Dissertations / Theses on the topic '1889-1978 Criticism and interpretation'
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David, Lucie. "La fortune critique de Paul Morin, 1908-1958 /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56946.
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The poetical works of Paul Morin are not very well known, and are rarely ever read today. And yet, he was the successor of Emile Nelligan and Albert Lozeau. Paul Morin is one of the first French Canadians to publish his works in France and it was said of his collection of poems Le Paon d'email that it was the spark that ignited the famous "Querelle des regionalistes et des exotiques" in French Canada. Unfortunately, the negative reactions of some of his first critics, were to determine for a long time those of future generations.This thesis focuses on the critical reception of Paul Morin's first two published books: Le Paon d'email (1911) and Poemes de cendre et d'or (1922), and attempts as well to retrace their critical fortunes up until the beginning of the sixties.
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Cunningham, Thomas Robert. "The continuity of Wittgenstein's critical meta-philosophy." Thesis, University of Stirling, 2008. http://hdl.handle.net/1893/1055.
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This thesis investigates the continuity of Wittgenstein’s approach to, and conception of, philosophy. Part One examines the rule-following passages of the Philosophical Investigations. I argue that Wittgenstein’s remarks can only be read as interesting and coherent if we see him, as urged by prominent commentators, resisting the possibility of a certain ‘sideways-on’ perspective. There is real difficulty, however, in ascertaining what the resulting Wittgensteinian position is: whether it is position structurally analogous with Kant’s distinction between empirical realism and transcendental idealism, or whether philosophical ‘therapy’ is meant to dissolve any drive towards such idealism. I argue that both of these readings of Wittgenstein are found in the work of McDowell. Part Two argues that related issues arise in respect to the Tractatus Logico-Philosophicus and the question of realism. In the Tractatus Wittgenstein rejects the possibility of a certain ‘sideways-on’ perspective. Again, I argue, it is unclear whether Wittgenstein embraces a form of transcendental idealism or, on the contrary, ultimately reveals the idealist position to be empty. Part Three connects ‘sideways-on’ glances with the threat of idealism by introducing a philosophical ‘measure’. I argue that the measure is a useful tool in assessment of the Tractatus, and shows that Wittgenstein was no idealist, but is less useful as an assessment of the Investigations. It yields the result that Wittgenstein succumbed to idealism, but in doing so may overlook the ‘therapeutic’ nature of Wittgenstein’s later philosophy.
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Ezroura, Mohammed. "Criticism between scientificity and ideology : theoretical impasses in F.R. Leavis and P. Macherey." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30697.
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While focussing on the metaphor of scientificity in Leavis's and Macherey's writings, this dissertation addresses other questions central to criticism, cultural theory, and the philosophy of science. Whereas Leavis opposes scientificity, Macherey proposes "scientific criticism" as imperative to theoretical practice. Between the two critics, scientificity reveals its major metamorphoses.
This study is divided into four major parts. Part One situates the concept of scientificity in the modern debate between critics and philosophers of science. I compare their problematization of scientificity to the way this notion has been represented in literary criticism. The debate blurs the boundary between scientific and literary knowledge, and brings the question of ideology in scientific discourse to the fore. Scientificity is thus bound with ideology as an epistemological practice.
Part two focusses on Leavis's rejection of scientificity. In three chapters here I investigate the significance of Leavis's definition of "organic culture," "civilization," "science," and "criticism." These are all
rooted in Arnold's cultural paradigm, which privileges a traditional order. Leavis's opposition to "theory," "science," and "philosophy" problematizes his principles of "precision," "analysis," and "standards." His controversies with CP. Snow's scientism and with Marxism reveal his concern with theory and scientific epistemology. His defence of "ambiguity," and "impossibility of definition" also makes his framework confront a theoretical impasse that is revealed by a desire to theorize criticism—Leavis's duty towards society— and a fear of theory and science, perceived as destructive.
Part Three, comprising three chapter, considers Macherey's scientific criticism. His notions of the "structure of absence" and "symptomatic reading" are central to his theorization of criticism, science, and ideology. These are formulated through Freud's categories of dream analysis, Saussure's notion of difference, and Althusser's conception of ideology. For Macherey, scientific criticism negates ideology. But his emphasis on "absence" as constitutive of scientificity brings his epistemology to a theoretical impasse that resembles Leavis's. Macherey's anchoring of meaning in economic structures, in ideology, and in Marxism as "science," problematizes his scientific project because it abandons "absence."
Part Four concludes the dissertation by investigating ways in which Leavis and Macherey illustrate the importance of an epistemological phenomenon in literary studies: criticism's struggle with scientificity. Whether opposed or defended, scientificity has helped criticism to emulate the hegemonic discourse of science and to combat rival critical strategies. However, to dispel "scientific" delusions, criticism must scrutinize its affiliation with ideology both in scientific method and in theory.Arts, Faculty of
English, Department of
Graduate
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Prpić, Maya. "Jean Cocteau : la morale du poète." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59382.
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The work of Jean Cocteau (1889-1963), the poet, while extremely diverse, presents nonetheless a coherence and a unity of tone which transmit his artistic vision and at the same time reveal his creative process.Three works in particular, Opium--Journal d'une desintoxication, La difficulte d'etre et le Journal d'un inconnu, permit us to retrace his poetic course.
Cocteau's art rests on the notion he has of poetry. With the help of the example set by Erik Satie, Raymond Radiguet and Pablo Picasso, he understood at an early age that poetry resided within him and that only by exploring himself and by following a set of morals--in this instance, morals signifies behaviour which conforms to the demands of poetry--would he attain a level of pure poetry.
All of this is evident as much in the ideas the poet conveys as in his style. The personality of the poet, his "ligne" to use Cocteau's words, becomes apparent the more the idea is accurate and the word chosen significant. As a result of this "ligne", of its presence in the work, the poet approaches immortality.
According to Cocteau, the work of a poet cannot flourish within human limits. The poet must transcend such limits to embody universal activity. It is for this reason that the poet must redefine religion and create for himself a personal mythology, that he must reconstruct the world starting from a play of spatial and temporal perspectives. His role thus proves essential to human survival. In effect, the poet fills the cosmic void in which man is evolving.
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Dicks, Henry. "Being and earth : an ecological criticism of late twentieth-century French thought." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669967.
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Jennings, Maude M. J. "Studies in the poetry : the prosody and the poetic theory of Gerard Manley Hopkins." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/473721.
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This dissertation studies the prosody, poetic theory, theme, and affective nature found in the poetry of Gerard Manley Hopkins. The prosody, striking in his time, is still controversial; the theory employs the rhetorical principle of parallelism extensively, and the theme (which is the reason for the affective nature of his work) deals always with Christ: Christ in nature and Christ in man.The study lays emphasis on Hopkins' religious vision. These insights pervade all his work and are prime factors in his poetry. The vision gained from his religion appears throughout all his work.Although recent critics have suggested that the material of his great ode, "The Wreck of the Deutschland" was "recalcitrant" and that his symmetry was "laboured," explication of the poem reveals his early intense voice, sprung rhythm, and his use of the techniques of cynghanedd and dysfalu. His prosody reveals his sense of parallel structure (noted in his art work and in his journals as symmetry) which increased with "number and distinctiveness" with the rise of passion.His "dark night," noted in the sonnets written during 1884-85, have caused some readers to suspect a crisis of faith occurring. Hopkins experienced trauma, but the prolonged depression suggested by the present numbering of the sonnets is inconsistent with his unquestioned faith. The night becomes less dark if chronology is followed.Hopkins' deepest message was delivered in his poetry and throughout his life. As a Catholic priest, teacher, and poet, he sought Christ. Common knowledge informs us that emotional and physical hardships follow such seekers. Teilhard de Chardin's philosophy as ennobling is certainly applicable to any study of Hopkins' life and works. This philosophy provides supplementary confirmation of the poet. Hopkins' achievements surpass the prescriptive condemners of his art.
