels with an English setting; to envisage a way of living that would meet the deep-rooted needs of man. Chapter VIII, on Etruscan Places, shows Lawrence conscious of encountering the ultimate journey, death, and pays tribute to the fact that while the book searches for philosophical answers on how to die, it is at the same time a paean to life and the beauty of landscape.
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Schaub, Danielle. "Fragmented worlds: narrative strategies in Mavis Gallant's short fiction." Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212667.
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Rombouts, Alexandra. "Imaginative possession : evocation of place in works by David Malouf, Barbara Hanrahan and Gerald Murnane." Master's thesis, 1990. http://hdl.handle.net/1885/139398.
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Campbell, Anna Johannes. "Pynchon's prism house of language." Phd thesis, 1986. http://hdl.handle.net/1885/139431.
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Driver, Duncan. "Character and selfhood in Hamlet and the history of Hamlet criticism." Phd thesis, 2007. http://hdl.handle.net/1885/150026.
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Dixon, Frances. "Circling the terrain : the pattern of Seamus Heaney's poetic discovery, 1966-1987." Phd thesis, 1991. http://hdl.handle.net/1885/139120.
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Luther-Davies, Marivic Wyndham. "A 'world-proof life' : Eleanor Dark, a writer in her times." Phd thesis, 1995. http://hdl.handle.net/1885/145772.
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"從集外遺文看周作人早期(1918-1929)雜文的創作." 1987. http://library.cuhk.edu.hk/record=b5895420.
Full textAbstract:
張玿于.稿本(據電腦打印本複印).
Thesis (M.A.)--香港中文大學中國語文學部.
Gao ben (ju dian nao da yin ben fu yin).
Includes bibliographical references (leaves 405-427).
Zhang Shaoyu.
Thesis (M.A.)--Xianggang Zhong wen da xue Zhongguo yu wen xue bu.
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 周作人在中國現代文學的地位 --- p.2
Chapter 第二節 --- 歷來對周作人的評價 --- p.6
Chapter 第三節 --- 研究情況回顧 --- p.10
Chapter 第四節 --- 本文旨趣、研究方法與材料 --- p.22
第一章註釋 --- p.26
Chapter 第二章 --- 周作人家世、教育與思想 --- p.40
Chapter 第一節 --- 早年生活與婚姻 --- p.41
Chapter 第二節 --- 新舊的教育 --- p.48
Chapter 第三節 --- 學養與思想 --- p.59
第二章註釋 --- p.70
Chapter 第三章 --- 從集外遺文看周作人二 十年代散文創作的特點 --- p.104
Chapter 第一節 --- 研究周作人未入集散文的價值 --- p.105
Chapter 第二節 --- 一九一八─二一年未入集散文 --- p.114
Chapter 第三節 --- 一九二一─二四年未入集散文 --- p.123
Chapter (甲) --- 語文問題的討論 --- p.128
Chapter (乙) --- 對傳統思想的攻擊 --- p.153
Chapter (丙) --- 對時局與社會事件的討論 --- p.171
Chapter 第四節 --- 一九二四─二七年未入集散文 --- p.185
Chapter (甲) --- 關於清室、帝制、奴性等問題的評論 --- p.190
Chapter (乙) --- 圍繞女師大事件的論爭 --- p.197
Chapter (丙) --- 與「現代評論社」的筆戰 --- p.212
Chapter (丁) --- 對「五卅慘案」的討論 --- p.218
Chapter (戊) --- 對「三´′一八慘案」的討論 --- p.221
Chapter (己) --- 對北洋軍閥的批評 --- p.228
Chapter (庚) --- 對國民黨態度之轉變 --- p.236
Chapter 第五節 --- 一九二七─二九年未入集散文 --- p.245
第三章註釋 --- p.255
Chapter 第四章 --- 結論 --- p.305
Chapter 第一節 --- 從集外遺文看周作人二十年代散文創作的思想內容 --- p.306
Chapter 第二節 --- 選取入集的標準 --- p.315
Chapter 第三節 --- 從集外遺文看周作人雜文創作的文學技巧 --- p.318
第四章註釋 --- p.324
Chapter 附錄一 --- 周作人散文目錄表 --- p.329
Chapter 表一 --- 周作人未入散文作品表(1918-1930) --- p.330
Chapter 表二 --- 周作人作品編目表(1918-1930) --- p.358
Chapter 附錄二 --- 參考書目表 --- p.404
Chapter 表一 --- 周作人著作 --- p.406
Chapter 表二 --- 參考專書
Chapter (甲) --- 日記、書信集 --- p.409
Chapter (乙) --- 其他 --- p.410
Chapter 表三 --- 論文 --- p.415
Chapter 表四 --- 報紙、期刊 --- p.425
29
Russell, Terence Craig. "Songs of the Immortals : the poetry of the Chen-Kao." Phd thesis, 1985. http://hdl.handle.net/1885/133944.
