Dissertations / Theses on the topic '1885-1959 Criticism and interpretation'
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Estrada-Berg, Victoria. "Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5587/.
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This thesis identifies and analyzes gendering in the art writing devoted to Lee Bontecou's metal and canvas sculptures made from the 1959 - 1964. Through a careful reading of reviews and articles written about Bontecou's constructions, this thesis reconstructs the context of the art world in the United States at mid-century and investigates how cultural expectations regarding gender directed the reception of Bontecou's art, beginning in 1959 and continuing through mid-1960s. Incorporating a description of the contemporaneous cultural context with description of the constructions and an analysis of examples of primary writing, the thesis chronologically follows the evolution of a tendency in art writing to associate gender-specific motivation and interpretation to one recurring feature of Bontecou's works.
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Sanborn, Robert E. "Free servitude : a study of the mythos in the poetry of Edwin Muir." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/468077.
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The poetry of Edwin Muir has inspired a distinctive body of criticism. Realizing that his poetry is inexorably linked with his life, Roger Knight, Michael Phillips, Peter Butter and others have produced fine studies of his work against a biographical background. Margaret Anderson has contributed an important dissertation on the importance of dualism in the poems. R. P. Blackmur, J. R. Watson and Kathleen Raine have published articles that are central in informing any new Muir scholarship.This study intends to illuminate the source of Muir's inspiration, to show that his imagery is drawn from the mythos. A general review of Muir criticism supports the theory that the imaginative background he knew as the Fable, which underlies all temporal human behavior (labeled as the Story) is also the collective unconscious of Jung, the Spiritus Mundi of Yeats, the "inseeing" of Rilke, and the Mythos of Aristotle.The study reviews Muir criticism and the poetic technique of Muir, develops a special definition of "mythos" and goes on, through the explication of selected Muir poems, to show how his poetic and philosophical growth was influenced by his unique ability to gain access to the most powerful of Aristotle's four modes of Rhetoric. Finally, the study crystalizes Muir's overall aesthetic in the oxymoronic conclusion to his 1956 masterpiece, "The Horses," the term "free servitude."Muir felt that we can only function at our full potential when we use the power of our imagination to realize the essential duality of the human condition. We are, to an extent, free, and in a state of servitude. In Freudian terms, the superego enslaves us through guilt and our debt to the concept of civilization, while the id urges us on the ultimate freedom represented by the unchecked expression of violence and sex.The study concludes with an examination of Muir's final enigmatic symbol, found in the title of his last collection of poems: One Foot in Eden. Man, through the imaginative realization of his immortality, may plant one foot in Eden; the other foot remains trapped in the Labyrinth, Muir's symbol for the bewildering, impersonal complexity of our twentieth century beaurocractic wasteland. The transcendence of this entrapment gave Muir his purpose, in life and in art.
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Erasmus, Shirley. "Challenging Biblical boundaries: Jeanette Winterson’s postmodern feminist subversion of Biblical discourse in Oranges are not the only fruit (1985) and Boating for beginners (1985)." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/59121.
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This thesis investigates the subversion of Biblical discourse in Jeanette Winterson’s first two novels, Oranges are Not the Only Fruit and Boating for Beginners. By rewriting Biblical stories Winterson challenges traditional Western religious discourses and their rules for heteronormative social and sexual behaviours and desires. Winterson’s texts respond to the patriarchal nature of socially pervasive texts, such as the Bible, by encouraging her readers to regard these texts with suspicion, thus highlighting what can be seen as a ‘postmodern concern’ with the notion of ‘truth’. Chapter One of this thesis comprises a discussion of Biblical boundaries. These boundaries, I argue, are a process of historical oppression which serves to subjugate and control women, a practice inherent in the Bible and modern society. The Biblical boundaries within which women are expected to live, are carefully portrayed in Oranges and then comically and blasphemously mocked in Boating. Chapter One also argues that Winterson’s sexuality plays an important role in the understanding of her texts, despite her desire for her sexuality to remain ‘outside’ her writing. Chapter Two of this thesis, examines the mix of fact and fiction in Oranges, in order to create a new genre: fictional memoir. The chapter introduces the concept of the ‘autobiographical pact’ and the textual agreement which Winterson creates with her readers. In this chapter, I examine Winterson’s powerful subversion of Biblical discourse, through her narration of Jeanette’s ‘coming out’ within a Biblical framework. Chapter Three of this thesis examines Winterson’s second book, Boating, and the serious elements of this comic book. This chapter studies the various postmodern narrative techniques used in Boating in order to subvert Biblical and historical discourse. Chapter Three highlights Winterson’s postmodern concern with the construction of history as ‘truth’. Finally, Chapter Four compares Oranges and Boating, showing the texts as differing, yet equally relevant textual counterparts. This chapter examines the anti-feminine characters in both texts and Winterson’s ability to align her reader with a feminist or lesbian viewpoint. This thesis argues that Winterson’s first two texts deliberately challenge Biblical discourse in favour of a postmodern feminist viewpoint.