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Lozowy, Eric. "Le réseau intertextuel dans le poème Primorskij Park Pobedy d'Anna Axmatova /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60563.
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Axmatova wrote the poem Primorskij park Pobedy in 1950 for Slava miru, a collection of verses that glorified Stalin. This poem was included in all her books that were published before her death (1966), apparently to please her censors. A few specialists that are trying today to establish a canonical and definitive version of her poetical works believe that Primorskij park Pobedy cannot be treated as a real Axmatova poem. The exclusion of a "parasitical" element seems unjustified if we conceive Axmatova's poetical works not as a complete Book, that is a definite and homogenous whole, but as a variable unity with undetermined limits.When we read Primorskij park Pobedy through an intertextual network, the superficial meaning of the poem cracks and collapses. The text becomes open: under a trivial and official meaning is concealed an infinity of possible meanings. Our thesis explores this polysemy by showing how Axmatova's poem can generate a system of intertextual relations.
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Gibbs, John. "'It was never all in the script...' : mise-en-scene and the interpretation of visual style in British film journals, 1946-1978." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298747.
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Galvin, Terrance. "Gravity and light : looking through the architecture of Jean Cocteau." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60066.
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The thesis examines a select amount of poesie by the artist Jean Cocteau, and through interpretation, explores the architecture of his work. This process of interpretation poses two questions: What is the role of the architect today, compared with his role as understood throughout history? How does the production of architecture today reflect the mechanisms of capitalism with its division of knowledge and labour, compared with an architecture which is inclusive and reconciliatory?A clear message emerges from Cocteau's Poesie as a response to the two aspects of Orpheus: the first is represented by the processes of individual creativity, and the second by the collective realization of a project, whether it be a work of theatre, the production of a film, or the design and realization of a building.
A work does not end in handing it over for someone else to finish.
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Sadet︠s︡kiĭ, Aleksandr. "The poetics of indeterminism : M. E. Saltykov-Shchedrin, the dynamics of the aesthetic object." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76580.
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Hsu, Yuk-kwan, and 許旭筠. "Reading male and nation trouble in Yu Dafu (郁達夫) and Guo Moruo (郭沫若)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B37087198.
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Plamondon, Marc. "Music in the poetry of Robert Browning." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26304.
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This thesis attempts to characterize the musicality of Robert Browning's poetry. There has been much debate about whether or not Browning may be said to be a musical poet, but neither side has effectively characterized the musicality or lack thereof in his poetry. This study does not concentrate on Browning's "philosophy" of music, nor on the musical allusions in his poetry. Instead it attempts to identify aspects of Browning's art that share an affinity with music.First, the state of music in nineteenth-century England is briefly discussed, followed by a discussion of Browning's musical background and an attempt to identify some general characteristics of musical poetry. The balance of the study is devoted to a discussion of the musicality of ten poems, among them "A Toccata of Galuppi's" and "Master Hugues of Saxe-Gotha". Emphasis is placed on these last two poems' ability to approximate a musical form: the toccata and fugue in the first, and the fugue in the second. The study concludes with a more general discussion of music in Browning's poetry.
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Hoedekie, Nelson G. U. (Nelson Gustaaf Urbain). "Naar analogie van schaduwen aan de wand : een wijsgerige interpretatie van 'de schaduw als kunstwerk' aan de hand van Plato's grotvergelijking." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53511.
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Thesis (MPhil)--University of Stellenbosch, 2003.ENGLISH ABSTRACT: In this thesis, 'shadow' is investigated as an object of thought and (analogically connected to this) of perception. This dialectical process is structured through means of a series of experiments and Plato's allegory of the cave, which is interpreted as a process directed towards selfconciousness. This process is further explained through thinkers such as, Blumenberg, Heidegger, Levinas en Voegelin. The purpose of this study is to break with the self-evident way in which 'shadow' is 'normally' treated and to bring back about a sense of astonishment for it.
AFRIKAANSE OPSOMMING: In hierdie tesis word die 'skaduwee' as waarnemingsobjek en (analogies verwant daaraan) as denkobjek ondersoek. Hierdie dialektiese proses word gestruktureerd met behulp van 'n aantal eksperimente en Plato se grotgelykenis, wat geinterpreteer word as programmaties van die proses van selfbewuswording. Hierdie proses word verder toegelig aan die hand van denkers soos Blumenberg, Heidegger, Levinas en Voegelin. Die doel van die ondersoek is om die vanselfsprekendheid waarmee daar met die fenomeen van die skaduwee omgegaan word te deurbreek en weer verwondering daarvoor op te roep.
NEDERLANDSTALIGE SAMENVATTING: In deze thesis wordt de 'schaduw' als waarnemingsobject en (analogisch verwant daaraan) als denkobject onderzocht. Dit dialectische proces wordt gestructureerd met behulp van een aantal experimenten en Plato's grotvergelijking, die geïnterpreteerd worden als een proces gericht op zeltbewustwording. Dit proces wordt verder toegelicht aan de hand van denkers zoals, Blumenberg, Heidegger, Levinas en Voegelin. Het doel van het onderzoek is om de vanzelfsprekendheid waarmee met het fenomeen van de 'schaduw' omgegaan wordt, te doorbreken en er opnieuw verwondering voor op te roepen.
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Panjvani, Cyrus. "Rule-following : conventionalism, scepticism and rationality." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/12950.
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The thesis argues, in lie main, for both a negative and positive agenda to Wittgenstein's rule-following remarks in both his Philosophical Investigations and Remarks on the foundations of Mathematics. The negative agenda is a sceptical agenda, different than as conceived by Kripke, that is destructive of a realist account of rules and contends that the correct application of a rule is not fully determined in an understanding of the rule. In addition to these consequences, this negative agenda opens Wittgenstein to Dummett's charge of radical conventionalism (a charge that also, but differently, applies to certain mid-period views and this is addressed in the first chapter). These negative consequences are left unresolved by Kripke's sceptical solution and, notably, are wrongly assessed by those that dissent from a sceptical reading (e.g., McDowell). The positive agenda builds on these negative considerations arguing that although there is no determination in the understanding of a rule of what will count as a correct application in so far unconsidered situations, we are still able to follow a rule correctly. This seems to involve an epistemic leap, from an underdetermined understanding to a determinate application, and, in respect of this appearance, involves what Wittgenstein calls following a rule "blindly" in an epistemic sense. Developing this view, of following a rule blindly, involves developing an account of an alternative rational response to rule instruction, one that need not involve a role for interpreting or inferring, but all the same allows for correctness in rule application in virtue of enabling agreement in rule application.
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Gabrielson, Jeremy. "Paul's non-violent Gospel : the theological politics of peace in Paul's life and letters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1889.