Full textAbstract:
Among the texts "revealed" to the fourth century hierophant Yang
Hsi, a considerable quantity were in the form of verse or rhyme-prose.
Much of this material was assembled by the scholar, T'ao Hung-ching,
who included it in a compendium of the Mao Shan revelations entitled
Chen Kao, or The Revelations of the Perfected. In recent years
the Chen Kao and the Mao Shan scriptures in general have received
considerable attention from scholars outside of China. Most of this
attention has been directed towards describing the nature of Mao Shan
religion. Little attempt has been made to deal with the literary
qualities of the texts. This thesis is intended to remedy this
situation to some extent.
The central focus of the study is on the poetry contained in the
Chen Kao. The aim has been to uncover certain of the motives and
manners of the Perfected immortals supposedly responsible for the
composition of the poems. In this endeavour literary theory has been
eschewed in favour of a more fundamental examination of the content of
the poems. It seemed most important at this stage to seek the reasons
behind the con-position of the poems and the significance of the themes
and imagery selected by the poet or poets.
My first chapter describes the special universe to which the
poems refer. The Perfected beings ostensibly responsible for the
poems did not live in the world known to mortals and their verse often
pertains to an environment and life quite foreign to their audience.
The next three chapters select the themes of landscape description,
music imagery and romantic drama for special attention. The object of
these chapters is to describe the origins and expression of certain of
the most important themes found in the Chen Kao poetry. The fifth
chapter briefly traces the history of "Wandering Immortals" poetry
with a view to finding the roots of the style and conventions used 1n
the poems of the Perfected. The final chapter deals with certain
formal characteristics of the poems and also describes how a variety
of thenes of religious significance found poetic expression. Translations of all of the poems found in the Chen Kao are included in
the appendix. These translations are accompanied by extensive
annotation.
30
Middlemost, Thomas A. "Australian monotypes." Phd thesis, 2012. http://hdl.handle.net/1885/156396.
