Dissertations / Theses on the topic '1890-1950 Criticism and interpretation'
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Cardinal, Isabelle. "La fonction des chansons dans l'œuvre théâtrale de Marie Laberge /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59954.
Full textThe author explores the central hypothesis which suggests that the songs represent the voice of a silence: the silence of those characters suffering from a profound solitude and incommunicability. The first chapter examines the songs written by Marie Laberge while the second focusses on those borrowed from other sources. Through the use of Greimas' model, the study underlines the importance in the choice of the songs and in the strategic place they occupy within each play.
Murayama-Cain, Yumi. "The Bible in imperial Japan, 1850-1950." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1717.
Full textPilon, Simone. "L' évolution du féminisme dans l'oeuvre de Marie Laberge." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23238.
Full textThis work examines the feminist ideas and the female experience as presented in Marie Laberge's plays and novels.
Initially, the important themes of women's theatre in Quebec and Marie Laberge's position and role within this movement will be explored. The dominant themes of the feminist movement in Quebec since 1970 will be highlighted. The concept chronotope, defined by the Russian theorist Mikhail Bakhtine, will be employed in the thesis to assist with the evaluation of the female experience.
Three periods of Marie Laberge's work will be defined as feminist action, moderated feminism and absence of feminism. To properly study these three phases, one text from each, which best represents the ideas of that period, will be analyzed in detail. Once the ideas relevant to this study are exposed, they will be explored in relation to the other works in each phase and to the feminist movement in Quebec during the same period.
In conclusion, the growth of the feminism in Marie Laberge's work will be summarized and compared to the feminist movement in Quebec and its evolution.
Ibinga, Stephane Serge. "The representation of women in the works of three South African novelists of the transition." Thesis, Stellenbosch: University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/1100.
Full textThe dissertation focuses on literary representation of female characters in selected novels by three particular South African writers working within the transitional phase (from the formal ending of apartheid up to the present) of South African history. By means of textual analysis, the study investigates how the representation of numerous female characters in these texts reflects on and reflects the sector of South African society that forms the social setting of each text. This thesis explores the portrayal of female characters in selected fictional works by examining the ways in which the novelists Mandla Langa, Zakes Mda (both of them black and male writers) and Nadine Gordimer (a white and female novelist) characterise women in novels depicting this adapting society. In scrutinising these texts of the transition period, the thesis writer employs detailed individual delineation of female characters, to some extent by means of a comparative approach, with emphasis on parallels between as well as differences among the abovementioned authors’ ways of describing South African women’s circumstances and responses to their social predicaments. In this study literary representations of women are examined in order to evaluate the effects of social and cultural transformation in post-apartheid South Africa. This is done by analysing these authors’ portrayals of women’s circumstances both in the private and public spheres. The thesis therefore contributes to the movement towards a greater recognition of women’s crucial, catalytic function in the achievement of social development and delineates these authors’ expressed awareness of many women’s actual direct involvement in the struggle against all forms of discrimination in society. This research project has been undertaken as an opportunity to investigate the different qualities and types of conduct attributed to female characters in ten selected novels of the transition, on the assumption that the texts reflect something of the way women are perceived and are playing new roles in a changing society. In studying how three significant ‘post-apartheid’ authors depict women affecting and affected by the social conditions of this period, the thesis traces the way the focus of more recent South African writing has shifted from an apartheid-era preoccupation with racial-political issues towards the depiction of private and public, rural and urban social and gender roles available to some contemporary South African women – and of those factors still constraining some other women. Taking in these authors’ portrayals of female political activism and leadership, the thesis also balances previous preoccupation (in South African English literature) with depictions of male political activity.
Plett, Sharon. "L'univers féminin dans l'oeuvre dramatique de Marie Laberge." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60104.
Full textThis thesis will explore the feminine universe created by Laberge in her plays. The first chapter will examine the spatial universe which, as we shall see, frequently spatializes the feminine characters' choices and conflicts. As for the professional universe, the second chapter shows that, although Laberge's feminine characters are still involved in traditionally feminine occupations, there is a gradual shifting toward more rewarding activities. We will see in the third chapter that the intimate relationships in Laberge's theater tend to determine the overall quality of the feminine characters' existence. In general, conflicts plague these relationships.