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This thesis advances a claim for the centrality of a politics of peace in early Christianity, with particular focus given to the letters of Paul and the Gospel of Matthew. In brief, I argue that Paul’s task of announcing the gospel to the nations involved calling and equipping assemblies of people whose common life was ordered by a politics (by which I mean, chiefly, a mode of corporate conduct) characterised by peaceableness, and this theological politics was a deliberate participation in the political order announced and inaugurated by Jesus of Nazareth. To this end, there are three main components of the thesis. Chapter Two is focused on the Gospel of Matthew, particularly the way in which violence (and peace) are constructed by the evangelist. Chapter Three bridges the first and third components of the thesis, attending to the important question of the continuity between Jesus and Paul on the issue of non-violence. The third component involves two chapters. Chapter Four attempts to identify the trajectory of violence and peace in Paul’s biography and in the “biography” of his Galatian converts (as he portrays it), and the fifth chapter traces the presence of this non-violent gospel in (arguably) Paul’s earliest letter. The intended effect is to show that a politics of non-violence was an early, central, non-negotiable component of the gospel, that its presence can be detected in a variety of geographical expressions of early Christianity, that this (normally) “ethical” dimension of the gospel has a political aspect as well, and that this political dimension of the gospel stands in stark contrast to the politics of both the contemporary imperial power and those who would seek to replace it through violence.
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Yuningsih, Yeni Ratna. "The mystical element in Mīkhāīl Nuaymah's literary works and its affinity to Islamic mysticism /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29848.
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This thesis investigates the mystical elements in Mikha'il Nu`aymah's literary works and their affinity to Islamic mysticism, elaborating in particular on the notions of oneness of being and the transmigration of soul. These two themes are the more prevalent ones in Nu`aymah's mystical thought when compared to such other themes as love and asceticism, which can also be found in his works.However, the notion of oneness of being seems to be the basis of his mystical concepts as well as the goal to which other themes are directed. The notion of the transmigration of soul is therefore developed by Nu`aymah in the context of the idea of oneness of being. The mystical thoughts of Mikha¯'il Nu`aymah concerning the two notions above, are to be found in a number of his works, such as Zad al-Ma'ad, al-Marah&dotbelow;il, The Book of Mirdad, Liqa', his autobiography Sab`un and his collections of poems Hams al-Jufun .
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Simkin, Stephen John. "Gerard Manley Hopkins : critical perceptions of his relation to poetic tradition to 1970." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/15092.
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The aim of this thesis has been to make an accurate assessment of the developments in Hopkins criticism up until 1970, with overriding emphasis on perceptions of his relation to poetic tradition. The chosen methodology involves a chapter by chapter discussion of Hopkins' perceived relation to individual poets or groups of poets. Generally, each chapter opens with an examination of Hopkins' published correspondence, scrutinizing his own criticism of the poet or poets in question, and proceeds in a chronological survey of the ways in which critics and reviewers have related him to the predecessor in question. Material covered in the thesis includes major published works on Hopkins; articles and reviews in scholarly periodicals, as well as more popular journals and some newspapers; and other critical works where Hopkins receives some degree of attention. The 'cutoff' point of this study is 1970, although a final chapter has been appended with a less detailed survey of the developments from 1970 to the present day. On certain occasions, I have ventured to investigate more fully some areas of Hopkins' literary genetics that seem not to have received the attention they deserve. In general, however, the focus of the thesis is upon the perceptions of the critics, and attempts are made to assess the ways in which Hopkins' fluctuating critical standing has altered these perceptions and vice versa. One of the most frequently recurring demands has been the need to try and determine why Hopkins has been related to different poets and different poetic traditions at different times. To provide a more 'three-dimensional' perspective, two chapters are devoted to exploring the ways in which Hopkins has been perceived as an influence on twentieth century poetry, in general terms, and in specific cases. In conclusion, a 'map' of the territory of Hopkins' criticism charting the perceived relations between his oeuvre and poetic tradition is proposed. And, with a necessary emphasis on the provisional (particularly with the post-1970 study taken into account), some suggestions are made for new directions in this area of study.
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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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Das, Gupta Kalyan. "Christopher Caudwell, Raymond Williams and Terry Eagleton." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25578.
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This dissertation politically analyses the principles of literary evaluation (here called "axiology") argued and applied by the English critics Christopher Caudwell, Raymond Williams, and Terry Eagleton. The paradoxical fact that all three claim to be working within a Marxist framework while producing mutually divergent rationales for literary evaluation prompts a detailed examination of Marx and Engels. Moreover, since Caudwell and Eagleton acknowledge Leninism to be Marxism, and, further, since Eagleton and I both in our own ways argue that Trotskyism--as opposed to Stalinism--is the continuator of Leninism, the evaluative methods of Lenin and Trotsky also become relevant.
Examined in light of that revolutionary tradition, however, and in view of the (English) critics' high political self-consciousness, the latter's principles of "literary" evaluation reveal definitive political differences between each other and with Marxism itself, centrally over the question of organised action. Thus, each of the chapters on the English critics begins with an examination of the chosen critic's purely political profile and its relationship to his general theory of literature. Next, I show how the contradictions of his "axiology" express those of his politics. Finally, with Hardy as a focus, I show the influence of each critic's political logic on his particular "literary" assessment of individual authors and texts.
The heterogeneity of these critics' evaluations of Hardy, the close correspondence of each critic's general evaluative principles to his political beliefs, and the non-Marxist nature of those beliefs themselves all concretely suggest that none of the three English critics is strictly a Marxist. I do not know whether a genuinely Marxist axiology is inevitable; however, I do admit such a phenomenon as a logical possibility. In any case, I argue, this possibility will never be realised unless aspiring Marxist axiologists seek to match their usually extensive knowledge of literature with an active interest in making international proletarian revolution happen. And, since it can only happen if it is organised, the "Marxist" axiologist without such an orientation will be merely an axiologist without Marxism.Arts, Faculty of
English, Department of
Graduate
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Marais, Lodewikus Stefanus. "Die huis as betekenisvolle ruimte in enkele Afrikaanse gedigte, met spesifieke verwysing na die bewoningsfilosofiee van Heidegger, Bolnow en Bachelard en Vierluik." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/86862.
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Thesis (MA)--Stellenbosch University, 2008.ENGLISH ABSTRACT: The first section of this thesis aims at creating a reading strategy for the analysis of poetry thematically concerned with habitation and the space of the house. Selected Afrikaans poems, forming part of a newer house-poetry that breaks away from the idyllic, genial representation of the house in earlier Afrikaans poetry, are examined. The theoretical equipment utilised in this examination is the habitation philosophies of Martin Heidegger, Otto Friedrich Bollnow and Gustav Bachelard. Various related insights in the work of these philosophers are developed into a three-tiered model for the interpretation of house poetry. Supplementing the abovementioned framework is the socio-historical work of Joseph Rykwert and Ton Lemaire. Both these theorists explore the close connection between the space of the house and the realisation of mortality and transience. The application of the philosophical model facilitates, on the micro level of image and word choice, a fresh understanding of the selected poems, as well as a wider philosophical contextualisation of their thematic content. The reading strategy and the application thereof could also provide the means with which a new philosophical scrutiny of Afrikaans house-poetry can be achieved. The abovementioned formal essay is presented as coupled with a collection of original Afrikaans poems, entitled Vierluik, the creative section of this thesis. Vierluik examines, among other things, aspects of habitation in city, town and countryside, and reflects on descent, rootedness, displacement and the interconnection of space and identity.
AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis het as doel die daarstelling van ’n leesstrategie waarmee poësie wat tematies oor die huisruimte en bewoning handel, ondersoek kan word. Geselekteerde Afrikaanse gedigte, wat deel vorm van ’n nuwer huispoësie wat sedert die sestigerjare wegbreek van die idilliese, gemoedelike uitbeelding van die huis in vroeër Afrikaanse gedigte, word ondersoek. Die teoretiese apparatuur wat in hierdie ondersoek aangewend word, is die bewoningsfilosofieë van Martin Heidegger, Otto Friedrich Bollnow en Gustav Bachelard. Verskeie verbandhoudende insigte in die werk van hierdie denkers word ontwikkel tot ’n drieledige interpretasiemodel vir huispoësie. Hierby dien as aanvulling die kultuur-historiese werk van Joseph Rykwert en Ton Lemaire, waarin die noue band tussen die huisruimte en die doods- of verganklikheidsbesef uitgewerk word. Die toepassing van hierdie filosofiese begripsapparatuur fasiliteer op die mikrovlak van beelde en woordkeuse ’n vars verstaan van die vyf geselekteerde gedigte, asook ’n breër filosofiese kontekstualisering van hulle tematiese inhoud. Die leesstrategie en toepassings sou ook ’n filosofiese oopdek van die huispoësie in Afrikaans kon bemiddel. Hierdie akademiese gedeelte dien verder as ’n verbandhoudende oefening by die kreatiewe gedeelte van die tesis, naamlik ’n digbundel, Vierluik. Die bundel ondersoek, onder andere, aspekte van bewoning in stad, dorp en platteland, en bied ’n besinning aan oor herkoms, geworteldheid, verplasing en die verweefdheid van ruimte en identiteit.
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Perez, José Antonio Mesquita. "A verdade enquanto movimento: entre possibilidades e limites segundo o pensamento heideggeriano." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20954.
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The dissertation has the aim to explore the truth as movement in the thought of the philosopher Martin Heidegger. The work it is divides in four parts. First of all, in the Introduction, we contextualize the research and present the questions that will be our guide in the course of the work. It is clarified that the relation between modern science and philosophy is our starting point for thinking the truth, but this isn’t our main focus. In the first chapter, Notions of Truth, we start clarifying the tradicional concept of truth and the tradition in which it is found, namely the metaphysical tradition; posteriorly, we analyze the concept of αλήθεια (alétheia), rescued by Heidegger to understand the essence of truth as unconcealment. In the second chapter, Being, Truth and Mystery, at first we see how the truth is inserted in the context of Being and Time, and then how the so-called turning (Kehre) alters the truth’s understanding, to undertake the task of analyze the truth as movement, taking into consideration the Clearing and the Mystery. The truth isn’t, but it is given, truth essentials itself, that is, truth is a movement that opens a space that allows the entities to be. Dasein essentially corresponds with this space that is open by the truth of Being, however, the truth itself ins’t predicated of human beings. If there is an opening there is also a limit: this is the relation between the Clearing and the Mystery. In a certain way, the truth doesn’t only illuminate (unconcealment), but it is limit as well (concealment). It is perceived that Heidegger’s gaze isn’t aimed to an logic understanding of the truth, but aimed to an ontological understanding of this phenomenon. Lastly, in the third and final chapter, Between possibilities and limits: final considerations, we return to what is at the beginning and trigger of the research subject: the relation between modern science and philosophy. The aim is to carry out some reflections and questionings about this relationship, thinking the possibilities and limits that both have. The truth is a fundamental question because it concerns, if we think in a heideggerian way, to what enables not only the entity but the knowledge itself. This understanding has consequences not only in philosophy, but also in “sciences”
A dissertação tem o intuito de explorar a verdade enquanto movimento no pensamento do filósofo Martin Heidegger. O trabalho se encontra dividido em quatro partes. Em primeiro lugar, na Introdução, fazemos uma contextualização da pesquisa e expomos as questões que serão guia no percurso do trabalho. É esclarecido que relação entre a ciência moderna e a filosofia é o nosso ponto de partida para pensarmos a verdade, mas não é o nosso foco. No primeiro capítulo, Noções de Verdade, iniciamos esclarecendo o conceito tradicional de verdade e a tradição na qual ela se encontra, a saber a tradição metafísica; posteriormente, analisamos o conceito αλήθεια (alétheia), resgatado por Heidegger para compreender a essência da verdade como desocultamento. No segundo capítulo, Ser, Verdade e Mistério, vemos, em um primeiro momento como a verdade se encontra inserida no contexto de Ser e Tempo e depois como a chamada viravolta (Kehre) altera a sua compreensão, para, assim, empreender na tarefa de analisar a verdade enquanto movimento, levando em consideração a Clareira e o Mistério. A verdade não é, mas ela se dá, ela se essencializa, isto é, verdade é um movimentar que abre um espaço que permite que os entes possam ser. Ser-aí corresponde essencialmente com esse espaço aberto pela verdade do Ser, no entanto, a verdade em si não é predicativo do ser humano. Se há uma abertura também há um limite: essa é a relação entre a Clareira e o Mistério. De certa forma, a verdade não só ilumina (desocultamento), mas ela também é limite (ocultamento). Percebe-se que o olhar de Heidegger não está voltado para uma compreensão lógica da verdade, mas para um entendimento ontológico da mesma. Por fim, no terceiro e último capítulo, Entre possibilidades e limites: considerações finais, nos voltamos para aquilo que se encontra no começo e disparador da temática pesquisada: a relação entre a ciência moderna e a filosofia. O intuito é de realizar algumas reflexões e questionamentos sobre essa relação, pensando as possibilidades e limites que ambas possuem. A verdade é uma questão fundamental porque ela diz respeito, se a pensarmos heideggerianamente, àquilo que possibilita não só os entes mas ao próprio conhecimento. Sua compreensão tem consequências não só na filosofia, como também nas “ciências”
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Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.
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ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature
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Wilkins, Peter Duncan. "The transformation of the circle : an exploration of the post-encyclopaedic text." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26939.
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Any text which criticizes, undermines and/or transforms the encyclopaedic ideal of ordering and textualizing the world in a closed, linear fashion can be defined as a post-encyclopaedic text. This thesis explores both theoretical and artistic texts which inhabit the realm of post-encyclopaedism.
In the past, critical speculation on encyclopaedism in literature has been concerned with the ways in which artistic texts attempt to live up to the encyclopaedic ideal. In some cases, this effort to establish an identity between the artistic text and the encyclopaedia has led to an ignorance of the disruptive or even deconstructive effects of so-called fictional encyclopaedias. Once we recognize the existence of such effects, we must begin to examine the techniques and possibilities of post-encyclopaedism.
Hence we can see post-encyclopaedic qualities in the condensed meta-encyclopaedism of Jorge Luis Borges' "Tlön, Uqbar, Orbis Tertius", the disrupted quests for encyclopaedic revelation in Herman Melville's Moby Dick and Thomas Pynchon's Gravity's Rainbow, and the principle of textualized world as fugue in Louis Zukofsky's "A"-12.
In addition, we can create a theoretical space for the post-encyclopaedic text by weaving together Mikhail Bakhtin'sideas on the novel as opposed to the epic, Michel Foucault's notion of restructuring the closed circle of the text through mirrored writing, Jurij Lotman's theory of internal and external recoding in texts, and Umberto Eco's concept of the open text.