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Collett, Jenna Lara. "'I want to tell the story again': re-telling in selected novels by Jeanette Winterson and Alan Warner." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002291.
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This thesis investigates acts of ‘re-telling’ in four selected novels by Jeanette Winterson and Alan Warner.Re-telling, as I have defined it, refers to the re-imagining and re-writing of existing narratives from mythology, fairy tale, and folktale, as well as the re-visioning of scientific discourses and historiography. I argue that this re-telling is representative of a contemporary cultural phenomenon, and is evidence of a postmodern genre that some literary theorists have termed re-visionary fiction. Despite the prevalent re-telling of canonical stories throughout literary history, there is much evidence for the emergence of a specifically contemporary trend of re-visionary literature. Part One of this thesis comprises two chapters which deal with Winterson’s Sexing the Cherry (1989) and Weight (2005) respectively. In these chapters, I argue that, although the feminist and historiographic elements of her work are significant, there exist further motivations for Winterson’s acts of re-telling in both Sexing the Cherry and Weight. In Chapter One, I analyse Winterson’s subversion and re-imagining of historiography, as well as her re-telling of fairy tale, in Sexing the Cherry. Chapter Two provides a discussion of Winterson’s re-telling of the myth of Atlas from Greek mythology, in which she draws on the discourses of science, technology, and autobiography, in Weight. Part Two focuses on Warner’s first two novels, Morvern Callar (1995) and These Demented Lands (1997). In both novels, Warner re-imagines aspects of Christian, Celtic and pagan mythology in order to debunk the validity of biblical archetypes and narratives in a contemporary working-class setting, as well as to endow his protagonist with goddess-like or mythical sensibilities. Chapter Three deals predominantly with Warner’s use of language, which I argue is central to his blending of mythological and contemporary content, while Chapter Four analyses his use of myth in these two novels. This thesis argues that while both Winterson and Warner share many of the aims associated with contemporary re-visionary fiction, their novels also exceed the boundaries of the genre in various ways. Winterson and Warner may, therefore, represent a new class of re-visionary writers, whose aim is not solely to subvert the pre-text but to draw on its generic discourses and thematic conventions in order to demonstrate the generic and discursive possibilities inherent in the act of re-telling.
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王心靈. "現代寓言: 阿來長篇小說研究= A study on Alai's novel as allegory." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/171.
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阿來(1959- )，生於四川省的嘉絨藏區，曾任教師、編輯、雜誌社社長等，現專事寫作。在長達三十二年的寫作生涯中，阿來經歷了由新詩至短篇小說、散文至長篇小說的文類轉變，他的作家使命在長篇小說階段得以確立，是有意識地書寫西藏的漢語作家。阿來的長篇小說除了表現本民族的興衰，又是人類共同歷史命運的寫照，他以寓言書寫的方式豐富了文本的內涵。 寓言性是當代中國小說一個值得關注的美學特徵，因此，本文以阿來三部長篇小說為研究對象：《塵埃落定》(1998)、《空山》三部曲(2005、2007、2009)、《格薩爾王》(2009)，分析其中的寓言性藝術意義。這三部作品皆以漢藏文化的交匯與碰撞為題材，反面書寫故鄉因歷史的發展、時代的轉變而表現的不同面向：《塵埃落定》寫的是二十世紀五十年代前土司制度和末代土司家族的滅亡過程；《空山》是五十年代至九十年代的一段村莊史；《格薩爾王》是對藏族英雄史詩的重述，以現代觀念探討歷史發展過程中的命運主題。阿來以長篇小說的形式探究歷史轉型期中，文化與人心的困境，有著內在精神的繼承。 本文以〈現代寓言：阿來長篇小說研究〉為題，嘗試以本雅明的現代寓言理論來探討作品的藝術內涵：「破碎」、「廢墟」、「憂鬱」等美學元素於文本的呈現，這些現代性的特質如何在小說的本土經驗裡被細述彰顯，以帶出作品的普世共性。在探究過程中，我們能了解在文學與歷史的互動關係中，作品的真實內涵及說故事的意義。
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Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
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This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
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Perrin, Julie. "Le role de L'existentialisme sartrien dans le roman L'arrache coeur = The role of Sartre's existentialism in the novel L'arrache coeur /." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/PerrinJ2004.pdf.