Lastly, we will observe that, though Laberge's feminine characters react to their universe in a variety of ways, their reaction is almost invariably spatialized.
Cranford, Dennis R. (Dennis Ray). "Harmonic and Contrapuntal Techniques in the Late Keyboard Works of Cesar Franck." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279361/.
Full textCossíos, Susana. "El kitsch en la poesía femenina de los 90 : Ana Rossetti y Rocío Silva Santisteban." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30155.
Full textFeenstra, Robin E. (Robin Edward) 1972. "Modern noise : Bowen, Waugh, Orwell." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115604.
Full textChapter One provides a reading of Elizabeth Bowen's audible terrains in her novels of the 1930s, where silences and sudden noises intrude on human lives. In Bowen's novels, technological noise has both comedic and tragic consequences. Chapter Two examines noise as a political signifier in The Heat of the Day, Bowen's novel of the blitz. Chapter Three takes up the significance of the culture racket to Evelyn Waugh's novels and travel writing of the 1930s; noise assumes a disruptive, if highly comedic, value in his works, an ambiguity that expresses what it means to be modern. Chapter Four examines Waugh's penchant for satirizing the phoneyness of contemporary culture---its political vacillations---especially in Put Out More Flags, set during the Second World War. Chapter Five considers Orwell's engagement with the emerging social and political formations amongst working, racial, and warring classes in the 1930s. Documenting noise in his reportage, Orwell sounds alarms to alert readers to the mounting social and political crises in his realist novels of the decade. Chapter Six argues that Orwell's final two novels of the 1940s, Animal Farm and Nineteen Eighty-Four, represent the politics of noise in as much as they announce the noise of politics in totalitarian futures. Noise demarcates the insidiousness of propaganda as it screeches from telescreens, the keynote in Big Brother's ideological symphony of domination. Noise, throughout Orwell's writing, signifies the struggle for power. In its widest ramifications, noise provides an interpretive paradigm through which to read Bowen's, Waugh's, and Orwell's fiction and non-fiction, as well as modernist texts generally.
Suzuki-Martinez, Sharon S. 1963. "Tribal Selves: Subversive Identity in Asian American and Native American Literature." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/565575.
Full textCollett, Rachel Joan. "Turning back : continuity and difference in modernist and postmodernist reflexivity." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4256.
Full textENGLISH ABSTRACT: The primary function of paintings and novels in Western culture has historically been considered the depiction or description of reality. Over the course of the last century, however, the inherent reflexivity of both art and literature has become progressively more insistent and programmatic, in such a way as challenges the relationship between form and the world. A re-thinking of the role of representation is thus central to both modernism and postmodernism. This thesis is an investigation into the relationship between modern and postmodern reflexivity. Through the close examination of four artists who serve as case studies, I argue that literary and artistic modernism‟s emphasis on form and subjectivity, as well as the tendency of postmodern art and writing to flaunt its own status as rhetoric/fiction, are different facets of a continuous response to a rapidly changing world. Using the insights of post-structuralist theory, I suggest that whereas modernism‟s reflexive drive is directed towards truth and self-knowledge, postmodern reflexivity is centrally concerned with the elusive, continually shifting nature of meaning. What emerges in the light of the practice of individual artist and authors, however, is that the modern and postmodern reflexive modes are not necessarily mutually exclusive, but can co-exist, producing a vital and necessary tension.
