Dissertations / Theses on the topic '1885-1930 Criticism and interpretation'
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1
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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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.
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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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Church, Joanne. "Jennifer Johnston and the Bildungsroman heroine." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61281.
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Jennifer Johnston, a contemporary Irish novelist, has written nine novels thus far encompassing a wide thematic range. While her protagonists include both male and female, in the three novels, The Old Jest, The Christmas Tree, and The Invisible Worm we witness the emergence of a new kind of heroine: the female Bildungsroman protagonist. I begin my study with a discussion of the traditional Bildungsroman as a male project, which traces the growth and self-development of an adolescent as he approaches maturity. A reformulation is then established allowing for a female version of the genre while differentiating between stories of the failure of development, such as Jane Eyre, and Johnston's stories where development is realized. I propose to demonstrate how Johnston's works exemplify the Bildungsroman form and also explore questions relevant to female development such as the protagonist's relationship to work, to love, to family, to tradition, and to writing.
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Rivard, Jacques. "L'Universalité du théâtre de Marcel Dubé." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56934.
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The works of Marcel Dube are a testimony of the French Canadian society's evolution, at a time when its cultural and social identity was being questioned. Beyond any doubt, his plays had a strong influence upon Quebecers during the fifties and sixties. Dube's dramatic works have instigated the interest of critics throughout Canada and also in the United States and Europe.This thesis represents an analysis of five plays written by Marcel Dube giving clear indication of the universality of his works, particularly based on unpublished documents. These plays were written almost thirty years ago; nevertheless, they are still alive and applauded nowadays, which corroborates their universality. Also, on the unpublished recording tapes, actress Monique Miller, actor Jean Duceppe and author and critic Jean Ethier-Blais dwell precisely on the universality of Dube's works. Therefore I thought advisable to study this particular topic in the following plays: Zone, Florence, le temps des lilas, Bilan and Au retour des oies blanches.
On these unpublished recording tapes, Marcel Dube talks about himself and his life as a writer. We learn about his childhood, the beginning of his career, the people who surrounded and encouraged him, the social, cultural, and political environment that prevailed at the time he wrote his most famous plays. He also acknowledges his mistakes, his weaknesses, his ambitions and talks about the motives that prompted him to become a writer.
Furthermore, well known author and critic Jean Ethier-Blais expresses his ideas and feelings regarding the author and his works. Actors and personal friends Monique Miller and Jean Duceppe recollect the circumstances and the effect the dramatic art of Marcel Dube has had on French Canadian culture.
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Wilson, Sonia. "La symbolique maternelle dans quatre romans de Françoise Mallet-Joris /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59851.
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So far, Francoise Mallet-Joris has been categorized either as a Catholic novelist or as a moderate feminist. Accused of conservatism by some, perceived by others as immoral, she has been considerably underrated by a critical audience anxious to maintain traditional literary categories. This thesis attempts to demonstrate that faith and feminism, far from conflicting with each other, are linked in Mallet-Joris' work with the process of writing, thus forming a triple entity where the common denominator is the theme of maternity. This theme will be analysed in four of Mallet-Joris' novels, Les Mensonges, Les Signes et les Prodiges, Allegra, and La Tristesse du Cerf-volant, using a symbolic approach whose usefulness lies in the twofold definition of a symbol as, on the one hand, a materialisation of the inexpressible and on the other, a split unity. For the temporal modality and the concept of identity inherent in the maternal experience place it outside the narrative system, thus putting any author who wishes to tackle this area in the position of either inventing a new narrative form or attempting a compromise between already existing forms and the specific content of the maternal experience. It is this latter alternative that Francoise Mallet-Joris adopts. Although as far as form is concerned, Mallet-Joris can hardly be termed innovative, she demonstrates on an ideological plane an originality which is largely the product of using the symbol of the Virgin Mary as an intermediary between the maternal experience and the symbolic order.
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Ocaña, Karen Isabel. "Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix Guattari." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26748.
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This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.
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Leone, Matthew J. (Matthew Joseph). "The shape of openness : Bakhtin, Lawrence, laughter." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39750.
