Dissertations / Theses on the topic '1887-1968 Criticism and interpretation'
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1
Berns, Torben. "Artifice and witness : representation judgement and accountability within a non-transcendent framework." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69583.
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This thesis considers the notion that it is the future which judges the present and that judgement is always guilty. In effect to understand modernity on its own terms one would have to inquire if we have any more right to affirm a given future than to deny one?The question arises as follows. If a subject exists prior to the process which is its being, an uncomfortable aporia ensues.
Firstly, if being human is understood as "becoming", i.e. humans can and do appear through the enactment of change, then "being" itself is temporal. How then does this self secure its appearance other than through the very process it assumes itself to be prior to? Such a securing would imply an absolute uniformity and homogeneity not predicated on human-enacted change. If securing is in fact the aim of appearance, and therefore the operative term in judgement, what then are the consequences of action in terms of created results?
In other words, what are the consequences of the temporality of "being"? It continues to produce a world. The second question then is: how does one judge, make and act, toward a future which properly speaking, cannot be our rightful concern?
The question is approached initially through a discussion of the integral terms. In the final chapters, an attempt is made to understand the premise of Marcel Duchamp's Etant Donnes. Duchamp's work is taken as paradigmatic of making circumventing the aporia of self-revelation through becoming.
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Porcina, Mark. "I am not a ceramicist." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2012, 2012. http://hdl.handle.net/10133/3393.
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Ceramics has always existed on the fringes of craft and high art. The purpose of this
thesis project is to elevate clay beyond the traditions of craft by examining the historical use of
clay and the everyday object. My research looks specifically at works by Marcel Duchamp, Andy
Warhol, Jeff Koons and Jasper Johns in order to examine the origin of displaying the massproduced
object and reflecting upon it’s validity as high status art object. In this project I am also
interested in infrastructural systems within modern architecture-- plumbing, wiring, heat ducts
vents-- with a specific focus on systems lurking inside walls and how these function to influence
architectural space. With the advent of modern plumbing, concealing these elements was
adopted as the new standard and still exists today. Through the presentation of defamiliarized
handmade objects, my exhibition presents the appearance of manufactured material through the
serial manipulation of scale, surface and quantity. The result reveals a clay piece that renders the
material unrecognizable providing the viewer with a new view on the object's tradition.v, 47 leaves : ill. ; 29 cm
3
Reiswig, Amy. "Robinson Jeffers, hermit of Carmel : recontextualizing inhumanism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64185.pdf.
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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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Bagraim, Abigail Sarah. "The Hasidic spirit as the foundation of the art of Marc Chagall." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1002189.
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In considering Chagall's art the observer is immediately struck by the constancy of his almost obsessive repetition of certain symbols and themes. In this way Chagall has created his own fantasy world, one with which the observer soon becomes acquainted and grows to love and understand.
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Zipp, Collin. "A theoretical exploration of the transformative properties of experience." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, 2011, 2011. http://hdl.handle.net/10133/3243.
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This thesis document serves as a support paper for my exhibition titled, Selected Work. The goal of this document is to present and discuss a set of ideas and interests as they pertain to my studio practice and thesis project in particular, and to contemporary (ie. current) art practices in general. In this document I examine selected works from Marcel Duchamp, Andy Warhol, Andy Kaufman, Maurizio Cattelan and Richard Prince. Through the exploration of these artists and their works, I begin by examining the object and the conditions that give it approval as an art object. Using these conditions, I examine the effect that experience has on the object. This support paper will serve as a glossary of terms and theoretical concerns relevant to my thesis exhibitionvi, 64 leaves : col. ill. ; 29 cm
7
Laue, Ingrid Elizabeth. "Pictorialism in the fictional miniatures of Albert Paris Gütersloh." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27367.
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The purpose of this study has been to investigate and analyze the "fictional miniatures," i.e., the short prose works, of Albert Paris Gütersloh. The assumption was that a marked interrelationship exists between these and Gütersloh's painted miniatures. Given the fact that Gütersloh was both writer and painter, and since many of the questions which logically arise out of this duality either have not been addressed at all in the scholarly literature on Gütersloh, or dealt with only superficially, it was felt that the approach used in the present study had to focus, to some extent, on the artist's dual talent. The study attempts to illustrate Gütersloh's artistic nature in conjunction with an investigation of one area of artistic expression, namely the short fictional works.
The method was one of proceeding from the general to the particular, i.e., by first examining the complex phenomenon of the "painting writer," or "writing painter," as well as the widely discussed notion of "reciprocal illumination" of the arts. This, together with the detailed analysis of scholarly works on Gütersloh as well as his own theoretical writings on art was seen as part of the necessary "anatomy" of the study. Although the narrational quality of the painted miniatures has been alluded to by several other critics, the inherent similarity between Gütersloh's painted and "literary miniatures" (i.e., his short prose works) is being analyzed for the first time in this study. It aims at proving the claim that the former's overriding characteristic is their distinctly narrational quality. As such the paintings are permeated with a writer's imagination, a feature which makes their narrative component as important as the pictorial. Each of these small-scale paintings depicts some crucial point in a "story," thereby forcing the viewer to imagine a "before" as well as an "after" of each specific scene — in other words, to see these paintings in epic terms.
By isolating such elements as delineation, framing, staging, setting, and colour (both descriptive and metaphorical) among others, it could be shown that the fictional miniatures give evidence of Gütersloh's persistent inclination to think, and write, in "pictures," hence to work from a largely pictorial conception: the story-line frequently is developed as a series of static "pictures" which are given as much compositional weight as the chronologically progressing plot. It could also be demonstrated that the general phenomenon of Fantastic Realism is a pronounced feature not only of the painted but also of the literary miniatures.
The conclusion the study reaches is that Gütersloh's artistic expression, whether as writer or painter, is of a much more unified nature than has previously been argued; that both forms of artistic expression are of a complementary
nature, and that this phenomenon is exemplified most succinctly in his fictional miniatures.Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Armstrong, Susan Ouellette. "The legacy of Everett Titcomb." Thesis, Boston University, 1990. https://hdl.handle.net/2144/41698.
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Titcomb's compositions and writings are the products of
a life lived in New England, mainly in Amesbury and Boston.
Because the innovations that came about from the Oxford
movement reached that part of this country first, Titcomb
was one of the first church musicians to become involved
with its innovations.
Chapter 1 is devoted to a biographical account of his
early life in Amesbury, and documents his work at the Church
of the Messiah in Auburndale and Christ Church in Andover,
where he took the two positions immediately after his high
school graduation. Chapter 2 treats the fifty years that he
worked at St. John the Evangelist, building up the choir and
its repertoire to such an extent that other churches invited
the group to give liturgical recitals. Chapter 3 discusses
his teaching activities at the New England Conservatory,
Boston University, the Wellesley Conference, and his work
with the Schola Cantorum at the Church of St. John the
Evangelist, all of which influenced many young musicians who
brought their craft to churches throughout the United
States. Chapters 4-6 are devoted to his choral, organ, and
miscellaneous works: examples from unpublished manuscripts
will be discussed; premiers are documented, and excerpts of
correspondence from the composer are given concerning
specific works. His compositional style will be discussed
with assessments of individual works, and examples will be
given from the different styles and genres to which he
contributed. Chapter 7 discusses his writings, which deal
specifically with the work of an organist and choirmaster in
an Episcopal church. Titcomb's ideas concerning the musical
life of a parish will be examined, including his thoughts on
the performance of hymns, the choice of fitting music for
the liturgy, and the accompaniment of Plainsong.
9
Iwama, Marilyn Joy. "When Nikkei women write, transforming Japanese Canadian identities, 1887-1997." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ34557.pdf.
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Wishart, Ruth. "Georg Trakl and the literature of decadence." Thesis, University of St Andrews, 1994. http://hdl.handle.net/10023/13361.