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Kiriloff, Vera. "How does what's bred in the bone come out in the flesh? : Devora Neumark's interventions and the concept of flesh." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98543.
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This thesis examines seven of Devora Neumark's artistic interventions that activate an embodied transfer or continuity of knowledge. I am inspired by phenomenologist Maurice Merleau-Ponty's notion of "the flesh of the world," that is the element enabling a reversibility between subject and object, specifically with regard to the body. Neumark draws from a repertoire of her everyday activities like crocheting or peeling beets to make a stew. She resituates the activity from one which is traditionally practiced in the private sphere of the home, often undervalued, to one which critically engages passersby in various urban settings. I study the repetitive capacities of these everyday activities, how they are negotiated in the public sphere, and how they remain (re)productively in the flesh through body-to-body transmission. Flesh becomes the operative concept in this thesis and activates a phenomenology in Neumark's interventions that goes beyond Merleau-Ponty's and which engages with both aesthetic and socio-political questions.
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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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Kelly, Kenneth Todd. "Chet Baker : a study of his improvisational style, 1952-1959." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1167797.
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The purpose of this study was to identify characteristics of jazz trumpeter Chet Baker's improvisational style, both instrumental and vocal, during the early period of his career (1952-1959). Baker's early years were divided into six periods, based on major milestones: The Charlie Parker Groups (1952-1953), The Gerry Mulligan Quartet and Tentette (1952-1953), The Chet Baker Quartets (1953-1956), The European Groups (1955-1956), Quartets, Quintets, and Sextets (1956-1957), and The Riverside Recordings (1958-1959). Improvised lines and chord changes from fifteen solos were transcribed and analyzed by the researcher; melodies of standard songs were transcribed and compared with the original version. The number of solos selected from each period was based on the length of time Baker spent with each particular group and the number of albums recorded. The solos were analyzed in terms of rhythmic interpretation of melodies, intervals utilized, use of nonharmonic tones, use of jazz cliches, embellishment of the melodic line, use of melodic and rhythmic patterns, range, tone quality, articulation, vibrato, and vocal scat syllables. As a result of this analysis, the researcher was able to draw conclusions concerning Baker's improvisational style during the period of the study.School of Music
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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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Coetsee, Yda Cornelia. "Figuring from within : a study in history, painting and the work of Moses Tladi." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96974.
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Thesis (MA)--Stellenbosch University, 2015.ENGLISH ABSTRACT: This study explores the significance of landscape painting in my own work and in the work of Moses Tladi, one of the lesser-known SA pioneer artists working in the oil painting convention. Through a Romantic lens, I argue that Tladi’s paintings exist as record of his experiences, thoughts and emotions, making use of a hermeneutics ‘from within’, rather than one aimed at Realist exposition. While employing such a hermeneutics in my own practice, I seek out points of connection between Tladi and myself, as well as explore if and to what degree our different socio-political circumstances shape our practices. In part one of the thesis I sketch a narrative backdrop to the era in which Tladi lived and of his relationship to his patrons, mentors and the establishment. I explore his work in relation to popular conventions at the time, matters of modernism and abstraction, as well as to some degree how the landscape genre functions in terms of class. The overall argument is divided in two parts, that of the metaphorical ‘Garden’ and that of the ‘Wilderness’. With this divide I aim to reveal how Tladi employs the transcendent both in the sublime expanse of Sekhukhuneland and in his domestic, everyday reality. The ideological relationship between the Garden and Wilderness is examined in terms of theories on landscape, imperialism and the Lutheran missionary project. In the second part I describe my own work and discuss the contribution it makes. While alluding to many of the devices already discussed in Tladi’s work, I sketch the context in which my own paintings were made and explain some of my stylistic and curatorial choices. In demonstrating how our techniques and methodologies overlap, I aim to cristallise some of the theoretical themes explored.