AFRIKAANSE OPSOMMING: Beskrywing en uitbeelding van die werklikheid word geskiedkundig as die kernfunksies van skilderye en die roman in die Westerse kultuur beskou. Gedurende die laaste eeu het die inherente refleksiwiteit van beide kuns en letterkunde toenemend meer programmaties en sistematies geword. Dit het geskied op „n wyse wat die verhouding tussen vorm en die wêreld uitdaag. „n Herbesinning van die rol van uitbeelding of representasie is gevolglik van sentrale belang vir beide modernisme en postmodernisme. Hierdie tesis is „n ondersoek na die verwantskap tussen moderne en postmoderne refleksiwiteit. Deur „n noukerige ondersoek van vier kunstenaars se werk, stel ek voor dat die letterkundige en artistieke klem van modernisme op vorm en subjektiwiteit, sowel as die gebruiklike kenmerk van retoriek/fiksie, verskillende aspekte is van „n voortdurende weerkaatsing op „n vinnig veranderende wêreld is. Deur die teoretiese perspektiewe van post-stukturalisme toe te pas, stel ek voor dat modernistiese refleksiwiteit neig na die waarheid en selfkennis, terwyl postmoderne refleksiwiteit fokus op die onbepaalde en veranderlike aard van betekenis. Nietemin, uit my kritiese beskouing van die kreatiewe praktyk van afsonderlike kunstenaars en skrywers blyk dit dat die modernistiese en postmodernistiese refleksiewe benaderinge nie noodwendig mekaar uitsluit nie, maar saam kan bestaan en „n dinamiese en noodsaaklike spanning skep.
Demmon, Kathleen. "La solitude dans le théâtre de Marie Laberge /." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65983.
Full textSlippers, Beatrice Barbara. "'n Ding wat homself dra : Anne Carson se Nox as visuele en poetiese ondersoek na haar broer se lewe en dood en Afskrif." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/98038.
Full textAFRIKAANSE OPSOMMING: Hierdie tesis is ’n studie van Anne Carson se boek Nox wat die vorm, voorkoms, prosesse en samestelling van die teks ondersoek en analiseer. Dit probeer tot ’n begrip kom van presies hoe Carson “a brilliantly curated heap of scraps” verwerk tot ’n outonome kunswerk, “a thing that carries itself.” In die eerste gedeelte van die tesis word Nox as voorbeeld van ’n kunsboek (“artists’ book”) beskou. Nox se inhoud en voorkoms word gemeet aan die definisie en kenmerke van kunsboeke en binne die konteks van die geskiedenis van boekkuns as praktyk geplaas. Daar word veral gefokus op die visuele aard van Nox, die maniere waarop die boek verskil van meer konvensionele tekste, die selfbewustheid en selfrefleksie wat in die teks manifesteer en die eenheid van vorm en inhoud wat die outeur/kunstenaar bewerkstellig. Die tweede gedeelte ondersoek hoe vertaling op verskillende vlakke as proses in die skep van Nox funksioneer. Die fragmente en brokstukke waaruit die teks bestaan word deur middel van vertaling tot ’n eenheid gebind. Die proses van lewensbeskrywing word op metaforiese vlak as ’n soort vertaling gesien, wat parallel staan teenoor die letterlike vertaling van Catullus se “Gedig 101” wat op die bladsye van Nox plaasvind. Terselfdertyd verteenwoordig die wyse waarop ’n private objek (Carson se notaboek waarin sy die oorspronklike brokke byeengebring het) verwerk word tot ’n publieke kunswerk (die kunsboek Nox) ’n volgende vlak van vertaling wat die ander twee vlakke omarm en bevat. Deur middel van ’n proses van intersemiotiese vertaling skep Carson in die kunsboek Nox ’n weergawe van “Gedig 101”. Die manier waarop die gedig betekenis skep word in ander tekensisteme in die kunsboek nageboots. In die laaste afdeling word semiotiek aangewend as teoretiese raamwerk waarbinne ’n teks wat uit verskillende media saamgestel is, ondersoek kan word. In dié gedeelte word ’n stiplees van Nox onderneem om te demonstreer presies hoe Carson die fragmente en brokstukke verwerk om ’n samehangende eenheid te skep. Daar word aangedui dat die teks gelees kan word as ’n vertraagde, verskerpte en ontplofte vertaalhandeling wat uitdrukking en vorm gee aan menslike smart. Die bundel Afskrif bestaan uit gedigte wat die moontlikheid van oorspronklikheid ondersoek en op verskillende maniere kyk na replikas, afskrifte, kopieë en herskrywings.