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This thesis examines the poetry of Georg Trakl within the context of literary decadence in Europe at the turn of the century (1880-1914). It provides an analysis of Trakl's early writing, and traces themes of literary decadence which recur throughout his work, particularly in the late prose and the dramatic fragment of 1914. In so doing, it also undertakes a comparative study of Trakl's poetry and decadent literature in Austria, Germany, France and England. Chapter One looks at the literary background and attempts a definition of what was understood by literary decadence in France and Germany at the end of the nineteenth century. Chapter Two examines motifs of crime and horror in Trakl's writing, paying particular attention to the concept of Lustmord in the early dramas Blaubart and Don Juans Tod and the later dramatic fragment of 1914. Chapter Three examines the issue of sexual guilt, and the portrayal of women in Trakl's poetry, from the femme fatale of the early poetry to the figure of the sister and the androgyne in the later poetry. Chapter Four traces the theme of blasphemy from the early lyric to the last poetic utterances of 1914, and touches briefly on the question of Trakl as a Christian poet. Chapter Five looks at motifs of isolation, obsession with death and decay, and poetry as the expression of the poet's etat d'ame. Chapter Six provides an analysis of the language and style of the early poetry, focusing on Trakl's affinity with the style of literary decadence.
11
Gagné, Marie 1961. "1968, théorie et praxis de "Tel quel" dans "Logiques" et "Nombres" de Sollers." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63765.
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Danezi, Irene. "Richard Jefferies as a social critic : modern loneliness." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683338.
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Haedrich, Alexandra. "L' opera narrativa di Maria Messina : maschi e femmine "alla deriva" in un'epoca di transizione." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23214.
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Maria Messina (1887-1944) is one of the writers whose work has been "rediscovered" as a result of the recent interest in women writers of the past. Until now, criticism has tended to focus on her representation of the female condition. This thesis attempts to offer a more precise and yet more broadly contextualized characterization of her work. The analysis takes into account the social and economic upheavals of the early decades of this century which affected both men and women. In fact, the crisis of the rigid division of gender roles is shown to be the real thematic source of her work.
14
Poirier, Guy. "La structure symbolique de la poésie de Pierre Jean Jouve /." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66050.
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Snyman, Jacobus Wilhelmus Otto. "A life worthy of being lived : dialectics in Svevo and Michelstaedter." Thesis, Stellenbosch : Stellenbosch University, 1991. http://hdl.handle.net/10019.1/69085.
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Thesis (MA)--Stellenbosch University, 1991.ENGLISH ABSTRACT: The aim of this study is to point out and elaborate the affinities, culturally as well as textually, between the two Italian authors, Italo Svevo and Carlo Michelstaedter. Furthermore, it is the object of this study to demonstrate how, implicitly, the two authors provide an answer, each in his own way, to the question of "una vita degna di essere vissuta" - "a life worthy of being lived". The central theme in this regard concerns the distinctive notions that each author has in respect of 'Ihealth" and "disease", and "life" and "death", as well as how these notions correspond to the implicit search in their respective writings for "perfection", "authenticity" and "liberty".
AFRIKAANSE OPSOMMING: Hierdie studie het ten doel am die kulturele en tekstuele affiniteite tussen die lwee Italiaanse outeurs, Ital0 Svevo en Carlo Michelstaedter, uit te wys en uitvoerig te bespreek. Daarbenewens, is die voorneme van hierdie studie om te wys hoe elk van die tv:ee outeurs, implisiet, '0 aotwoord verskaf op die kwessie van "una vita degna di essere vissuta" - II 'n lewe wat waardig is om geleef te word". Die sentrale tema in hierdie verband het betrekking op die onderskeidelike opvattings wat elke auteur se werk bevat ten opsigte van "gesondheid" en "siekte", en "Iewe" en "dood". Daar word ook getoon hoe hierdie opvattings betreffende die implisiete soeke ten opsigte van "volmaaktheid", "outentisiteit" en ''vryheid" in hul onderskeidelike tekste korrespondeer.
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George, Stephen K. "Of vice and men : a virtue ethics study of Steinbeck's The pearl, East of Eden, and The winter of our discontent." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/952814.
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As a writer and thinker, John Steinbeck has often been ridiculed by the academic community as trite and sentimental--someone who appeals to the masses but has little to say on life's "important" issues. This study applies an interdisciplinary approach to three of his later novels--The Pearl, East of Eden, and The Winter of Our Discontent--in order to more accurately assess the quality of Steinbeck's later fiction and to discover what this writer has to say concerning ethics and human nature, particularly the irrational emotions and vices.In concurrence with some of the latest research available, this study reveals that the emotions play a far greater role within the moral realm than previously believed by some philosophers and psychologists. Irrational emotions, such as extreme fear, anger, hatred, and guilt, are often sequential, cyclical, and cumulative in nature and frequently form dynamic combinations which feed on and intensify each other and which may lead to acts of violence or cruelty. Moreover, far from being uncontrollable, these emotions have been shown to have a cognitive dimension which is greatly influenced by upbringing and environment. As indicated in East of Eden, parental neglect and abuse play prominent roles in making certain characters susceptible to their own states of irrationality.The emotions are also primary to the development of more permanent character dispositions, both good and bad. As illustrated in East of Eden's Cathy Ames, a vice such as cruelty is often motivated and enabled by the fear and hatred that frequently form its core. Moreover, the vices themselves seem to be interactive and cumulatively debilitating; just as dishonesty plays a key role in enabling cruelty and loss of integrity, so does a lack of integrity make sense in a morally weak world.Thus, contrary to popular critical opinion, there was no dramatic falling off of quality in Steinbeck's writing, but rather a deliberate change in emphasis from social criticism to morality and from the group to the individual. This study confirms both the importance of what Steinbeck had to say as well as the eloquent and gifted manner in which he said it.Department of English
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Dass, Minesh. "“The stranger at home” : representations of home and hospitality in three South African post-transitional novels." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016355.
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This thesis examines the representation of home and hospitality in Zoë Wicomb’s Playing in the Light, Ishtiyaq Shukri’s The Silent Minaret, and Ivan Vladislavić’s Double Negative. It attempts to trace the un-homeliness of the central characters and to account for their feelings of discomfort. As such, it argues that the home is incapable of being inviolable because the invasion of the public is always a possibility. The implication is that master narratives such as race, history and politics are always entering the space one constructs as private. That said, this study also argues that the home and those things with which it is most closely associated, such as belonging, comfort and safety, may actually hide a form of violence. By this I mean that in the desire for homeliness, one may exclude others from one’s home. Consequently, this argument draws on Jacques Derrida’s writings on the aporia of conditional and unconditional hospitality to investigate what ethical possibilities might, somewhat unexpectedly, be created by the un-homely home. The study is therefore an exploration of the potentials that inhere in a certain kind of un-homeliness, the most important of which is the chance to respond ethically to the alterity of the other. In sum, there is a necessity to extend hospitality beyond condition and beyond limit, and this ethical imperative is at odds with the desire for comfort and safety. The way in which post-transitional novels explore these issues of hospitality and home is the primary focus of this study.
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Slater, Jennifer. "Direct experience of God in contemporary theology." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1016265.
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'Direct experience of God' is a term frequently used by theologians without adequate clarification regarding its meaning. The understanding thereof has become increasingly complicated by the process of secularization. In the 1960's, it was repeatedly asserted that modern people could not have direct experiences of God, albeit that one could still live by faith and by commitment to the way of Jesus in a world in which, it was asserted, "God is dead". This claim, although long predominant, has been challenged by the upsurge of interest in mysticism, both Eastern and Western, and the burgeoning of Pentecostalism and the Charismatic movement, in which circles direct experience of God was frequently claimed. If direct experience of God is something natural to humanity, interpretation of it will vary in exactly the same way as interpretation of all other human experiences. This could be a possible reason for it being so very poorly integrated into everyday life, resulting in the loss of meaning and value.