By combining an investigation of theoretical and artistic texts which lend themselves to post-encyclopaedism, we can create a generic distinction between texts which attempt to be encyclopaedic in themselves: and texts which disrupt and/or transform the encyclopaedic idealArts, Faculty of
English, Department of
Graduate
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Ok, Rebecca Jade. "Fated to Pretend?: Culture Crisis and the Fate of the Individual." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1509.
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The question of this thesis is whether the individual can resolve the problem of culture crisis in her own case. Culture crisis is a historical moment in which our culture leads us to expect a world drastically different from the one in which we find ourselves. This thesis will focus on the experience of Generation Y in the fall-out of the 2008 Recession. It will be argued that we need a Wittgensteinian view of language in order to account for the phenomenon of culture crisis. It will be suggested that our individual has to be a Nietzschean individual in order to resolve the problem of culture crisis in her own case. Potential incompatibilities between a Wittgensteinian view of language and the Nietzschean individual will be considered and rejected. It will be concluded that in order to resolve the problem of culture crisis in her own case the individual must change the way she lives.
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Gutierrez, III Jose. "Investigating Kracauerian cinematic realism through film practice and criticism: Life-world series (2017) and selected films of Lino Brocka." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/525.
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This dissertation is an investigation on the realist film theory of Siegfried Kracauer. It was principally conducted through film practice as exemplified by the ten short films that compose the omnibus film project, Life-world Series (dir. Joni Gutierrez, 2017, 118 minutes). To supplement the study's examination of Kracauerian cinematic realism (KCR), film criticism of selected works of Lino Brocka was also accomplished. The methodology involved three components: (1) research-based production of Life-world Series; (2) textual analyses of the said film collection and selected Brocka films; and (3) meta-analysis of the scholarly criticism on the Brocka film. This dissertation is the first to use film-making practice which was a part of the research project and devised to investigate KCR, which avows that the cinematic experience of physical reality as an object of contemplation fosters an intuitive understanding of the Lebenswelt (life-world) and, in turn, brings about the redemptive potential of film vis-à-vis the modern condition. The emergent design of Life-world Series opened the study to a wide range of possibilities that it could not have encountered if it limited itself to applying a particular theory as a framework in doing film criticism of pre-existing works. This project - through both its film practice and criticism components - is an interweaving of key notions from Husserlian phenomenology and the seven KCR tropes identified in the study, namely: (1) the quotidian; (2) the transient; (3) the refuse; (4) the fortuitous; (5) the indeterminate; (6) the flow of life; and (7) the spiritual life itself. The phenomenological engagement of this investigation has provided opportunities for expanding the inventory of KCR tropes, to conceivably include characteristics of the Lebenswelt which form part of the project's overall findings; that is, the life-world as: (1) expansive; (2) multi-layered; (3) flowing; (4) in the process of becoming; (5) resonantly intersubjective; (6) a thing of beauty; (7) relating to essences; (8) cyclical; (9) transcendent; (10) meaning-laden; (11) fragmented; and (12) malleable. The dissertation explicates how its phenomenological approach in inspecting KCR led to the construction of a prospective model of cinematic realism - the integrated quadrant model of Kracauerian cinematic realism (IQMKCR) - and finally, determines the implications and prospects of using film practice as an instrument in interrogating KCR.
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Searfoss, Kristin. "Hopkinsian influences on the poetry of Dylan Thomas." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59438.
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While often assumed, Gerard Manley Hopkins' influence on Dylan Thomas has needed substantiation. By placing the issue of Hopkins' influence on Thomas within critical, historical, and literary contexts, this study explores the issue and demonstrates Hopkins' influence. Summary and assessment of previous critical work on the issue of Hopkins' influence establish the ways in which this study continues, diverges from or completes work done in the past. Evidence from biographical work on Thomas, as well as his letters and prose, outlines his contact with Hopkins' poems. A discussion of Thomas' Welsh background relates his experience of Wales and Welsh prosody to Hopkins' corresponding experiences. The literary context of the issue of Hopkins' influence on Thomas is established by means of a two-part foundation. First, the possible influence of W. B. Yeats, Wilfred Owen, Hart Crane, and James Joyce on Thomas is distinguished from Hopkins' influence. Second, specifically Hopkinsian areas of influence on Thomas are discussed. These areas of influence serve as a critical framework within which six Thomas poems dating from 1934 to 1951 are analyzed.
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Antolick, Matthew. "Deep ecology and Heideggerian phenomenology." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000104.
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Robjant, David. "The river as a guide to Iris Murdoch." Thesis, University of Wales Trinity Saint David, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683256.
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Brogly, Marie-Noëlle. "Pierre Reverdy : lyrisme de la réalité : poétique du visuel." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3413.
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This thesis aims to provide the first complete study of the poetics of Pierre Reverdy, who, although famous and influential during his lifetime, has not been widely published or researched. This thesis hopes to change this, as his complete works are just now being republished. The first chapter lays the basis for his conception of reality as something in which man is trapped, and which calls for a distance that, in Reverdy's eyes, only poetry can offer. His association of the image and lyricism, is presented and analysed. The second chapter aims to provide a linguistic understanding of the poetic image called for and devises the new concept of “illumination”, to give an account of the phenomenon at work in his verse. The third chapter focuses on lyricism, as Reverdy tries to reinvent it for the twentieth century: independent of the self, dealing only with expressing the affective tonalities of the poet and acting as a catalyst for the image. The last chapter defines the visual qualities of Reverdy's poetry by first re-examining the title of cubist poet that had been attached to him, before focussing on the many forms that the image takes in his work (imagery, but also typography, mental imagery), and finally providing the first analysis of the relationship between paintings and poems in the famous Livres d'artistes that the poet created, in collaboration with Picasso, Matisse, Juan Gris and others. It establishes that while the poems can indeed be read without the illustrations with which they were conceived, these editions deprive the reader of the opportunity to remind himself that poetry is an experience rather than a quest for meaning and also of an introduction to the unique visual qualities of Reverdy's poetry.
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Lyall, Scott. "The politics of place in the work of Hugh MacDiarmid." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14752.
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'The Politics of Place in the Work of Hugh MacDiarmid' argues that there is no fundamental contradiction in MacDiarmid's politics, his Scottish nationalism and international communism issuing in a radical Scottish Republicanism that synchronizes the local and universal, seeking to unify the cultural and political divisions of Scotland. This thesis suggests that MacDiarmid challenges the metropolitan location of culture through a provincialist poetry and politics energized and exasperated by intimate relationship with home. It analyses the connections between MacDiarmid's ideological valorization of difference and the Scottish places from which his politics evolve. Chapter One suggests that modem Scottish cultural politics is still thirled to the imperialistic dualities of the metropolitan Scottish Enlightenment. MacDiarmid's strategic essentialism reasserts an autonomous cultural and political practice that aims to make Scotland whole. The chapter traces MacDiarmid's communism to his defiance of the churchy parochialism of Langholm. Using uncollected newspaper material, Chapters Two and Three illustrate the internationalism of MacDiarmid's localism in Montrose and Whalsay. From examining how engagement with specific places shapes MacDiarmid's politics. Chapter Four returns to analysis of the ideological construction of Scotland. The chapter explores how education has formed ideas of Scotland crucial to its political position and bound up with the specialized Scottish educational system's suppression of a Scottish Republican tradition, whose energies MacDiarmid uncovers and endeavours to release through an autodidactic generalism. Prioritizing this particularity of local culture. Chapter Five argues that the apparent contradictions in the modernist MacDiarmid's politics are best understood in terms of global capitalism's construction of mass culture, a division of labour he opposes through an internationalist poetry of generalist knowledge. This thesis finds theoretical alliance with the internationalism of Marxism and postcolonialism, synthesizing these with an autochthonous critical apparatus, declaring Hugh MacDiarmid a major modem component of a tradition of radical Scottish Republicanism.