Full textAbstract:
While much has been published on Australian printmaking, the monotype is generally dealt with in a cursory manner and has never served as the subject of a detailed, dedicated study. This thesis sets out to fill this lacuna, both through a general history of monotypes in Australian art- with a comprehensive investigation of the various clusters of monotype artists that have appeared during the past 120 years of Australian art history-and through three case studies of prominent Australian artists for whom the monotype was an important part of their practice. The selected artists are Rupert Charles Wulsten Bunny (1864-1947), Margaret Rose Preston (1875-1963) and Bruno Leti (b. 1943). These case studies can be found in the Appendices. Four conceptual threads or arguments for the unique nature of the monotype wi ll be explored whilst documenting its history. In this thesis it is argued that there is an inner momentum unique to monotype clusters throughout Australian art history. Secondly, throughout the thesis it is argued that monotype gives an artist the freedom to express their individual sensibility, as a distinct voice, as opposed to other print mediums. Thirdly, the monotype is unique in printmaking because of its precarious balance on the cusp of both painting and printmaking, opening the door for painters to experience and feel comfortable using a print med ium. Lastly, the individual economics of the monotype in printmaking practice is revealed. As a unique print and therefore separate from multiple originals in printmaking, monotypes are aligned with painting and drawing, muddying their identity as prints and rendering their identity in an art market as translucent as 'ghost prints'. While the number of Australian artists who use the medium is extensive, this widespread use is rarely noted. The monotype has an almost invisible exjstence in general accounts of Australian art and even in histories of printmaking. The individual exhibiting histories are described in reference to the artist's oeuvre, their common art practice and their biographies. The purpose is to document an artist's inspiration for commencing or continuing to make monotype prints. Documentation of Australian monotypes is poor even though Australian artists have played and continue to play a significant role in the history of international monotype art. Roger Butler, Senior Curator of Australian Prints, Drawings and Illustrated Books at the National Gallery of Australia (NGA) notes that the best and most complete i nternational catalogue and exhibition on monotypes "is in no way definitive and does not include articles on the subject by the Australian artists Rupert Bunny and A. Henry Fullwood". This thesis marks the beginning of a process for an understanding of the great influence of monotype printmaking on Australian artists and their practice. Future research on monotypes in Australia can use this framework to build detailed studies of Australian artists' monotypes.
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Reynolds, Jack. "Embodiment and the other : relationships and alterity in phenomenology and deconstruction, Merleau-Ponty and Derrida." Phd thesis, 2002. http://hdl.handle.net/1885/148511.
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Stadtmiller, Patricia Joan. "Explorations and discoveries : charting the imaginative world of Elizabeth Jolley." Master's thesis, 1992. http://hdl.handle.net/1885/110279.
Full textAbstract:
The primary objectives of this thesis are to explore the
imaginative world of Elizabeth Jolley and to place her within
the context of other Australian writers in order to determine
the limitations and achievements of her work. The body of this
thesis consists of seven chapters. Within them all page
numbers to Jolley's work appear paranthetically together with
an abbreviated title of the story either being quoted from or
discussed. The Modern Language Association of America's
method of citation has been used in the endnotes as well as in
the list of works consulted.
Jolley's literary output for an author who published her
first book in 1976 is considerable. In the fourteen years from
1976 to 1990 she has published three book-length collections
of short stories and ten novels. This thesis makes no claim to
providing an exhaustive appraisal of all her fictional work.
Rather within the thesis reference is made to a range of
writing from the Jolley corpus and five novels are
focussed upon in considerable detail. In her writing it is
Elizabeth Jolley's habit of mind as an author to return to
characters emerging in preceding published works, to revisit
landscapes and places and to rework phrases, images and
motifs introduced in earlier writing. This is all part of what
Helen Garner refers to as Jolley's "inspired thrift."1 Such
overlapping or exploratory recycling means that it is possible
to feel out the physical, emotional, intellectual and symbolic
textures of her imaginative world through the close study of a
selection of novels from within her oeuvre.
33
Li, Ching-wen. "The evolution of Chikamatsu's history plays." Master's thesis, 1991. http://hdl.handle.net/1885/139344.
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Jiang, Xiaoming. "William Golding and fallen man : a socio-historical approach." Master's thesis, 1987. http://hdl.handle.net/1885/139373.
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Kulemeka, Andrew Tilimbe Clement. "Ambivalence and scepticism in Patrick White's later novels." Master's thesis, 1986. http://hdl.handle.net/1885/139564.
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Gong, Jing-Bao. "Martin Boyd's Anglo-Australian novels : a study of the development of major themes." Master's thesis, 1987. http://hdl.handle.net/1885/139592.
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Matthews, Rosalyn Clare. "The incurable Dr. Vaid : transgression, nation and the crisis in postcolonial Hindi criticism." Phd thesis, 2011. http://hdl.handle.net/1885/151428.