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Burri, Stella Teresia. "Silenced women of John Steinbeck's dustbowl trilogy." Thesis, University of Fort Hare, 2012. http://hdl.handle.net/10353/d1005643.
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The primary aim of this project is to examine selected works by John Steinbeck, a significant American writer. Through a close contextual and textual analysis of Steinbeck’s Dustbowl Trilogy, which consists of the novels In Dubious Battle, Of Mice and Men, and The Grapes of Wrath, this project will interrogate Steinbeck’s contribution to the silencing of women and their inferior placement in their society and determine the extent to which Steinbeck promotes patriarchal ideology through his literature. A close examination of the modernist era in which these novels were written will provide the method of interrogating Steinbeck’s portrayal of women’s situation during the Depression and determine whether it is a reflection of the reality of women’s situation at that time given the political and environmental factors of the 1930s. The theories of various feminist critics, including Simone de Beauvoir, Judith Butler, Gayle Rubin, Luce Irigaray, Sherry Ortner, and Sandra Gilbert and Susan Gubar will be explored in order to elucidate the author’s treatment of the female characters and determine the extent to which patriarchal ideology is embedded in his writing. A brief examination of some of his contemporaries, namely F. Scott Fitzgerald, William Faulkner and Ernest Hemingway, will reveal the general treatment of women in male authored modernist literature and determine the extent to which Steinbeck’s female subjugation is representative.
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Jeffrey, Johnson Kirstin Elizabeth. "Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1887.
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Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.
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Hogue, Cynthia Anne. "Figuring woman (out): Feminine subjectivity in the poetry of Emily Dickinson, Marianne Moore, and H.D." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185054.
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Historically, women have not been "speaking subjects" but "spoken objects" in Western culture--the ground on which male-dominated constructions have been erected. In literature, women have been conventionally held as the silent and silenced other. Lyric poetry especially has idealized not only the entrenched figures of masculine subject/feminine object, but poetry itself as the site of prophecy, vision, Truth. Most dramatically in lyric poetry then, the issue of women as subjects has been collapsed into Woman as object, that figure who has been the sacrifice necessary for the production of lyric "song" and the consolidation of the unified masculine voice. It has thus been difficult for women poets to take up the position of speaking subject, most particularly because of women's problematic relationship to Woman. Recent feminist theorists have explored female subjectivity, how women put into hegemonic discourse "a possible operation of the feminine." This dissertation analyzes that possibility in poetry as exemplified in the works of Emily Dickinson, Marianne Moore, and H.D. I contend that these paradigmatic American poets constitute speaking subjects in their poetry that both figure Woman conventionally and reconfigure it, i.e. subvert the stability of those representations, thereby disturbing our view. I argue that this double identification produces, in effect, a divided or split subjectivity that is enabling for the female speaker. As an alternative to the traditionally specularized figure of Woman then, such a position opens up distinctly counter-hegemonic spaces in which to constitute the female subject, rendering problematic readerly consumption of the image of Woman as a totality. I explore the attempts to represent women's difference differently--the tenuous accession to, rejection of, or play with the lyric "I" in these poets' works. Dickinson, Moore, and H.D. reconfigure Woman and inscribe female speakers as grammatically and rhetorically, but not necessarily visually, present, thereby frustrating patriarchal economies of mastery and possession.
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Ghezzi, Daniela Ribas. "Música em transe = o momento crítico da emergência da MPB (1958-1968)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280599.
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Orientador: Marcelo Siqueira RidentiTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-17T16:13:32Z (GMT). No. of bitstreams: 1 Ghezzi_DanielaRibas_D.pdf: 2477441 bytes, checksum: d623bf06473e2dad3ee33ea33a69a7d7 (MD5) Previous issue date: 2011
Resumo: O trabalho analisa o processo de modernização da música popular brasileira compreendido entre 1958 e 1968, passando pelas tendências da bossa nova, da canção de protesto, da "moderna música brasileira" e do tropicalismo. No decorrer desse processo deflagrou-se a sigla MPB, reconhecível a partir de 1965. O objetivo do trabalho é o de compreender a gênese e identificar os princípios musicais que se tornaram parâmetros legítimos da produção musical conhecida como MPB, bem como o de analisar o processo de autonomização de um campo de produção simbólica: o campo da MPB.
Abstract: The work analyzes the process of modernization of brazilian popular music between 1958 and 1968, going by the trends of the bossa nova, song of protest, the "modern brazilian music", and the tropicalism. During this process emerged the acronym MPB, recognizable since 1965. The objective is to understand the genesis and identify the musical principles that have become legitimate parameters of music production known as MPB, as well as to analyze the autonomization process of a symbolic production field: the field of MPB.
Doutorado
Sociologia da Cultura
Doutor em Sociologia
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McSwain, Jeffrey Y. "Simul sanctification : Karl Barth's appropriation of Luther's dictum 'simul iustus et peccator'." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11818.
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‘Simul sanctification' is a transformational program for sanctification derived from Karl Barth's radical appropriation of Luther's dictum simul iustus et peccator. Barth's simul establishes the Christological link of the Second Adam with every human being. From this emerges what I contend is a ‘Chalcedonian anthropology' built on a double-duality: the original Chalcedonian formulation gives rise to a second duality revealed within Christ's one human person—the duality of a true, iustus humanity and a corrupt, peccator humanity. In order to appreciate the benefits regarding Barth's Spirit-charged epistemological program for sanctification and conversion, it will be imperative to elucidate the comprehensive nature of Barth's actualism as a way of establishing Barth's view of humanity's dynamic and free iustitia in Christ. Central to assessing the threat of the peccatum determination will be an examination of Barth's theology of the cross, especially in regards to his single subject economy derived from the person of ‘Jesus Christ and him crucified.' Through Barth's assessment of the cross I exposit the similarities and the differences between Chalcedonian Christology and ‘Chalcedonian anthropology;' the latter duality is proven by resurrection revelation to be ultimately provisional in nature. From here I probe Barth's position regarding the annulment of the simul as well as its beginning. By investigating Barth's doctrine of creation I argue that Barth's simul is reflective of the original antithesis between God and nothingness, the darkness under which Christ first placed himself so that humans would know both his solidarity in the darkness and his victory over it. Christians continue to dwell in the overlap of the simul's two mutually exclusive determinations, but by looking through Barth's simul to our true, created and redeemed humanity in Christ we are equipped to interpret our lives and the world around us most hopefully.
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Wright, Ross M. "Karl Barth's academic lectures on Ephesians (Göttingen, 1921-1922) : an original translation, annotation, and analysis." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/399.
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This thesis consists of an original translation, annotation, and analysis of Karl Barth’s Academic lectures on Ephesians, delivered in Göttingen, winter semester, 1921-1922. The translation is composed from a typescript of Barth’s handwritten manuscript, located in the Karl Barth Archives, Basel, and is annotated for scholarly research, including complete bibliographical information on Barth’s sources. Barth’s exposition is a detailed exegesis of the Greek text of Eph. 1:1-23, comprising 13 lectures, with a summary of Ephesians 2-6 in the final chapter. Materially and formally, the exposition strongly resembles Romans II and Barth’s 1919 sermons on Ephesians, which the study examines. It also exhibits the theological objectivity of the Göttingen period, chiefly because of Barth’s explication of gnosis in Ephesians and his appropriation of Calvin’s theology of the knowledge of God. Barth made a material discovery in his study of Ephesians that fundamentally shaped his subsequent theology. He observes in Eph. 1:3-14 a train of thought which witnesses to God’s action to the creature in Christ and the creature’s subsequent movement to God. He concludes that we have come from God, who has chosen us in eternal election, and we are moving toward the glory of God, our divinely appointed goal. The exposition’s central theme is expressed in Barth’s claim that “the knowledge of God is the presupposition” and “the goal” of human existence. The distinguishing mark of Barth’s theological exegesis is its concreteness, that is, his ability to speak about the text’s contemporary meaning without lapsing into theological abstraction. This concreteness is the consequence of his theological hermeneutic. He describes the interpretive event as a field of action, consisting of the biblical text, the activity of the interpreter, and the divine speech act.