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Soares, Filho Antonio Coutinho. "Cosmogonia profana: uma leitura de O visitante, de Osman Lins." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20148.
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Antonio Coutinho Soares Filho.pdf: 789799 bytes, checksum: 7d4dabc562cc362d9d4fb980060b0b6c (MD5)Made available in DSpace on 2017-06-08T13:24:33Z (GMT). No. of bitstreams: 1 Antonio Coutinho Soares Filho.pdf: 789799 bytes, checksum: 7d4dabc562cc362d9d4fb980060b0b6c (MD5) Previous issue date: 2017-05-29
Universidade Estadual do Maranhão - UEMA
In the whole of Brazilian literature, Osman Lins is a name that stands out for the quality and diversity of his production. Novelist, playwright, essayist, among other attributions, the writer has an aesthetic refinement as well as a reflexive posture in face of the cultural, social and political obstacles of the country. The osmanianos studies often highlight the author's romanesque experiments in his so-called maturity phase. Not exclusively, the prior creation to this period still lacks major critical exams, such as the novel debut, The Visitor (1955) corpus of this research. Besides the interesting textual warp, this work presents a humble fortune review, which gives rise to this work. It should be added that on several occasions the writer affirms that the cosmogonical attitude along with the preoccupations with the national ills and the reflection on the creative process, guide his life and the literary work. That said, one wonders how this worldview is presented in The Visitor. Taking into account the traced interdiscurssive of the narrative and the novelist’s social-critcism and point of view. The proposed analysis considers the mythological, biblical, and liturgical inscriptions as well as the development of his story in the plot. In the face of it, there’s a hypothesis is that Lins, in a subversive modulation brings to the scene elements of the Eden myth and Christian liturgy but he also highlights the contradictions of a society that privileges appearances, victimizing the woman mainly. In the theoretical-critical articulation a review of the analytical itinerary of the corpus is done, with the help of Nitrini (1987, 2001, 2003, 2004), Andrade (2001, 2004, 2014) and Ribeiro (2016), among others. The concepts of threshold — Benjamin (1987), Gagnebin (2010); Devices and profanation, according to Agamben (2009, 2010, respectively), also guide this research. The theoretical-critical complete this framework itself, brings reflections on the poetic–myth creation according to the thinking of Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) and Bastazin (2006). The methodological course, starting from the narrative structure and the critical fortune of the work, examines the aesthetic inversions operationalized by osmanian writing. The visitor, Osman Lins' first creative gesture despite his myth-poetic features presents through an introspective plot a sharp vision of the manipulation game that sustains the society, a principle that distorts the essence of the being and search to conceal the contradictory nature of power
No conjunto da literatura brasileira, Osman Lins é um nome que se destaca pela qualidade e pela diversidade de sua produção. Romancista, dramaturgo, ensaísta, dentre outras atribuições, o escritor possui um requinte estético bem como uma postura reflexiva em face dos entraves culturais, sociais e políticos do país. Os estudos osmanianos, com frequência, destacam os experimentos romanescos do autor em sua chamada fase de maturidade. Não exclusivamente, a criação anterior a esse período ainda carece de maiores exames críticos, a exemplo do romance de estreia, O visitante (1955), corpus desta pesquisa. Além da interessante urdidura textual, essa obra apresenta uma fortuna crítica modesta, o que enseja este trabalho. Acrescente-se que, em várias ocasiões, o escritor afirma que a atitude cosmogônica, aliada às preocupações com as mazelas nacionais e à reflexão sobre o processo criativo, orientam sua vida e o ofício literário. Isso posto, pergunta-se como essa cosmovisão se presentifica em O visitante. Levando em conta o traçado interdiscursivo da narrativa e a postura crítico-social do romancista, a análise proposta considera as inscrições mitológicas, bíblicas e litúrgicas, bem como seus desdobramentos escriturais no enredo. Diante disso, a hipótese é que Lins, numa modulação subversiva, traz à cena elementos do mito edênico e da liturgia cristã, como também expõe as contradições de uma sociedade que privilegia as aparências, vitimando, principalmente, a mulher. Na articulação crítico-teórica, faz-se uma revisão do itinerário analítico do corpus, ao que se conta com o auxílio de Nitrini (1987; 2001; 2003; 2004), Andrade (2001; 2004; 2014) e Ribeiro (2014), dentre outros. Os conceitos de limiar — Benjamin (1987), Gagnebin (2010); dispositivos e profanação, segundo Agamben (2009; 2010, respectivamente), também orientam a pesquisa. Completam o quadro teórico-crítico da mesma, as reflexões em torno da criação mito-poética conforme o pensamento de Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) e Bastazin (2006). O percurso metodológico, partindo da estrutura narrativa e da fortuna crítica da obra, examina as inversões estéticas operacionalizadas pela escritura osmaniana. Portanto, O visitante, primeiro gesto criativo de Osman Lins, não obstante seus traços mito-poéticos, apresenta, por meio de uma trama introspectiva, uma arguta visão do jogo de manipulação que sustenta a sociedade, princípio que desvirtua a essência do ser e busca ocultar a natureza contraditória do poder
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Sriratana, Verita. ""Making room" for one's own : Virginia Woolf and technology of place." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3458.
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This thesis offers an analysis of selected works by Virginia Woolf through the theoretical framework of technology of place. The term “technology”, meaning both a finished product and an ongoing production process, a mode of concealment and unconcealment in Martin Heidegger's sense, is used as part of this thesis's argument that place can be understood through constant negotiations of concrete place perceived through the senses, a concept based on the Heideggerian notion of “earth”, and abstract place perceived in the imagination, a concept based on the Heideggerian notion of “world”. The term “technology of place”, coined by Irvin C. Schick in The Erotic Margin: Sexuality and Spatiality in Alteritist Discourse (1999), is appropriated and re-interpreted as part of this thesis's adoption and adaptation of Woolf's notion of ideal biographical writing as an amalgamation of “granite” biographical facts and “rainbow” internal life. Woolf's granite and rainbow dichotomy is used as a foreground to this thesis's proposed theoretical framework, through which questions of space/place can be examined. My analysis of Flush (1933) demonstrates that place is a technology which can be taken at face value and, at the same time, appropriated to challenge the ideology of its construction. My analysis of Orlando (1928) demonstrates that Woolf's idea of utopia exemplifies the technological “coming together”, in Heidegger's term, of concrete social reality and abstract artistic fantasy. My analysis of The Years (1937) demonstrates that sense of place as well as sense of identity is ambivalent and constantly changing like the weather, reflecting place's Janus-faced function as both concealment and unconcealment. Lastly, my analysis of Woolf's selected essays and marginalia illustrates that writing can serve as a revolutionary “place-making” technology through which one can mentally “make room” for (re-)imagining the lives of “the obscure”, often placed in oblivion throughout the course of history.