ENGLISH ABSTRACT: This thesis is a study of Anne Carson’s book Nox. It investigates the form, aesthetic, process and composition of the text, and attempts to come to an understanding of the way in which Carson transforms a “brilliantly curated heap of scraps” into an autonomous artwork, “a thing that carries itself.” The first section of the thesis discusses Nox as an example of an artist’s book. The content and appearance of the book are measured against the definition and characteristics of artist’s books, before it is placed within the context of the history of bookwork as an artistic practice. The visual nature of the book, the ways in which it challenges conventions of bookmaking, its self-consciousness and self-reflexivity, as well as the author/artist’s means of creating unity between form and content are emphasised. The second section of the thesis investigates how translation is used at different levels in the process of creating the work. Translation is used as a way of drawing together the fragments and scraps from which Nox is essentially made. At a metaphoric level, the process of life writing is seen as a form of translation, which also runs parallel to the literal translation of Catullus’ “Poem 101” contained in the pages of Nox. At the same time, the transformation of a private object (Carson’s personal notebook in which she collected the original scraps) into an artwork for public consumption (the artist’s book Nox) represents a third level of translation, which embraces and contains the other two. Through a process of intersemiotic translation, Carson creates a version of “Poem 101” in her artists’ book that mimics the way in which the poem creates meaning. In the last section of the thesis, semiotics is applied as a theoretical framework to facilitate the reading of a text in which various media is present. A close reading of Nox is undertaken to demonstrate exactly how Carson goes about processing the fragments and scraps into a coherent unity. The close reading reveals that Nox can be read as a slow, intensified and exploded exercise in translation that gives expression to grief. The collection of poems entitled Afskrif consists of poems which question the possibility of originality and investigates replicas, photocopies, copies and rewritings in different ways.
Poutanen, Minna J. "Anthropology as a metaphor for knowing in Anne Carson's poetry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0004/MQ43936.pdf.
Full textTen, Hacken Hilde. "Self-definition through poetry in the work of Gloria Fuertes and Pilar Paz Pasamar in the period 1950-1970." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/421.
Full textGoodman, Ralph. "The dialogics of satire : foci and faultlines in George Orwell's Animal Farm and Nineteen Eighty-Four." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51961.
Full textENGLISH ABSTRACT: This thesis uses Mikhail Bakhtin's theory of dialogism, as well as postmodernism, to open up faultlines in satire, and to explore and challenge various perceptions and discourses surrounding and related to it. Both dialogism and postmodernism are used to suggest fresh approaches to satire, by repositioning it in relation to other discourses and reframing it as a complex dynamic, rather than a closed and inflexible system. Chapter 1 of the thesis opens with an historical survey of the beginnings and subsequent development of satire. It also contains a general discussion of the nature of satiric strategies and opens the door for the incorporation of postmodern perspectives into the argument. Chapter 2 contrasts the issues of morality and re-presentation in satire, arguing that satirists do not simply invite their audience to condemn, but offer them an opportunity to discover alternative worlds. The affinity between satire and postmodernism is emphasised by the postmodern predilection for modes highly favoured by satire: allegory, parody and fantasy. In Chapter 3 the issue of language and its referents is explored, starting with Saussure's theory of how the signifier and the signified function. It is argued that satire has never respected this fixed relationship, and that it is in this respect similar to deconstruction. The last part of the chapter is devoted to examining four key socio-political discourses - psychoanalysis, ideology, propaganda and political myth - in relation to satire. These four discourses are, like satire, intent on influencing the perceptions which people have of the world. The intention in juxtaposing these discourses is to create a dialogic process which will throw a fresh light on all of them, including satire itself. The four socio-political discourses named above play an important part in Animal Farm and Nineteen Eighty-Four, and are relevant to the subsequent discussion of these novels. Chapter 4 consists of a detailed discussion of Animal Farm, in which the various layers comprising the work are examined. The satirical aspects of the novel are closely related to the fabular and fairy tale elements which are an important part of its constitution. These elements or levels are juxtaposed with the historical details alluded to continuously in Animal Farm and indicate its close concern with the world outside the novel. Chapter 5 consists of a detailed exploration of Nineteen Eighty-Four, which is illuminated by a process of dialogism between the modernist ideology from which the novel springs and the postmodern perspective introduced into the thesis, as well as the four socio-political discourses mentioned earlier. The main postmodern theories used in this chapter are those of Foucault. The last section of the thesis demonstrates how Orwell's personal experience drives his satire, and relates this specifically to a discussion of utopia / dystopia in satire.