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Silva, Camilo Gomide Cavalcanti. "A própria vida: efeitos de real e de sinceridade nas autoficções de Julián Fuks e de Karl Ove Knausgård." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20599.
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This work aims to analyze the effects of reality and sincerity in the autofictions A resistência, by Brazilian writer Julián Fuks, and Minha luta, by Norwegian writer Karl Ove Knausgård. These contemporary authors seek a new form of realistic expression in their works. Both start from a lack of interest in traditional fiction, with fictional plots and characters, and choose to write about their own life, finding greater legitimacy in the autobiographical. Autofiction was coined in the 1970s to define a practice which became popular among writers interested in telling their own story. Although it is inevitably contaminated by fiction, many authors have found in this genre a means of seeking new effects of reality and authenticity. This research intends to understand how these writers forge these impressions from something so notoriously fallible as memory. The theoretical foundations of this research have, as a starting point, the seminal analyses of Michel Foucault on the writings of the self and the study of Jean Starobinski on the Confessions of Rousseau. From the literary field, Roland Barthes’ studies on realism and the limits of representation are considered, as well as other theorists dedicated to the themes of autobiography and autofiction, such as Lejeune (2014), Doubrovsky (1977) (who coined the term autofiction) and contemporary researchers such as Schøllhammer (2009), Klinger (2012), Faedrich (2016) and Perrone-Moisés (2016). The conclusion of this research is that both Fuks and Knausgård find, in autofiction, a form of greater commitment to literature. The difference, however, is that in A resistência, the effect of reality comes from the narrator’s constant suspicion of his own narrative; and in Minha luta, this effect comes from the corrosive confession of the narrator, who deeply identifies with the author
Este trabalho tem por finalidade analisar os efeitos de real e de sinceridade nas autoficções A resistência, do escritor brasileiro Julián Fuks, e Minha luta, do escritor norueguês Karl Ove Knausgård. Esses autores contemporâneos buscam, nessas obras, uma nova forma de expressão realista. Ambos partem de um desinteresse por ficções tradicionais, com enredos e personagens fictícios, e optam por escrever sobre a própria vida, por encontrarem, no material autobiográfico, uma maior legitimidade. A autoficção é um neologismo criado na década de 1970 para definir a prática, que se popularizou entre alguns escritores interessados em narrar sua própria história. Embora seja marcada pela contaminação inevitável da ficção, muitos autores têm encontrado no gênero um meio de buscar novos efeitos de real e de autenticidade. Esta pesquisa pretende entender como esses escritores forjam essas impressões, a partir de uma matéria sabidamente falível como a memória. Os fundamentos teóricos da investigação têm, por ponto de partida, as análises seminais de Michel Foucault a respeito das escritas de si e o estudo de Jean Starobinski sobre as Confissões, de Rousseau. No campo literário, alicerçam a pesquisa os estudos de Roland Barthes sobre o realismo e os limites da representação, além de outros teóricos que se dedicam à questão da autobiografia e da autoficção, como Lejeune (2014), Doubrovsky (1977) (o inventor do termo autoficção) e pesquisadores contemporâneos como: Schøllhammer (2009), Klinger (2012), Faedrich (2016) e Perrone-Moisés (2016). A conclusão da pesquisa é a de que tanto Fuks quanto Knausgård encontram na autoficção uma forma de comprometimento maior com a literatura. A diferença, no entanto, é a de que, em A resistência, o efeito de real advém da desconfiança permanente do narrador sobre o próprio relato; e, em Minha luta, este efeito provém da confissão corrosiva do narrador, que se identifica profundamente com o autor
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Samwanda, Biggie. "Postcolonial monuments and public sculpture in Zimbabwe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.
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The study critically examines public art in postcolonial Zimbabwe‘s cities of Harare and Bulawayo. In a case by case approach, I analyse the National Heroes Acre and Old Bulawayo monuments, and three contemporary sculptures – Dominic Benhura‘s Leapfrog (1993) and Adam Madebe‘s Ploughman (1987) and Looking into the future (1985). I used a qualitative research methodology to collect and analyse data. My research design utilised in-depth interviews, observation, content and document analysis, and photography to gather nuanced data and these methods ensured that data collected is validated and/or triangulated. I argue that in Zimbabwe, monuments and public sculpture serve as the necessary interface of the visual, cultural and political discourse of a postcolonial nation that is constantly in transition and dialogue with the everyday realities of trying to understand and construct a national identity from a nest of sub-cultures. I further argue that monuments and public sculpture in Zimbabwe abound with political imperatives given that, as visual artefacts that interlace with ritual performance, they are conscious creations of society and are therefore constitutive of that society‘s heritage and social memory. Since independence in 1980, monuments and public sculpture have helped to open up discursive space and dialogue on national issues and myths. Such discursive spaces and dialogues, I also argue, have been particularly animated from the late 1990s to the present, a period in which the nation has engaged in self-introspection in the face of socio-political change and challenges in the continual process of imagining the Zimbabwean nation. Little research focusing on postcolonial public art in Zimbabwe has hitherto been undertaken. This study addresses gaps in this literature while also providing a spring board from which future studies may emerge.Microsoft� Word 2010
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Lau, Garfield Chi Sum. "The ubiquity of terror: reading family, violence and gender in selected African Anglophone novels." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/262.
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Terror in the African Anglophone novels of Chinua Achebe, Doris Lessing, J.M. Coetzee and Laila Lalami originated as a consequence of a breakdown in the family structure. Traditionally, conventional patriarchy, in addition to securing the psychological and material needs of the family, has served as one of the building blocks of tribes and nations. Since the father figure within narrative is allegorized as a metonym of the state, the absence of patriarchal authority represents the disintegration of the link between individuals and national institutions. Consequently, characters may also turn to committing acts of terror as a rejection of the dominant national ideology. This dissertation aims to demonstrate how the breakdown of the family and the conventional gendering of roles may give rise to terrorist violence in the African setting. To recontextualize the persistence of the Conradian definition of terror as an Anglo-European phenomenon brought to Africa, I contrast the ways in which the breakdown of the family affects both indigenous and Anglo-European households in Africa across generations. I suggest that, under the reinvention of older gender norms, the unfulfilling Anglo-European patriarchy exposes Anglo-European women to indigenous violence. Moreover, I theorize that the absence of patriarchal authority leads indigenous families to seek substitutions in the form of alternative family institutions, such as religious and political organizations, that conflict with the national ideology. Furthermore, against the backdrop of globalized capitalism, commodity fetishism emerges as a substitute to compensate for the absent father figure. Therefore, this project demonstrates the indisputable relationship between the breakdown of the family structure and individual acts of terror that aim at the fulfillment of capitalist fetish or individual desire, and at the expense of national security. Finally, the rhetorical dimension of terror against family and women in Africa will be proven to be the allegorized norm of globalized terror in the twenty-first century.
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Santos, Cassia dos. "Uma paisagem apocaliptica e sem remissão : a criação de Vila Velha e da Cronica da casa assassinada." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270213.
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Orientador: Vilma Sant'Anna AreasTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A tese tem como objetivo principal investigar como se deu a elaboração do romance Crônica da casa assassinada do escritor mineiro Lúcio Cardoso (19121968). O processo de redação do livro é reconstituído através do exame dos seus originais e de sua edição critica publicada em 1991 pela Coleção Arquivos. Entrevistas concedidas pelo autor, trechos do seu Diário, a sua correspondência e outras de suas obras ficcionais, parte delas inacabada contribuem igualmente para a discussão. O romance é entendido, ainda como parte de um projeto maior idealizado em tomo de uma cidade imaginária: a pequena Vila Velha situada na Zona da Mata mineira
Abstract: The main purpose of the thesis is to research on the making of the novel Crônica da casa assassinada by Lúcio Cardoso (1912-1968), a writer from Minas Gerais State, Brazil. The book's writing process is reconstructed trough the examination of the original drafts and the critical edition, published in 1991 by Coleção Arquivos. Interviews with the author, excerpts from bis personal joumal, bis mail and other fictional works of bis, some of wbich unfinished, contribute to this discussion as well. The novel is understood also as part of a greater project idealized around an imaginary town: the small Vila V elha located in the Zona da Mata region, in Minas Gerais
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária
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關冠斌. "論錢基博白話文體研究的創見與反思 = The original thoughts and reflections of Qian Jibo's study on vernacular Chinese." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2485813.