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How is Bakhtin's conception of novelistic openness distinct from modernist-dialectical irresolution or open-endedness? Is Women in Love a Bakhtinian "open totality"? How is dialogic openness (as opposed to modernist indeterminacy) a "form-shaping ideology" of comic interrogation?This study tests whether dialogism illuminates the shape of openness in Lawrence. As philosophers of potentiality, both Bakhtin and Lawrence explore the dialogic "between" as a state of being and a condition of meaningful fiction. Dialogism informs Women in Love. It achieves a polyphonic openness which Lawrence in his later fictions cannot sustain. Subsequently, univocal, simplifying organizations supervene. Dialogic process collapses into a stenographic report upon a completed dialogue, over which the travel writer, the poet or the messianic martyr preside.
Nevertheless, the old openness can be discerned in the ambivalent laughter of The Captain's Doll, St. Mawr or "The Man Who Loved Islands." In these retrospective variations on earlier themes, laughing openness of vision takes new, "unfinalizable" shapes.
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Highman, Kathryn Barbara. "A study of Ted Hughes's Birthday letters." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002235.
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This thesis focusses on the literary self-reflexivity of Birthday Letters, Ted Hughes's collection of poems addressed to his long-dead first wife, poet Sylvia Plath. By close attention to the language of select poems and a discussion of cross-referencing images and allusions across the volume, and intertextually, I argue that the collection is more self-consciously ordered and designed than the mainly biographical criticism the work has met with suggests. The thesis focusses on the poets' art rather than the biographical context of Birthday Letters, though it does not draw a neat distinction between their lives and their poetry - rather it demonstrates how Birthday Letters itself treats the relationship of art to life thematically. The introduction outlines the context of the volume's genesis and publication and the notions of poetry, myth and drama out of which Hughes works, and introduces the central metaphor of metamorphosis as figured in Ariel's song "Full Fathom Five" from The Tempest, as well as the importance of that play to Plath. Each of the chapters that follow focusses on a cluster of inter-related imagery through a discussion of four or five key poems. Chapter One examines Hughes's portrayal of himself as imprisoned by Plath's poetic portraits, and relates this to the recurring motifs of the snapshot and the Medusa myth. The poems discussed emphasize Hughes's consciousness of the metamorphic and "magical" relationship of art to life. The second chapter discusses Hughes's use of the myth of the labyrinth and the Minotaur, tracing it back to Plath's writings and reading, and pointing out its self-reflexivity: the labyrinth figures Hughes's own loss as well as the labyrinthine nature of writing. The third chapter considers the themes of possession and loss, and how they attach themselves to images of houses and jewels. Possession and loss tum, self-reflexively, upon issues of inheritance and remembrance, notably Hughes's inheritance of Plath's poetic legacy, and his remembrance of her and her poetry through his own poetry. The conclusion pursues connections between the observations made in the separate chapters, outlining the larger context out of which the poems emerge, and returning to the trope of metamorphosis as figured in "Full Fathom Five"
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Nichols, Margaret K. "D. H. Lawrence and submerged cultures in Birds, beasts and flowers." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/83.
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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
English Literature
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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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Adams, Melinda J. "Re-making the Auden canon : new readings and critical interpretations of W.H. Auden's 1930's poems based on revised texts." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833006.
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Much of W. H. Auden's most brilliantly evocative poetry was written during the 1930's. His skill in catching the tones, the topics of his time, and his ability to evoke its moods and its social turbulence are unequalled among those of his generation writing of political unrest, international crises and revolution. It is no surprise that the word "Audenesque" has become part of the language of literary criticism describing a particular poetic style. Yet it was his poetry of the '30's that Auden later in his life revised and/or repudiated, creating textual problems involving basic critical issues related to literary interpretation, readers'responses to much-revised poems, and to the way that textual scholars approach the determinate relations among poems as first printed and subsequent, altered versions that are also authoritative. Traditional textual criticism cannot address all of the problems caused by Auden's extensive overhauling, nor can it provide evidence that some of Auden's harshest critics--the British Scrutiny group headed by F. R. Leavis and American critics Joseph Warren Beach and Randall Jarrell--may have dismissed him as a major poet too soon. But a method of textual treatment called versioning--the presentation of the complete texts of two or more different stages of a literary work--may be the most useful and efficient method of textual treatment for authors like Auden, and for readers and critics who might wish to assess the significance of Auden's revised works by comparing them with original texts.Department of English
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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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Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
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In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
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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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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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Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.
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The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
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Murray, Matthew. "Body Matters: Gary Snyder, The Self and Ecopoetics." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2513/.