AFRIKAANSE OPSOMMING: Die Dialogiek van Satire: Fokuspunte en Breuke in Orwell se Animal Farm en Nineteen Eighty-Four: Hierdie proefskrif maak gebruik van Mikhail Bakhtin se teorie van dialogisme, sowel as die postmodernisme, om die breuke in satire bloot te le, en om die verskillende persepsies en diskoerse wat verband hou met die satire te ondersoek en te bevraagteken. Beide die dialogisme en die postmodernisme word gebruik om nuwe perspektiewe op satire te open, deur dit te herposisioneer in verhouding tot ander diskoerse en dit voor te stel in terme van 'n komplekse dinamika eerder as 'n geslote en onbuigsame sisteem. Die eerste hoofstuk van die proefskrif begin met 'n historiese oorsig van die oorspronge en daaropvolgende ontwikkeling van satire. Dit omvat ook 'n algemene bespreking van die aard van satiriese strateqiee en open die moontlikheid om postmodernistiese perspektiewe in die argument te integreer. Hoofstuk 2 kontrasteer die kwessies van moraliteit en representasie in satire met mekaar; daar word geargumenteer dat satirici nie net hulle gehore uitnooi om te veroordeel nie, maar hulle die geleentheid gee om alternatiewe werelde te ontdek. Die verwantskap tussen satire en postmodernisme word benadruk deur die postmodernisme se voorliefde vir die modi waaraan die satire so dikwels voorkeur gee: allegorie, parodie en fantasie. In hoofstuk 3 word die kwessie van taal en referensialiteit ondersoek, beginnende by Saussure se teorie oor die funksionering van die betekenaar en die betekende. Daar word geargumenteer dat satire nog nooit die vaste verhouding tussen betekenaar en betekende eerbiedig het nie, en dat dit in hierdie opsig verwant is aan die dekonstruksie. Die laaste gedeelte van die hoofstuk word gewy aan 'n ondersoek van vier sentrale sosio-politiese diskoerse - psigoanalise, ideologie, propaganda en politieke mitologie - in verhouding met satire. Hierdie vier diskoerse is, soos satire, daarop ingestel om mense se persepsies/opvattings van die. wereld te verander. Die doelstelling met die jukstaposisie van hierdie diskoerse is die skep van 'n dialogiese proses wat al vier hierdie diskoerse, insluitende satire, in 'n nuwe lig sal stel. Die genoemde sosio-politiese diskoerse speel 'n belangrike rol in Animal Farm en Nineteen Eighty-Four, en is relevant vir die daaropvolgende bespreking van die romans. Hoofstuk 4 bestaan uit 'n gedetailleerde bespreking van Animal Farm, waarin daar ondersoek ingestel word na die verskillende lae waaruit die roman bestaan. Die satiriese aspekte van die roman word in noue verband gebring met die fabulere en die feeverhaalelemente wat so 'n belangrike deel uitmaak van die roman se samestelling. Hierdie elemente of vlakke word gejukstaponeer met die historiese detail waarna daar deurlopend in Animal Farm verwys word en wat die noue bemoeienis met die wereld buite die roman aandui. Hoofstuk 5 bestaan uit 'n intensiewe ondersoek van Nineteen Eighty-Four, wat belig word deur 'n proses van dialogisme tussen die modernistiese ideologie waaruit die roman spruit en die postmodernistiese perspektiewe wat in die proefskrif ingevoer word. Die belangrikste postmodernistiese teoriee wat in hierdie hoofstuk gebruik word, is die van Foucault. Die laaste afdeling van die proefskrif demonstreer hoedat Orwell se persoonlike ervaring bepalend is vir sy satire en bring dit spesifiek in verband met 'n bespreking van utopie/distopie in satire.
Arima, Hiroko 1959. "The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278060/.
Full textPea, John B. "Black Elk, Neihardt, and the defeated hero." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/834124.
Full textDepartment of English
Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
Full textGarafalo, Robert C. "History, theology, and symbol: the mother of Jesus in the Cana narrative (John 2:1-12), 1950-2005." IMRI - Marian Library / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1430386350.