Full textAbstract:
Krishna Baldev Vaid is one of the most innovative and significant writers of Hindi fiction. He has relentlessly tested the boundaries of acceptability in Hindi fiction, and has refused to bow to pressure to conform to dominant paradigms regarding what Hindi literature should look like. The purpose of this thesis is to show that accusations that Vaid's fiction is obscene, un-Indian and lacking social engagement reflect certain anxieties regarding what constituted 'authentic' Indian literature in the postcolonial context. I argue that criticism of Vaid's more controversial work, and the subsequent relegation of his fiction to the periphery, has been the result of a set of postcolonial circumstances whereby establishing a modernity which could be asserted as both modern and Indian was considered important. In the case of Hindi literature ideas regarding what constituted 'good' Hindi fiction were heavily influenced by the social and political milieu of post-colonial India and the establishment of this uniquely Indian style of modernity.
The thesis takes the themes of sexual transgression and nation as the basis for analysis of selected short fiction by Vaid to demonstrate how Vaid critiques the postcolonial discourse of the time. I argue that Vaid's fiction has been marginalized as a result of a postcolonial crisis in Hindi criticism, despite, or perhaps because of, his relentless challenging of normative discourse and his absolute refusal to conform to the boundaries dictated by his contemporaries. In the texts analysed Vaid uses rupture, dissonance, irony and wit to destabilize the predominating discourse regarding sexual transgression and nationalist sentiment. After analysis of selected fiction of Vaid based on the themes of sexual transgression and nation, the thesis proceeds to an outline of the crisis in postcolonial Hindi criticism, criticism of Vaid's work, and rebuttal from Vaid regarding the criticism he has received and the environment he considers it reflects.
The main contribution of the thesis is to show that criticism of Vaid's fiction has been heavily influenced by postcolonial anxieties regarding Indianness and authenticity and that this reflects more about the environment in which he wrote than the literature itself. The evidence shows that rather than demonstrating a lack of social engagement, obscenity or undue imitation of Western models, Vaid is deeply engaged with the Indian postcolonial environment and challenges the very basis on which it was constructed.
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Robson, Julie-Ann. "Beneath the socratic cloak : Oscar Wilde and the art of criticism." Phd thesis, 2003. http://hdl.handle.net/1885/148762.
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Rickard, Suzanne. "On the shelf : women writers, publishing and philanthropy in mid-nineteenth-century England." Phd thesis, 1995. http://hdl.handle.net/1885/139147.
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Lim, Chong Lim. "The infinite longing for home : desire and the nation in selected writings of Ben Okri and K.S. Maniam." Phd thesis, 2002. http://hdl.handle.net/1885/148571.
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Holmes, Andrew Maxwell. "A time to speak : an integrative performance historiography of Archibald Macleish's panic and the fall of the city." Phd thesis, 2014. http://hdl.handle.net/1885/156395.
Full textAbstract:
"A Time to Speak": an integrative performance historiography of Archibald MacLeish's Panic and The Fall of the City examines two neglected plays, Panic (1935) and The Fall of the City (1937), by the American poet-playwright Archibald McLeish (1892-1982). Best known in studies of verse drama for his 1958 play, J.B., MacLeish is a significant figure in American letters and these early plays, hitherto neglected in theatre history and performance, are crucial to an understanding of his career as a whole. The thesis presents archival study of the history of these plays in performance integrated with the revival of the works themselves through contemporary performance practice. Because verse drama has historically been perceived in terms of its heightened literary qualities, critical approaches to the genre have tended to focus on a literary, text based analysis. Verse drama, then, has traditionally been at the forefront of such polarising scholarly binaries as text versus performance and the literary versus the theatrical within theatre studies. In its integration of literary analysis, theatre historiography and contemporary performance practice, this dissertation aims to demonstrate the methodological possibilities of a more inclusive, complementary and constructive approach to the study of verse drama. MacLeish, Panic and The Fall of the City provide intriguing case studies in exploring new approaches to the study of verse drama in its historical, textual and performance contexts. The first chapter contextualises Panic, linking MacLeish's journalism of the period and his attempts to 'sound' the Great Depression through performed verse. The second chapter analyses the three major historical productions of the play within their socio-historical and theatrical contexts, revealing important insight into the ways in which the various contextual performative frameworks surrounding these productions impacted upon their reception. Chapter three focusses on my own experience of directing Panic at the Australian National University in 2011, and audience reactions to the performance. The final two chapters are dedicated to The Fall of the City, as well as the processes leading from Panic to The Fall of the City's production in 2011. Chapter four provides contextual information, analysing the production history of the play and the main issues for performance which this history highlights. The fifth and final chapter discusses the performance of the play at the Australian National University in 2011, again incorporating audience response and feedback. The conclusion provides a brief overview of the rest of MacLeish's dramatic career and the formative influence of both Panic and The Fall of the City on it, a statement about the project's methodological significance to the genre of verse drama, and a re-evaluation of the two plays in light of their performance outcomes.