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Gary Snyder has offered, in poems and essays, ways to acknowledge the interrelationships of humans with the more-than-human. He questions common notions of selfness as well as understandings of what it is to be human in relationship to other species and ecosystems, and he offers new paradigms for the relationship between cultures and the ecosystems in which these cultures reside. These new paradigms are rooted in a reevaluation of our attitudes toward our physical bodies which impacts our relationship to the earth and raises new possibilities for an ecological spirituality or philosophy. The sum of Snyder's endeavors is a foundation for an understanding of ecopoetics.
Snyder's poem "The Trail is Not a Trail" is an interesting place to begin examining how human perceptions of the self are central to the kinds of relationships that humans believe are possible between our species and everything else. In this poem there is a curious fusion of the speaker and the trail. In fact, with each successive line they become increasingly difficult to separate. The physical self is central to Snyder's poetry because his is a poetry of the self physically rooted in ever-shifting relationship with the biosphere.
The relationship of the self to the biosphere in Snyder's poetry also points toward a spiritual experience that can be called ecomysticism, by which I mean the space where new ecological paradigms and mystical understandings of the world overlap.
Ecomysticism goes beyond mysticisms that describe a spiritual being longing for supernatural experience while being "unfortunately" trapped in a physical body. Ecomysticism emphasizes the spiritual and physical interrelatedness or interconnectedness of all matter, the human and the more-than-human.
The integration of the spiritual and physical aspects of the self is only possible through an awareness of the interrelatedness of the self and the non-human. New paradigms for the self are thus central to ecopoetics, a poetics that seeks to heal the rift between humans and the biosphere.
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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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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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Game, David Russell. "D.H. Lawrence's Australia : degeneration and regeneration at the edge of empire." Phd thesis, 2009. http://hdl.handle.net/1885/148376.
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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.
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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
27
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.
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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.
31
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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Gutensohn, Barbara Joyce. "Songs in the blood : the discourse of music in three Canadian novels." 2004. http://hdl.handle.net/1828/507.
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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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Hiatt, Bryan. ""Living Outside the Madness" : reform and ecology in the work of Henry Thoreau and Gary Snyder." Thesis, 1997. http://hdl.handle.net/1957/34024.
Full textAbstract:
Recent conflicts in America concerning the environment (the harvesting of old growth
timber in the Pacific Northwest, or the proposed opening of public lands in southern Utah to mining
interests, for instance) have precipitated a personal examination of "historical others" (Jensen 64),
individuals that possess very different sensibilities from a larger capitalist culture. Two such
writers, Henry Thoreau and Gary Snyder, use the wilderness to enact alternative patterns of living
that are designed to change cultures that have lost touch with the land, and have spiraled into a
future where nature is a mere afterthought.
In response to the growth of his society, Thoreau built a cabin at Walden pond as an
experiment to determine if life could be lived simply and morally. His activities were an effort to
"wake up" his "neighbors" who were just beginning to explore capitalism. "Moral reform," Thoreau
believed, "is the effort to throw off sleep" (WAL 61). Thoreau's criticism of capitalism, agricultural
reform, and slavery were generated to help his culture understand what it is to live morally, and
"awake."
Gary Snyder is the voice of Thoreau in the late 20th century, and his work addresses a
world fully enveloped in capitalism. The exploitation of wild creatures and places by world
governments and multi-national corporations is the problem of the modern age for Snyder, and
place-based living is a way of dissenting from a consumption-oriented culture. Reform begins with
the individual living close to the land, but also involves people living in communities and creating
patterns of living that are ecologically stable.
This paper is, in an immediate sense, a comparison of two "American" non-conformists,
but it is also a response to cultural and environmental crises that both writers faced. Chapter I of
this study introduces Thoreau and Snyder and establishes the parameters of this paper. Chapter
II discusses Thoreau's views on capitalism, agricultural reform, and environmental degradation.
Chapter III highlights Snyder's interest in place-based living and bioregionalism. Chapter VI brings
Thoreau and Snyder together in a discussion of political and social reform. The final chapter of
this study reflects how Thoreau and Snyder mesh as ecological philosophers.Graduation date: 1997
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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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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
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Terrell, Nicholas James. "The burden of absolutism : transcendent idealism in Clough and Dostoevsky." Phd thesis, 2001. http://hdl.handle.net/1885/146191.
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