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Yoder, Rachel M. "Performance Practice of Interactive Music for Clarinet and Computer with an Examination of Five Works by American Composers." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33219/.
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Since the development of interactive music software in the 1980s, a new genre of works for clarinet and computer has emerged. The rapid proliferation of interactive music resulted in a great deal of experimentation, creating a lack of standardization in both the composition and performance of this repertoire. In addition, many performers are reluctant to approach these works due to unfamiliarity with the genre and its technical and musical considerations. Performance practice commonly refers to interpretation of a written score, but the technology involved in interactive music requires a broader definition of performance practice; one that also addresses computer software, coordination between the performer and computer system, and technology such as microphones and pedals. The problems and potential solutions of interactive music performance practice are explored in this paper through review of the relevant published literature, interviews with experts in the field, and examination of musical examples from works for clarinet and computer by Lippe, May, Pinkston, Rowe, and Welch. Performance practice considerations of interactive music fall into the categories of notation, technology, collaboration, interpretation, and rehearsal. From the interviews and the literature, it is clear that the performance of interactive music requires specific knowledge and skills that performers may not encounter in other genres of contemporary music, including microphone technique, spatialization, sound processing, and improvisation. Performance practice issues are often mediated by close collaboration between performers and composers, but they can inhibit the accessibility of these works to new performers, and may be detrimental to the long-term viability of interactive music. Recommendations for resolving these issues are directed at both composers and performers of interactive music. A listing of over one hundred interactive works for clarinet and computer is also included.
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White, Deborah. "Masculine constructions : gender in twentieth-century architectural discourse : 'Gods', 'Gospels' and 'tall tales' in architecture." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw5834.pdf.
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Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.
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Wilkinson, Ronald. "An exploration of characteristic elements intrinsic to the matrix of John Steinbeck's fiction and their effect on the critical reception of his work, with particular reference to a God unknown." Thesis, 1998. http://hdl.handle.net/10530/993.
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A dissertation submitted to the Faculty of Arts in partial fulfilment of the requirements for the degree of Master of Arts in the Department of English at the University of Zululand, South Africa, 1998.At the centre of this dissertation is the paradox to be found in the fact that although John Steinbeck was the recipient of some of the highest accolades ever to be bestowed upon a writer during this century, his work - and even his person - have, over the years, been subjected to severe attacks from sometimes impercipient critics. !n the thirties, he was branded as a California regionalist of some distinction, but the general consensus among the critics seemed to be that he was unlikely to achieve greatness due to major artistic flaws that were perceived to be present in his work. These flaws included his purported indecency, vulgarity, sexual licence and demagoguery. Reverse reasoning, by which his 'weaker, later works' (especially post World War 11) are compared unfavourably with 'the better earlier ones' of the thirties, is also dealt with. Other aspects that receive attention are his world-view (which is often misunderstood and compared unfavourably with that of other authors) and the fact that his deceptively lucid works are easy to read and therefore often underrated by critics as well as careless readers. Although criticism which centres upon ethical, sociological and political issues instead of artistic merit, is briefly dealt with, emphasis is placed on three elements that are intrinsic to Steinbeck's fiction and their role in the acceptance of his work. These elements, namely allegory/myth, non-teleological thinking and his approach to religion, are dealt with in general terms but also with particular reference to his novel To a God Unknown. To a God Unknown was specifically chosen as a focus for this study because it is believed that it reveals many of the 'flaws' that Steinbeck has been criticised for. It is also considered to be of seminal importance in his canon and therefore a harbinger of later works. As such it reveals a great deal about the author's outlook on life, early influences on his work, theoretical and practical approaches to his writing, and the various techniques employed to achieve his goals. The novel is also a typical example of one of Steinbeck's works of fiction that enjoys a wide and continued readership in spite of the adverse criticism that attended its appearance. This anomaly is central to the study. Virtually all of the works in Steinbeck's canon as well as the reviews and criticisms of internationally recognised Steinbeck scholars and critics collectively served as a 'pool of reference' in the compilation of this dissertation. Other sources included works on American and world literature and history; philosophy; psychology; biography; mythology; theology, and other aspects that have a bearing upon the subject matter. Extensive use was made of the excellent facilities and services provided by the university library as well as by various institutions and individuals on the Internet. The conclusion is reached that it is essential to take cognisance of the Oriental aspect of the Transcendentalist influence on Steinbeck's world-view in order to understand the confluence of apparently irreconcilable philosophical and mythological anomalies in Steinbeck's fiction.
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"成英姝小說中的「城市女性」研究." 2004. http://library.cuhk.edu.hk/record=b5896416.
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鄧依韻."2004年12月".
論文(哲學碩士)--香港中文大學, 2004.
參考文獻(leaves 144-162).
"2004 nian 12 yue".
Abstracts in Chinese and English.
Deng Yiyun.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 144-162).
Chapter 第一章 --- 緒論
Chapter 第一節 --- 成英姝個人背景及作品簡介 --- p.2
Chapter 第二節 --- 成英姝硏究槪述 --- p.5
Chapter 第三節 --- 硏究方法簡介 --- p.11
Chapter 第四節 --- 論文架構簡介 --- p.15
Chapter 第二章 --- 台灣「新世代女作家」發展與成英姝的作家定位
Chapter 第一節 --- 「新世代女作家」的時代背景 --- p.18
Chapter (一) --- 「世紀末」的來臨 --- p.20
Chapter (二) --- 台灣「解嚴」後的急速都市發展 --- p.23
Chapter (三) --- 「後現代主義」的影響 --- p.27
Chapter (四) --- 本節小結 --- p.30
Chapter 第二節 --- 「新世代女作家」的槪況與特色
Chapter (一) --- 「新世代女作家」的槪況 --- p.32
Chapter (二) --- 「新世代女作家」的特色 --- p.34
Chapter (三) --- 本節小結 --- p.37
Chapter 第三節 --- 作爲「新世代女作家」的成英姝
Chapter (一) --- 成英姝的出生與寫作時間 --- p.39
Chapter (二) --- 成英姝的創作題材 --- p.40
Chapter (三) --- 成英姝的作家身份 --- p.41
Chapter (四) --- 本節小結 --- p.46
Chapter 第四節 --- 本章小結 --- p.47
Chapter 第三章 --- 成英姝對「城市」與「女性」的看法及其創作觀念
Chapter 第一節 --- 成英姝對「城市」的看法 --- p.49
Chapter 第二節 --- 成英姝對「女性」的看法 --- p.54
Chapter 第三節 --- 成英姝的創作觀念
Chapter (一) --- 成英姝的基本創作觀念 --- p.57
Chapter (二) --- 成英姝創作觀中的「城市女性」 --- p.60
Chapter 第四節 --- 本章小結 --- p.63
Chapter 第四章 --- 成英姝筆下的「城市女性」
Chapter 第一節 --- 從無名到有名的城市女性
Chapter (一) --- 《公主徹夜未眠》：「無名女性」與「無名城市」 --- p.65
Chapter (1) --- 「無名女性」 --- p.65
Chapter (2) --- 「無名城市」 --- p.68
Chapter (二) --- 《好女孩不做》「台北」就是「女孩」的名字 --- p.70
Chapter (三) --- 本節小結 --- p.77
Chapter 第二節 --- 顛覆傳統的城市女性
Chapter (一) --- 顛覆社會角色規限的女性 --- p.79
Chapter (1) --- 顛覆「妻子」的身份 --- p.79
Chapter (2) --- 顛覆「母親」的身份 --- p.82
Chapter (二) --- 以「失憶」、「失常」爲顛覆手段的女性
Chapter (1) --- 以「失憶」尋找新出路的女性 --- p.91
Chapter (2) --- 以「失常」肯定自我的女性 --- p.93
Chapter (三) --- 反襯顛覆女性的頹廢男性
Chapter (1) --- 面對婚姻與家庭的失敗男性 --- p.99
Chapter (2) --- 陶醉於自我外表的頹廢男性 --- p.101
Chapter (3) --- 逆來順受的被動男性 --- p.104
Chapter (四) --- 本節小結 --- p.106
Chapter 第三節 --- 不再糖衣與肥皂：反童話化與反戲劇化的手法運用
Chapter (一) --- 不再糖衣：成英姝筆下的反童話化女性 --- p.109
Chapter (二) --- 不再肥皂：成英姝筆下的反戲劇化女性 --- p.122
Chapter (三) --- 本節小結 --- p.131
Chapter 第四節 --- 本章小結 --- p.132
Chapter 第五章 --- 結語：
Chapter 第一節 --- 成英姝小說中所呈現的城市女性 --- p.134
Chapter 第二節 --- 成英姝十年創作生涯的回顧 --- p.142
參考書目 --- p.144
附錄：
附錄一：成英姝訪問稿 --- p.163
附錄二 ：有關成英姝硏究資料 --- p.191
附錄三：成英姝作品結集年表 --- p.204
附錄四：《公主徹夜未眠》作品發表年表 --- p.205
附錄五：《恐怖偶像劇》劇集原名與改編篇名一覽 --- p.207
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Campbell, Micaela. "No woman is an island : reconceptualizing feminine identity in the literary works of Ayu Utami." 2005. http://hdl.handle.net/1828/855.