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Gibson, Donald. "Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/8059.
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The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.
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梁永然. "李長之古典學研究例述 : 以 司馬遷之人格與風格 論司馬遷和孔子的精神聯繫 = A study of the literary criticism of Mr. Li Zhang-zhi : through the study of the spiritual link between Confucius and Si-ma Qian in the personality and literary style of Sim-ma Qian." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2143885.
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Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.
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The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
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Jasper, Ann Deviney. "Humor and irony in the postwar writings of Carmen Martín Gaite, Rosa Montero and Carme Riera: 1978-1988." Thesis, 2003. http://hdl.handle.net/2152/672.
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"韓麗珠「家」的書寫." 2012. http://library.cuhk.edu.hk/record=b5549021.
Full textAbstract:
韓麗珠(1978-)出生於香港，中學開始接觸寫作，著作包括短篇小說集《輸水管森林》、 《寧靜的獸》、 《Hard Copies》（韓麗珠、 劉芷韻、 葉愛蓮合集） 、 中短篇合集《風箏家族》，以及兩部長篇小說《灰花》和《縫身》。韓麗珠的每部作品出版後都獲得好評，得過不少獎項。對於一位日漸獲得肯定的作家，在評論界卻並未受到太多的青睞，有關她的專門評論並不多。目前研究韓麗珠的作品主要面對兩個困難：第一，她挑戰慣常的倫常和社會觀念，論者可以接受她對社會的批判，但對於她作品中對「家」的顛覆性，使論者頗有微詞；第二，她的作品充滿流動性，使人摸不著頭腦，難以理解。
本文將援引充滿創造性，強調變向的法國哲學家吉爾．德勒茲 (Gilles Deleuze) (1925-1995) 的理論為以上問題提供新的思考角度。在人文主義的觀點下，「家庭」的核心成份必然包括「愛」，但這種認為某事物必須具有本質的想法在德勒茲的框架下，卻不再不辯自明。在韓麗珠的小說中，「家」可隨時因著各種人、 事、 物的介入力量轉化。這種轉化，有別於現實世界的法則。為了超越、 突破這些現實世界的籓籬，韓麗珠憑藉她充滿詩意的想像力，以變向指示逃逸路線的所在。她的嘗試無疑會大大衝擊人們對「家」的固有想像，卻也因此褶閤出「家」的可能性。韓麗珠所構築起的小說世界可以是令人悚然的──如果我們將一切對家的離心力視為一種危險；但是，如果將韓麗珠所展現出的「家」的可能面貌，以一種積極式的否定來理解，則可以站在作家的位置，看清楚她所看到的世界是怎樣的一回事。
Hon Lai-chu’s (1978-) literary works has yet to be discussed in a systematic way. This thesis endeavors to offer a new explanation of her works from the perspective of Gilles Deleuze’s (1925-1995) philosophy. Deleuze stresses the need of innovation and becoming, which can shed new light on Hon’s innovative fiction. Hon, as a native Hong Kong writer, has won numerous awards and regional acclaim; however, discussions often focus on two negative issues: firstly, critics generally reject her new conception of family, but sympathetic with her criticism of conventional ethics and customs. Secondly, Hon’s works are usually viewed as bewildering to readers.
This study hopes to bring new insights into the study of Hon’s fiction, including Shushui-guan Sen-lin (《輸水管森林》), Ning-jing de Shou (《寧靜的獸》) , Feng-zheng Jia-zu (《風箏家族》), as well as Hui hua (《灰花》) and Feng shen (《縫身》). Conventional humanistic views suggest that the core value of a family, undoubtedly, includes love; however, under the framework of Deleuzian theory, such kind of prevailing views should not go unchecked. In Hon's fiction, family is where individual and social forces interact and as a result of which often changes its forms. Hon's family in contrast transformation differs drastically from what is conventionally conceived. This thesis argues that Hon Lai-chu's innovation lies in her ability to use thesis argues that Hon Lai-chu's innovation lies in her ability to use poetic imagination and complex symbols to signify the lines of escape for her characters, while introducing new and illuminating notions of family to challenge existing ethics and social order. Only when her imagination of the family is positioned in the process of positive negation could we see the world and Hon's aesthetics from her standpoint.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
鍾夢婷.
"2012年8月".
"2012 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 96-97).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Zhong Mengting.
Chapter 第一章 --- 引言 --- p.1
Chapter 一、 --- 韓麗珠簡介 --- p.1
Chapter 二、 --- 韓麗珠研究評述 --- p.2
Chapter （1） --- 「香港文學無愛紀」說 --- p.2
Chapter （2） --- 權力與壓迫 --- p.4
Chapter （3） --- 小說的晦澀難懂 --- p.6
Chapter 三、 --- 研究範圍與方法 --- p.9
Chapter （1） --- 研究範圍 --- p.9
Chapter （2） --- 研究方法 --- p.10
Chapter 第二章 --- 在沒有權利「感冒」與「孤獨」的城市，藉「商品化」的「家」出走 --- p.22
Chapter 一、 --- 「感冒」的象徵意義 --- p.22
Chapter 二、 --- 「感冒」與「孤獨」必須被消除 --- p.24
Chapter 三、 --- 「家」的變向 --- p.28
Chapter 四、 --- 當「我」患上「感冒」 --- p.32
Chapter 第三章 --- 沿變胖-變輕解域化的「風箏家族」 --- p.35
Chapter 一、 --- 「聯合文學小說獎」評審對於〈風箏家族〉之意見 --- p.35
Chapter 二、 --- 「變向」風箏的家族女性 --- p.36
Chapter 三、 --- 沿變胖-變輕「逃逸路線」解域化 --- p.45
Chapter 第四章 --- p.48
Chapter 一、 --- 米安：手足無措的自由 --- p.49
Chapter 二、 --- 陳葵：被執法者囚禁於「家」的孔雀 --- p.54
Chapter 三、 --- 「我」：被釘起來的飛蛾 --- p.63
Chapter 第五章 --- 縫身：建立-拆毀只通向對方的橋樑 --- p.68
Chapter 一、 --- 當縫身成為「法例」 --- p.68
Chapter 二、 --- 論文的雙線發展 --- p.72
Chapter （1） --- 腿子教授 --- p.72
Chapter （2） --- 微 --- p.77
Chapter （3） --- 白 --- p.78
Chapter （4） --- 樂 --- p.80
Chapter （5） --- 姑母 --- p.84
Chapter 第六章 --- 總結 --- p.90
Chapter 一、 --- 「家」的束縛漸解並不等於人倫關係的「墮落」 --- p.92
Chapter 二、 --- 沿逃逸路線解域、 變向 --- p.92
Chapter 三、 --- 韓麗珠從早期到近期作品的轉變 --- p.93
Chapter （1） --- 對家庭倫理的思考愈見深廣 --- p.93
Chapter （2） --- 對權力與壓迫的抵抗愈見明顯 --- p.93
p.95
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Gustafson, Amy Elizabeth 1981. "Tone production on the piano: the research of Otto Rudolph Ortmann." Thesis, 2007. http://hdl.handle.net/2152/3223.