AFRIKAANSE OPSOMMING: Hierdie studie handel oor die belang van landskapskilder in my eie werk en in the werk van Moses Tladi, een van Suid-Afrika se minder bekende pionier-kunstenaars in die olieverftradisie. Ek argumenteer, deur ’n Romantiese blik, dat Tladi se werk as rekord verskyn van sy ervarings, gedagtes en emosies. In hierdie opsig is sy hermeneutiek ‘inwaarts’ gekeer, eerder as gefokus op die Realistiese ontbloting van sekere sosiale kwessies. Terwyl ek in my eie skilderpraktyk ook van so ’n hermeneutiek gebruik maak, soek ek raakpunte tussen my en Tladi se werk onderwyl ek ondersoek of, en tot watter mate, ons verskillende sosio-politiese omstandighede ons werk vorm. In Deel Een van die tesis skets ek ’n narratiewe agtergrond tot die era waarin Tladi geleef het en kyk na sy verhouding met sy beskermhere (“patrons”), sy mentors en die kunsstigting. Ek ondersoek Tladi se werk aan die hand van populêre konvensies van sy tyd sowel as kwessies van Modernisme en abstraksie. Ek kyk ook vlugtig na hoe die landskap-genre ten opsigte van sosiale stand funksioneer. My algehele argument het twee afdelings, die metafoor van die ‘Tuin’, en dié van die ‘Wildernis’. Met hierdie verdeling beoog ek om te wys hoe Tladi transendente aspekte voorstel in die uitgestrekte, ontsagwekkende landskappe van Sekhukhuneland, maar ook in sy alledaagse, sosiale realiteit. Die ideologiese verhouding tussen die Tuin en die Wildernis word verder ondersoek ten opsigte van teorieë oor landskap, imperialisme en die sendingpraktyke van die Lutherse Kerk. In Deel Twee beskryf ek my eie werk sowel as die bydrae wat dit maak. Ek beskryf die konteks waarin sommige van die skilderye gemaak is, bespreek hul inhoud, en kyk na spesifieke stilistiese en kuratoriale keuses. Deurentyd raak ek aan die tegnieke en temas wat alreeds bespreek is in die afdeling oor Tladi. Deur te demonstreer hoe my en Tladi se tegniek en metodologie oorvleuel, hoop ek om die teoretiese temas wat reeds ondersoek is, te kristalliseer.
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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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Montano, Rodríguez Rafael. "De raza a cultura : un acercamiento crítico al concepto de mestizaje y mexicanidad en Vasconcelos, Ramos, Paz y Fuentes." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68123.
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The present thesis studies the concepts of mestizaje and Mexican identity in five essays and two short stories: La raza cosmica and Indologia, by Jose Vasconcelos; El perfil del hombre y la cultura en Mexico, by Samuel Ramos; El laberinto de la soledad and Posdata, by Octavio Paz; and finally the short stories "Chac Mool" and "Por boca de los dioses", by Carlos Fuentes. The thesis shows how the confrontation between the European and the Pre-Columbian cultures, still very much a part of the Mexican reality, affects the intellectual efforts by which those authors try to grasp the problematic of mestizaje and Mexican cultural identity. The perspectives of those four authors, from the racial and optimistic vision of Vasconcelos to the psychoanalytical and rather bleaker approach of Paz, are unable to give an objective account of mestizaje and Mexican identity, precisely because of the confrontation, never settled, between the two cultural universes.
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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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Roux, Rowan Pieter. "Experiencing loss : traumatic memory and nostalgic longing in Anne Landsman's The Devil's Chimney and The Rowing Lesson, and Rachel Zadok's Gem Squash Tokoloshe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006854.
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This thesis examines the experience of loss in Anne Landsman’s novels The Devil’s Chimney (1997) and The Rowing Lesson (2008), and Rachel Zadok’s Gem Squash Tokoloshe (2005). Positing the Truth and Reconciliation Commission (TRC) as an impetus for emerging literary traditions within contemporary South African fiction, the argument begins by evaluating the reasons for the TRC’s widespread impact, and considers the role that the individual author may play within a culture which is undergoing dramatic socio-political upheavals. Through theoretical explication, close reading, and textual comparison, the argument initiates a dialogue between psychoanalysis and literary analysis, differentiating between two primary modes of experiencing loss, namely traumatic and nostalgic memory. Out of these sets of concerns, the thesis seeks to understand the inextricability of body, memory and landscape, and interrogates the deployment of these tropes within the contexts of traumatic and nostalgic loss, examining each author’s nuanced invocation. A central tenet of the argument is a consideration, moreover, of how the dialogic imagination has shaped storytelling, and whether or not narrative may provide therapeutic affect for either author or reader. The study concludes with an interpretation of the changing shape of literary expression within South Africa.
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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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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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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
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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.
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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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Gieskes, Mette. "The politics of system in the art of Carl Andre, Sol LeWitt, and Vito Acconci, 1959-1975." Thesis, 2006. http://hdl.handle.net/2152/2868.
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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.
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"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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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.
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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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Lawrence, Janet C. "Mythic narrative in the work of Elizabeth Gaskell." Master's thesis, 1993. http://hdl.handle.net/1885/139124.
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