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"文藝與政治之間: 論洪深、田漢夏衍與中國現代戲劇的轉向 = Between literature and politics : a study of Hong Shen, Tian Han, Xia Yan and the transformation of modern Chinese drama." 2015. http://library.cuhk.edu.hk/record=b6115317.
Full textAbstract:
在中國現代文學中，文藝與政治之間有著密切而複雜的關係，此一問題在現代戲劇中尤其值得重視。過往戲劇研究長期位處邊緣，這與戲劇此一文類所獨具的綜合藝術特質不無關係，其橫跨文學、美術、音樂、表演等領域的跨藝術特徵，導致其複雜性實際上遠超純文學的範疇。另一方面，戲劇運動的集團性和政治性，亦導致論者對於中國現代戲劇發展較為簡單化的論述，戲劇史的書寫往往與時代話語緊密連繫。不論是純粹文藝化還是政治化的角度，皆很可能遮蔽了戲劇本身一體兩面的問題，導致研究單一化和簡單化。洪深 (1894-1955)、田漢 (1898-1968)和夏衍 (1900-1995)均是中國現代重要戲劇家，同時亦長期被定位為左翼文藝陣營中的重要成員。戲劇家和政治家的身分重疊，導致他們的研究情況往往與時代的意識形態掛鈎，而目前有關他們的研究更是受到冷落，與他們的文學成就並不相稱。本文以三位劇作家為研究對象，希望通過他們的不同面向，重新審視文藝與政治之間各種複雜關係的可能性。本文分為五章。第一章為導論，主要介紹本文的寫作理念、方法和背景。第二章以洪深為研究對象，重新探討他的現實主義戲劇創作和主張。洪深對改譯劇的主張和實踐，體現了他與晚清鴛鴦蝴蝶派文學和西方戲劇的深刻淵源，而他和蕭伯納之間的文學關係，反映了他對早期文明戲的戲劇改革和西方舞台的繼承，突顯了洪深如何在中西文化之間思索中國現代戲劇中的現實主義問題。第三章從西方唯美主義和先鋒文學運動的角度，重新探討田漢的創作和政治轉向。本章考察田漢對外國文學的譯介活動，當中包括英國唯美主義作家威廉．莫里斯、德國表現主義影劇、俄國和日本左翼劇場，反映了田漢戲劇運動的左翼國際主義特徵；然而田漢對日本作家佐藤春夫和谷崎潤一郎的翻譯，則體現了他對唯美主義的回歸。第四章以夏衍的戲劇創作為研究對象，重新探討夏衍的戲劇文學的獨特性。本章把夏衍此時期的劇作分為歷史劇和上海都市劇兩個角度作出分析，並將它們放在當時文學場域中與郭沫若的歷史劇、國防文學、現代派小說和左翼電影作一比較，並分析夏衍的現實主義與左翼現實主義的相異。第五章為結論，綜合前文各章的討論，重新思考三位劇作家的戲劇實踐，並重審中國現代戲劇中文藝與政治之間的複雜關係。
There is a complicated relationship between literature and politics in modern Chinese literature, especially in modern Chinese drama. As a result, the research of modern Chinese drama has long been placed at a marginal position. Drama is an integrated artistic form consisting of literature, art, music, and performance, and therefore presents a complexity that goes far beyond "pure literature". On the other hand, the history of modern Chinese drama is closely integrated with historical discourse as a result of the organizational and political characteristics of drama movements. This shows that either literary or political point of view may confine the interpretation of their inter-related complexity and interaction. Hong Shen (1894-1955), Tian Han (1898-1968) and Xia Yan (1900-1995) are three of the most important dramatists in modern Chinese literature, who were also regarded as representative members in the left-wing literary camp. Due to their dual identities as dramatist and politician, their images are often connected with historical and ideological discourses. This has also resulted in desolation in their researches, which is not commensurate with their literary achievements. This dissertation, therefore, focuses on the three dramatists by presenting different perspectives of their works and activities, with the aim to explore the possibilities of various relations between literature and politics.
There are five chapters in the dissertation. Chapter one introduces the framework, method and background of the research. Chapter two re-examines the realistic works and theories of Hong Shen. Hong’s adaptation reflects his literary relationship with both the Mandarin Ducks and Butterflies literature and the Western drama. Moreover, Hong’s literary relationship with Bernard Shaw reflects his succession of both the tradition of the civilized drama and the Western theatre. This highlights that the characteristics of Hong Shen’s realistic theories were adapted from both China and the West. Chapter three re-explores the political transformation of Tian Han from the Western literary movements of aestheticism and the avant-garde. This chapter demonstrates the characteristics of left-wing cosmopolitanism in Tian Han’s drama movements by studying his translation activities of international literature, which include the English poet William Morris, German expressionist cinema and theatre, Russian and Japanese left-wing theatre. In the meantime, Tian Han’s translations of Japanese writers Sato Haruo and Tanizaki Junichiro reflect his return to aestheticism. Chapter four discusses the uniqueness of Xia Yan’s literary works, including his historical drama and his modern drama centering on Shanghai. This chapter emphasizes the difference of Xia Yan’s realistic style from left-wing realism by comparing Xia’s works with National Defence Literature, modernist fictions, left-wing cinema, as well as the historical drama by Guo Moruo. Chapter five concludes the significance of the dramatic transformation by Hong Shen, Tian Han and Xia Yan, and reviews the relationship between literature and politics in modern China.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
盧敏芝.
Parallel title from added title page.
Thesis (Ph.D.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 135-157).
Abstracts also in English.
Lu Minzhi.
36
"日本大正時期與田漢早期創作中的女性婚戀議題." 2012. http://library.cuhk.edu.hk/record=b5549000.