Full textAbstract:
The purpose of this treatise is to discuss tone production on the piano, specifically focusing on the research of Otto Rudolph Ortmann, whose work marked a turning point in the history of piano pedagogy and set a new standard for piano-related scholarship. Writing in the early twentieth century, Ortmann, who was both an accomplished pianist and an avid scientist, was one of the first to consciously and meticulously combine the two fields. Today, Ortmann's books are mostly out of print and his research is little known by the average piano student or teacher. However, Ortmann's books greatly affected and influenced many of his contemporaries, and no matter how neglected today, they contain a wealth of information and practical advice highly relevant to any serious pianist. While his research spans a range of topics, including the science of piano acoustics, experiments and scientific explanations of piano technique, and even music education, his work focusing on piano tone production was perhaps the most controversial. In this treatise, Ortmann's concepts, experiments, and conclusions related to tone production will be discussed. Certain scientific elements related to tone production, such as the acoustics of sound, the mechanism of the piano, and the relevant aspects of basic physics, will serve as an introduction to this discussion. A historical overview of the pedagogical trends surrounding the subject will show how Ortmann's work has been sometimes overlooked and often misinterpreted. A thorough analysis of Ortmann's research will demonstrate its balanced approach and its indispensable relevance to the modern pianist and pedagogue. Finally, his work will be used as a vantage point to shed light on subsequent trends of piano pedagogy and to ask questions about the role of tone production in modern pianism.text
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Marie, Annika. "The most radical act: Harold Rosenberg, Barnett Newman and Ad Reinhardt." Thesis, 2006. http://hdl.handle.net/2152/3456.
Full text
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Donaldson, Jennifer. "An enduring spirit of the Victorian Era of Doubt." Diss., 2003. http://hdl.handle.net/10500/851.
Full textAbstract:
The focus of this study is upon Gerard Manley Hopkins~s literary opinions
about the state of affairs of Victorian England regarding its defence,
religions, science, politics, the economy, and other concerns. His claim to a
legitimate voice lies in the tremendous amount of erudite knowledge he
accumulated over the years, on many different subjects, and his classical
education. Major focus is on his pristine awareness of the Anglo-Saxons
and their language of Old English. Hopkins's unique style of writing poetry
and his contribution to Victorian philology is highlighted. The work also
deals, in some degree, with his mental state at various periods in his life, and
attempts to disclose an overcoming of the anguish and depression evident in
the poems. His enduring spirit under the grave swamping of Christianity by
destructive discourses is another major theme.ENGLISH STUDIES
M.A. (ENGLISH)
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Boleko, Bienvenu Benketo. "From an epistemology of unerstanding to an ontology of understanding: Heidegger’s hermeneutical shift." Diss., 2018. http://hdl.handle.net/10500/25416.
Full textAbstract:
Text in EnglishThe current investigation explores the possibility of surpassing or subordinating epistemology to ontology by focusing on the hermeneutics of Heidegger. Based on his works, which consider the understanding as a way of being and therefore offering the foundation for all knowledge, this study will underline the decisive shift concerning the question of being (l’être) in the works of modern hermeneutics fathers. A critical move made by Heidegger's philosophical perspective underlines the epistemology of understanding. The question of the ontology of understanding is investigated differently from his predecessors Schleiermacher and Dilthey, and culminates in a revolution in hermeneutics. The understanding is not knowledge, but a behavioural Dasein. His main contribution to hermeneutics consists of subordinating the methodological and epistemological questions to the ontological ones. The problem of understanding is no longer linked to “other” but is extended to the world. There is therefore a mundanisation of understanding, which overlaps its depsychologisation. Understanding is a mode of being of Dasein that extends in interpretation, which leads to language. The interpretation is only a development of understanding, which is articulated in language. The phenomenological method and critical analysis are used for this investigation.
Philosophy, Practical and Systematic Theology
M.A. (Philosophy)
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Keep, Carol Julia. "Insubstantial pageants fading : a critical exploration of epiphanic discourse, with special reference to three of Robert Browning's major religious poems." Diss., 1994. http://hdl.handle.net/10500/17061.
Full textAbstract:
This dissertation examines the nature of epiphanic discourse in
three of Robert Browning's religious poems, namely, 'Christmas-
Eve', 'Easter-bay' and 'La Saisiaz'.
Chapter 1 investigates epiphany from religious, historical
and theoretical perspectives, followed by a discussion of
Browning's developing Christian beliefs. Chapters 2 and 3
explore the epiphanic moment in the companion poems, 'Christmas-
Eve' and 'Easter-Day'. Chapter 4 explores how the double epiphany
initiated from Browning's personal experience recounted in 'La
Saisiaz', finds its resolution in 'The Two Poets of Croisic'.
Browning's 'good minute' or 'infinite moment' originates
in Romanticism and reverberates into the twentieth century mainly
in the writing of James Joyce, who first used the word 'epiphany'
in its literary sense.
Because Browning's faith allowed continual interrogation of
Christian doctrine, his experience and reading of epiphanic
moments avoid any attempt at closure. Thus they offer the reader
both a human image for recognition and a coded legend for
individual interpretationM.A. (English Studies)
M.A. (English)
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Nell, Wendy Desre. "Afrikaanse liedtekste in konteks : die liedtekste van Bok van Blerk, Fokofpolisiekar, the Buckfever Underground en Karen Zoid." Diss., 2014. http://hdl.handle.net/10500/18832.
Full textAbstract:
Text in AfrikaansDie doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is.
The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians.
Afrikaans & Theory of Literature
M.A. (Afrikaans)
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Terblanche, Catherine. "Dismemberment and dispossession in the work of Quentin Tarantino and Nathalie Djurberg." Diss., 2014. http://hdl.handle.net/10500/18718.
Full textAbstract:
Text in EnglishThis study aims to apply the biopolitical theories of Giorgio Agamben on homo sacer to the stereotypical representation of the violent woman. Using feminist methodologies for dismantling and exposing social stereotypes, this research explores the relationship between femininity, violence and the representation of these. By focussing on the influence of traditional narratives as found in ancient mythology and fairy tales, the study investigates the contemporary portrayal of the stereotypical violent woman using acts of dismemberment and dispossession in the work of Quentin Tarantino and Nathalie Djurberg, which serve as examples of the controversial relationship between real and filmic violence.
Art History, Visual Arts & Musicology
M.A. (Art History)
45
Grobler, Susanna Elizabeth. "Letterkunde en die reg : die verhoor as romangegewe in enkele tekste van Andre P. Brink." Diss., 2014. http://hdl.handle.net/10500/18482.
Full textAbstract:
Summaries in Afrikaans and EnglishIn hierdie navorsingsverslag word die representasie van die reg en die verskynsel van die verhoor as romangegewe in enkele tekste van André P. Brink ondersoek. Die studie vind plaas binne die interdissiplinêre konteks van die reg en die letterkunde. Die studie: (i) fokus op die rol wat die reg in die literêre teks vervul; (ii) ondersoek uitbeeldings van die verhoor soos wat dit in Brink se romankuns aangetref word; en (iii) ondersoek die fiksionalisering van historiese en dokumentêre regsbronne met spesifieke verwysing na sekere eksemplariese Brink-‐romans.
In this research report, representations of the law and of the trial, as embedded in certain novels by André P. Brink, are explored. The study is structured within the interdisciplinary field of law and literature. This study: (i) focuses on the role of law within the literary text; (ii) explores the legal delineation of a trial in novels by Brink; and (iii) explores the fictionalisation of historic and documentary judicatory resources with specific reference to exemplary texts by Brink.
Afrikaans & Theory of Literature
M.A. (Afrikaans)