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Minchin, Elizabeth. "Aspects of the composition of the Homeric epics." Phd thesis, 1989. http://hdl.handle.net/1885/136140.
Full textAbstract:
The hypothesis that the Homeric epics are the products of a formulaic mode
of composition characteristic of an oral tradition has for the iast fifty years
dominated Homeric research. The theories of Milman Parry and his
followers have undoubtedly expanded our understanding of some of the
processes which make composition possible. But these same theories, in
arguing for a text produced by a tradition, and not by a creative poet, have
frustrated the scholar who wishes to come to terms with the epics as great
works in themselves, as compositions which have long had the capacity to
exci te and involve their audiences.
As a corrective, therefore, to Parry's influence, which scarcely permits us to
go beyond a text-based analysis of Homer's verses, I propose that we consider
the poems from another perspective. This is a perspective suggested by
recent work in several disciplines - in cognitive science, psychology, and
sociolinguistics - in which stories have been examined not as text per se , but
as the products of an activity which might be described as mind-based and
audience-orientated. Cognitive psychology offers us a theoretical framework
within which we can reconstruct the processes by which a poet composes his
story, even as he performs. A study of the pragmatics of storytelling, on the
other hand, allows us to appreciate story as a medium of communication in
which the storyteller, at every stage of composition, and in order to serve his
own purposes, is responsive to the needs and expectations of his audience.
I attempt to demonstrate how these theories about stories and the shaping of
stories enhance our appreciation not only of the processes by which the
Homeric epics might have been composed but also of the action described
within the storyworlds which they evoke. My aim is not to overturn current
views of Homer; rather, I shall suggest that, in the light of so much
empirical work on narrative, it is possible today to rationalize and synthesize
them in the interests of a more coherent understanding of these great
poems. I shall suggest that many of the features of the Homeric epics (such
as foreshadowing and the repetition of type-scenes, or the irony which we
find throughout the Odyssey) may be described and explained in terms both
of the cognitive processes which have been activated and of the social
interaction itself, the focus of which for the moment is the storytelling; and
that most of these are common to storytelling practice as we know it today. My principal objective, however, has been to use these new theories to
structure a careful re-reading of the epics, to explore certain passages
afresh, and to throw further light on the techniques of a fine storyteller who
understands his craft.
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Larkin, Owen James. "The horror and the glory : transformation of satire to mature faith in the writing of T.S Eliot and Evelyn Waugh." Phd thesis, 2004. http://hdl.handle.net/1885/151310.
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Nandan, Kavita Ivy. "Negotiating histories and homelands : the diasporic narratives of V.S. Naipaul and Salman Rushdie." Phd thesis, 2000. http://hdl.handle.net/1885/147988.
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Tridgell, Susan. "Treatment of emotion in the novels of George Eliot." Master's thesis, 1997. http://hdl.handle.net/1885/145286.
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Cohen, Daniel A. J. "The non-Jews of Mark's Gospel : a Jewish reading." Phd thesis, 2005. http://hdl.handle.net/1885/150314.
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Van, der Berg Dietloff Zigfried. "Elsa Joubert : 'n kommunikatiewe benadering." Thesis, 1993. http://hdl.handle.net/10413/9448.