Full textAbstract:
田漢（1898-1968）是中國現代文學的重要劇作家之一。他亦以電影劇本作家、戲曲作家、詩人、小說家、散文家、翻譯家、歌詞作家、文學評論家和社會活動家知名於世。田漢雖在文學史上有著舉足輕重的地位，其研究卻長期受到政治因素制約。新時期以來，田漢研究轉趨活躍，但論者多從比較文學的角度分析其作品。本論文希望從田漢在日本大正時期留學的經歷，考察其早期藝術生命之形成。大正時期，日本在經濟、文化、社會價值觀各方面都有著激烈變動，「兩性解放」為其時代精神，「新女性」的話題非常盛行。論者雖然大多留意到女性角色和婚戀議題在田漢早期作品的重要，但甚少提及田漢留日時期的經歷與其作品的關係。田漢是中國留日學生，早在日本時期即已開展話劇創作。除對外國文學的接受外，田漢實際上亦受到日本化的西方思想、運動和生活方式，例如女性解放理論、劇場運動和咖啡店文化所影響，而這些影響更以不同方式滲透到其早期作品中。本論文旨在闡述這些因素在田漢早期創作生命中所起的作用，尤其是他對女性和婚戀議題的思考和取態。本論文的研究範圍涵括田漢在二十世紀二十年代的整個創作歷程。
本論文共分五章，內容如下：第一章為導論，簡介田漢研究的情況、本論文的研究範圍、目的和方法。第二章至第四章討論大正時期不同的社會文化因素與田漢早期作品的關係。第二章考察田漢早期作品對日本大正時期女性解放理論的接受和轉化，以及田漢對當時社會戀愛事件的評價。第三章闡述藝術座的新劇運動，以及其創立人島村抱月和松井須磨子的戀愛事跡對田漢早期創作生命的影響。第四章從大正時代的咖啡店文化出發，分析田漢一系列不同文類、以咖啡店女侍為主角的早期作品。第五章為總結。
Tian Han (1898-1968) is one of the most prominent dramatists of modern Chinese literature. He is also renowned as a film scriptwriter, xiqu (traditional Chinese drama) writer, poet, novelist, proser, translator, lyricist, literary critic and social activist. Nevertheless, the study of Tian had long been at a standstill due to political reasons. Since the 1980s, most of the researches have been conducted from the approach of comparative literature. This thesis, however, traces the development of Tian’s literary life by examining his experiences in Japan during the Taisho Period.
During the Taisho Period, Japan experienced tremendous changes in economy, culture and social values, with “sex liberation considered as the zeitgeist and “new women as a popular issue. Many scholars have discussed the significance of female characters and the theme of “love and marriage in Tian’s early works, but they seldom mentioned the influences by Tian’s experiences in Japan. Tian, as a returned Chinese student, had started his playwright career in Japan. Apart from the reception of western literature, Tian was also influenced by the “Japanized western thoughts, movements and lifestyle, such as feminist theories, theatre movements and café culture, which had penetrated his early works in different ways. With the focus on Tian’s literary works during the 1920s, this thesis aims at demonstrating the influences of these factors on Tian’s early writing career, particularly in studying Tian’s unique viewpoints and attitudes towards women, love and marriage.
This thesis is divided into five chapters. Chapter One gives an introduction on the background, scope, objectives and methodology of this study. Chapter Two to Chapter Four discuss the relationship between the social-cultural factors of the Taisho Period and Tian’s early works. Chapter Two examines the reception and transformation of feminist theories in Tian’s early works, as well as Tian’s evaluation towards the romance anecdotes in the Taisho Period. Chapter Three describes the importance of the Geijutsu-za theatre troupe in shingeki (new drama) movement and the love story of its founders, Hogetsu Shimamura and Sumako Matsui, on Tian’s early literary life. Chapter Four analyzes Tian’s early works of different genres featuring café waitresses with the exploration of the café culture in the Taisho Period. Chapter Five concludes the study.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
盧敏芝.
"2012年8月".
"2012 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 135-144).
Abstract in Chinese and English.
Lu Minzhi.
Chapter 第一章 --- 導論 --- p.1
Chapter 第一節 --- 小引 --- p.1
Chapter 第二節 --- 田漢研究綜述 --- p.2
Chapter 一 --- 田漢早期生平簡介 --- p.3
Chapter 二 --- 田漢研究概況 --- p.6
Chapter 第三節 --- 本論文之研究目的 --- p.9
Chapter 一 --- 提出田漢研究的新角度 --- p.9
Chapter 二 --- 重視日本因素在田漢研究中的角色 --- p.10
Chapter 三 --- 重新探究田漢早期作品中的女性婚戀議題 --- p.12
Chapter 第四節 --- 本論文之研究方法 --- p.15
Chapter 第五節 --- 小結 --- p.19
Chapter 第二章 --- 田漢與日本大正時期之女性解放思潮 --- p.20
Chapter 第一節 --- 小引 --- p.20
Chapter 第二節 --- 田漢對日本大正時期女性解放理論之引介 --- p.21
Chapter 一 --- 〈秘密戀愛與公開戀愛〉 --- p.22
Chapter 二 --- 〈第四階級的婦人運動〉 --- p.25
Chapter 三 --- 〈吃了「智果」以後的話〉 --- p.26
Chapter 四 --- 田漢對日本大正時期女性解放思想的取捨與評價 --- p.30
Chapter 第三節 --- 日本大正時期的女性解放理論與田漢的早期劇作 --- p.36
Chapter 一 --- 田漢早期劇作對愛倫．凱「新性道德」論的借鑑 --- p.36
Chapter 二 --- 田漢早期劇作對社會主義女性解放理論的借鑑 --- p.40
Chapter 三 --- 田漢早期劇作對女權運動的批評 --- p.45
Chapter 第四節 --- 《薔薇之路》對日本大正時期戀愛事件的記述和評論 --- p.48
Chapter 一 --- 「大正三美人」事件 --- p.51
Chapter 二 --- 男性戀愛醜聞 --- p.56
Chapter 三 --- 日本大正時期社會婚戀事件對田漢的啟示 --- p.58
Chapter 第五節 --- 小結 --- p.59
Chapter 第三章 --- 藝術座的新劇運動與田漢對女性議題的探討 --- p.60
Chapter 第一節 --- 小引 --- p.60
Chapter 第二節 --- 日本的新劇運動 --- p.61
Chapter 第三節 --- 藝術座與田漢 --- p.63
Chapter 一 --- 藝術座 島村抱月 松井須磨子 --- p.63
Chapter 二 --- 田漢對松井須磨子的引介和接受 --- p.66
Chapter 三 --- 田漢對藝術座的觀演經驗與女性解放議題 --- p.68
Chapter 第四節 --- 藝術座對田漢早期戲劇生涯的影響 --- p.75
Chapter 一 --- 田漢的早期話劇創作 --- p.76
Chapter 二 --- 翻譯與改編 --- p.87
Chapter 三 --- 對易卜生戲劇的研究 --- p.93
Chapter 四 --- 女演員的培育 --- p.95
Chapter 第五節 --- 小結 --- p.98
Chapter 第四章 --- 日本大正時期之咖啡店文化與田漢筆下的「新女性」 --- p.99
Chapter 第一節 --- 小引 --- p.99
Chapter 第二節 --- 日本大正時期的咖啡店文化 --- p.100
Chapter 第三節 --- 田漢與日本咖啡店的因緣 --- p.103
Chapter 第四節 --- 《咖啡店之一夜》中的咖啡店與都市 客與女侍 --- p.110
Chapter 第五節 --- 《到民間去》中咖啡店情節的消退 --- p.118
Chapter 第六節 --- 小結及餘論 --- p.125
Chapter 第五章 --- 總結及餘論 --- p.129
Chapter 第一節 --- 小引 --- p.129
Chapter 第二節 --- 本文研究總結 --- p.129
Chapter 第三節 --- 餘論：田漢早期劇作中的「新女性」與三十年代的轉向 --- p.131
Chapter 第四節 --- 小結 --- p.133
p.135
Chapter 附錄一 --- ：田漢於少年中國學會刊物發表作品 --- p.145
Chapter 附錄二 --- ：田漢在日期間觀劇資料 --- p.152
37
Bowan, Kate. "Musical mavericks : the work of Roy Agnew and Hooper Brewster-Jones as an Australian counterpart to European modern music 1906-1949." Phd thesis, 2007. http://hdl.handle.net/1885/109691.
Full textAbstract:
In 1920 the Lone Hand reported that Sydney composer Roy Agnew (1891-1944) had “after
much anxious consideration been forced to abandon the limitations of key and tonal
relationship.” For this transgression, he was branded, among other things, a musical
Bolshevik. Three years later in Adelaide, Hooper Brewster-Jones (1887-1949) wrote the first
of his “formula” pieces which are part of a larger body of works that experiment with various
aspects of musical language. In this thesis, I will argue that together certain works of these
two isolated composers constitute an instance of what is known in conventional music history
terms as “progressive” or “innovative” music. As such it can be seen as part of the wider
international scene concerned with developing new means of musical expression at this time.
This significant fact has been overlooked by musicologists and historians dealing with this
interwar period, long dismissed as stagnant, producing only second-rate work: a pale
imitation of British pastoralism and “light” salon music. This study seeks to revise that longaccepted
story and show that there was an Australian musical intelligentsia in the early
decades of last century.
Drawing from a wide array of primary sources, including contemporary newspapers,
journals, letters, memoirs, unpublished music manuscripts and other archival material, I will
first, through analysis of selected works, demonstrate how the music fits into a broader
international framework, then, using biography as a lens, reconstruct their worlds in Sydney,
Adelaide and London, describing networks and important relationships that provide a context
for this music, and finally examine aspects of the two composers’ public output such as
performance, radio broadcasts and newspaper criticism that strengthen the picture of these
two composers as individuals who enthusiastically engaged with international modernism.
Central themes that emerge to underpin the study of these two figures are: the relationship
between exoticism, occultism and modernism (demonstrating that exoticism and occultism
were driving forces behind the development of early modernism); exoticism as a process by
which that from the outside is brought into and reinterpreted for the local and particular; an
interpretation of the diverse meanings and uses of that much-contested term modernism; and
the broad informal network of dissemination, communication and bi-directional influence
offered by the transnational British world and direct engagement with America and Europe.
38
Yannacci, Christin Essin. "Landscapes of American modernity: a cultural history of theatrical design, 1912-1951." Thesis, 2006. http://hdl.handle.net/2152/3444.
Full text
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Rowe, Ana-María. "El pensamiento poetico de León Felipe de la guerra al exilio, años 1936-1939: el poeta encuentra su voz definitiva." Diss., 2003. http://hdl.handle.net/10500/1210.
Full textAbstract:
In this dissertation, the poetic thought of León Felipe is examined through the study of his works written during the Spanish Civil War (1936-1939), namely, Good bye, Panamá (1936); La insignia (1937); El payaso de las bofetadas y el pescador de caña (1938); and Español del éxodo y del llanto (1939).
The poet's biographical and poetic paths are outlined, as they are closely linked. A diachronic approach is used to analyse his fundamental ideas or themes that emerge, evolve and merge through his writings during this period which shaped his unique cosmo-vision.
The purpose of this dissertation is to study the works of the poet within the social-historical context in which they evolved, establish the importance of this period as the catalyst for his ideological and poetic thought, and analyse how these aspects are reflected in his poetry to give him a new and definitive voice.Classics & Modern European Languages
M. A. (Spanish)
40
Mahala, Siphiwo. "Inside the house of truth : destruction and reconstruction of Can Themba." Thesis, 2017. http://hdl.handle.net/10500/25231.
Full textAbstract:
This study is, by its intention at any rate, an attempt at assembling the scattered fragments of
Can Themba’s life to make a composite being out of the various existing phenomena that
shaped the contours of his life in both literary and literal senses.
Given the disjunctive manner in which Can Themba and his work have been represented thus
far, a combination of Historical and Biographical research methods will underpin the approach
of this study. The resultant approach is the Historical-Biographical method of research.
According to Guerin et al (2005, 22) the Historical-Biographical approach “sees the work
chiefly, if not exclusively, as the reflection of author’s life and times or the life and times of
the characters in the work.”
This research is premised on the conviction that an individual is a constellation of multiple
factors that play a pivotal role in the construction of their persona. These factors will be traced
from his family background, early schooling, tertiary education, socio-economic conditions as
well as his contribution to various newspapers and journals.
While so much has been written about Themba and his work, there is no comprehensive
biography of Can Themba as a person. Most importantly, the factors that contributed to his
making as well as his breaking, or destruction, have not been interrogated in a form of
comprehensive academic research.
Rightly or wrongly, Themba’s meteoric rise into the South African literary canon is often traced
from the moment he won the inaugural Drum Magazine short story competition. Themba
became one of the most popular journalists and rose within the ranks of Drum to become the
Assistant Editor. However, my research demonstrates that winning the Drum short story
competition was the culmination of a literary talent that was developed and had been simmering
for a number of years. Themba studied at the University of Fort Hare between 1945 and 1951
alongside the likes of Dennis Brutus, Ntsu Mokhehle, Robert Mangaliso Sobukwe,
Mangosuthu Buthelezi, and many other prominent individuals. He was a regular contributor to
The Fortharian, a university publication that published opinion pieces, poems and short stories.
This is a vital component of Themba’s intellectual growth and it remains the least explored
aspect of his life. As a result, what has been discursively documented by various scholars,
writers and journalists, thus far, is a very parochial representation of Can Themba’s oeuvre.English Studies
D. Litt. et Phil. (English Literature)
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Kramer, Karen Etresia Helena. "The imagery of nature in the prose works of K. Paustovsky." Thesis, 2012. http://hdl.handle.net/10500/8472.
Full textAbstract:
1 online resource (181 leaves)This study relies on ecocriticism as the discipline benefitting the analysis of the imagery of nature in Konstantin Paustovsky’s prose. The objective of this approach is to demonstrate that Paustovsky’s prose goes beyond of what was expected from a Soviet writer by the socialist realist dogma. This thesis attempts to prove that an ecocritical approach validates his prose as being universal in its message and thus relevant to contemporary readers. Scholars of ecocriticism ask the following questions when analysing a nature-orientated prose: what values are expressed in nature-orientated literature, does the portrayal of nature reflects the cultural values of a nation as well as the way in which a person’s interaction with his natural environment enhances or hampers his spiritual development. The timeframe, within which Paustovsky wrote his prose, should be taken into account, because it coincides with the Lenin and Stalin regimes, when any criticism of the government including its nature conservation policies was impossible. The analysis of attitudes of the Russian people towards nature in Paustovksy’prose demonstrates that it evolved from the acceptance of the official stand to the one of criticism. This research resulted in the following conclusions: Firstly Paustovsky’s view with regard to ecological problems and his solutions to these problems are on par with those of modern ecologists. The writer, for example, proposes a holistic way to undertake nature conservation, such as replacing ruined forests by the same type of trees, not interfering in the cycles of nature and stresses the importance of scientific information on how to care of the natural environment. Secondly, it is through his presentation of nature that the author familiarises the reader with the essence of the Russian culture, which is totally intertwined with the manifestations of Russian nature, such as folklore, superstitions, cultural traditions and values attached to certain animals and trees Thirdly, it has been established that the ‘external’ natural landscape of a person namely his environment, undoubtedly influences his ‘internal landscape’, his psyche. This implies that the natural environment of a person will have an influence on his psychological make-up. It is assumed that this study, in particular the use of ecocriticism as a tool to analyse literature where nature plays a role, will shed new light on the role of nature in Russian prose. This is especially the case with regard to the way in which ecological issues such as nature conservation are treated.
Classics & World Languages
D. Litt. et Phil. (Russian)
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Zavala, Oswaldo. "Literature to infinity: a Borgesian genealogy of contemporary Mexican narrative." Thesis, 2006. http://hdl.handle.net/2152/3012.
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