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Tidmarsh, Angela Helen. "Interpreting the imaginary father : Julia Kristeva's literary interpretative theory." Phd thesis, 1998. http://hdl.handle.net/1885/145715.
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Elyono, Dwi. "Harry Aveling's and Willem Samuels (John H. McGlynn)'s English translations of Pramoedya Ananta Toer's novel Perburuan : a descriptive study of literary translation." Phd thesis, 2014. http://hdl.handle.net/1885/151077.
Full textAbstract:
This project investigates some segments of Harry Aveling's and John H. McGlynn's English translations of the functional elements of clause-simplex/complex relations, thematic patterns, and coherence related to historical/culture-specific references and culture-specific terms/items employed in Pramoedya Ananta Toer's novel Perburuan. The project aims to establish the translation methods, identify some of the macro factors underlying their choice, and develop a descriptive research framework to carry out these two aims. The project is based on the thesis that concepts and practices of literary translation may be developed and carried out in different ways depending on the underlying macro factors. Source-oriented theories of translation state that literary texts should be translated by preserving the source text, but in actual practice many literary texts have been translated by sacrificing it. Aveling and McGlynn, as shown by a preliminary observation, have translated Perburuan differently, but their translations are both considered acceptable. Most studies of translation between Indonesian and English which claim to be descriptive are actually mainly prescriptive, and in achieving their prescriptive purposes, most of them do not consider the real factors governing the translation. These facts led to the conduct of the project within the framework of descriptive translation studies and the adoption of the thesis and the formulation of the aims as stated above. The project is a descriptive-qualitative case study, based on interpretative epistemology, and applies comparative and causal models of translation. Fifteen segments of translation are analysed with the framework of Systemic Functional Linguistics (SFL) to produce profiles of the functional elements in question employed in the source and target segments. The profiles in Aveling's and McGlynn's target segments are each compared with their original counterparts. The results are analysed with a combination of Nida's and Newmark's classifications to establish the translation methods. To identify some of the macro factors underlying the translators' choice of method, interview and written source data are analysed. The analysis is supported by a combination of the descriptive theories of Polysystem, Descriptive Translation Studies, and Translation as Rewriting, and the prescriptive theory of Skopos. The project establishes that Aveling's and McGlynn's translations have been produced with the methods of formal-semantic translation and dynamic-communicative translation respectively. Aveling's choice of method is influenced by, among other factors, personal aspects, the purpose of the translation, and the type of target readers while McGlynn's choice is influenced by, among other factors, personal aspects, the type of target readers, and the oral quality of Perburuan. These findings support the thesis. The fact that the translation methods and their underlying factors have been successfully established means that the framework developed to establish them has proven to be applicable. The results show that the combination of descriptive and prescriptive theories of translation, the application of the framework of SFL, and the combination of the analyses of interview and written source data are useful for investigating Aveling's and McGlynn's translations. Therefore, the framework developed and applied in the project can serve as a model for other descriptive studies of literary translation.
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Hoyne, Hanna. "Commitment, devotion and belonging in the world with particular reference to the work of two Indian contemporary artists." Phd thesis, 2009. http://hdl.handle.net/1885/150148.
Full textAbstract:
Commitment, Devotion and Belonging in the World with Reference to Indian Contemporary Art: Research into the ethical and political concerns in the work of two urban contemporary artists from Bombay/ Mumbai, Shilpa Gupta and Tushar Joag. The descriptive analysis of artworks explores the motivations evidenced in their strategic uses of audience interactivity, masquerade and social activism. The artists' quest for an ethical identity is framed in the greater theoretical context of Indian and global contemporary art. A study taking the form of an exhibition of sculpture exhibited at the ANU Bergman College Multidenominational Prayer space from August 24 to 29, 2009 which comprises the outcome of the Studio Practice component, together with the Exegesis which documents the nature of the course of study undertaken, and the Dissertation, which comprises 33% (or 66%) of the Thesis.v.1 Text -- v.2. Exegesis