Full textNweba, Lena. "Characterisation in isiXhosa drama with specific reference to two isiXhosa dramas." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49878.
Full textENGLISH ABSTRACT: The main aim of study is to investigate characterisation in two of Ngewu's dramas. Ngewu's dramas are contemporary and many scholars have not yet had time to research them. The story in the drama Amadada la afunani ezintsaneni ?( 1998), is about the sexual abuse of children. This is new because the abuse of small children is not seen to indicate culture especially now that even fathers abuse their children. In the olden days children used to look to grown -ups for protection of every kind. The story in the second drama Yeha Mfazi Obulala Indada (1997) , is about a wife who hires assassins to kill her husband. In the past wives were submissive to their husbands. It was unheard of a wife challenging the husband's authority, let alone hiring assassins to kill him. Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the plot structure of the dramas Amadada la afunani ezintsaneni? (1998) and Yeha Mfazi Obulala Indada (1997) Chapter 3 deals with characterisation in isiXhosa dramas, Amadada la afunani ezintsaneni(1998) and Yeha Mfazi Obulala lndoda (1997) Chapter 4 deals with language and the pattern of stylistic devices Chapter 5 concludes the findings of the study.
AFRIKAANSE OPSOMMING: Die hoofdoel van hierdie studie is om die karakterisering in twee van Ngewu se dramas te ondersoek. Ngewu se dramas is hedendaagse daarom is daar nog veel navorsing daaroor ezintsaneni (1998) gedoen nie. Die storie in die drama Amadoda la afunani handel hoofsaaklik oor die seksuele molestering van kinders. Seksuele kindemolestering is In relatiewe nuwe versknser want dit is taboe in kultuur veral nou dat die bekend is dat kinders deur hulle vaders gemolesteer word. In vroeer jare was kinders van volwassens afhanklik vir beskermering en welvaart. Die tweede drama Yeha Mfazi Obulala lndoda (1997) handeloor I vrou wat sluipmoordenaars huur om haar man om die lewe te bring. In vroeer jare was vroue aan hul mans onderdaning. Dit was ongewoon dat I vrou haar man se gesag sou ondermyn, en nog meer ondenkbaar die huur van sluipmoordenaars om hom om die lewe te bring. In hoofstuk 1 vind ons die doel van die studie, die omvang ,teoretiese raamwerk en metode van die studie. Hoofstuk 2 handeloor die struktuur van die twee Amadoda la afunani ezintsaneni (1998) en Yeha Mfazi Obulala Indoda ( 1997) Hoofstuk 3 handeloor die karakterisering in die isiXhosa dramas, Amadoda la afunani ezintsaneni (1998) en Yeha Mfazi Obulala Indoda (1997) Hoofstuk 4 handeloor die taal en skryfstyl van die skrywer. Hoofstuk 5 bevat die samevatting van die studie.
MacDonald, Juliette. "Aspects of identity in the work of Douglas Strachan (1875-1950)." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/7357.
Full textHopper, Keith. "Imagining otherwise : Neil Jordan's counter-narratives." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669873.
Full textVieira, Filho Edgar Rosa. "A antropofagia como poética do traduzir: diálogos com Oswald de Andrade." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20357.
Full textMade available in DSpace on 2017-09-13T11:39:10Z (GMT). No. of bitstreams: 1 Edgar Rosa Vieira Filho.pdf: 910135 bytes, checksum: ec8c39b9095eab6cdb65661ea97bfcd8 (MD5) Previous issue date: 2017-08-30
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Pontifícia Universidade Católica de São Paulo - PUCSP
The present dissertation aims at discussing the appropriateness of the approximation between the concept of anthropophagy, put forward by Oswald de Andrade (1890-1954) in the Brazilian modernist movement in the 1920’s, and the phenomenon of literary translation, more specifically the translation of poetry. In order to verify the possibility of defining a poetics of translating as anthropophagic, we traced the modernist metaphor/concept back to its creation (1928), going through its first association with the phenomenon of translation, proposed by the Brazilian poet and translator Augusto de Campos in the introduction of his book “Verso, reverso, controverso” (1978), and through the critical-reflexive elaboration carried out by Eneida Maria de Sousa (1985) and Else Ribeiro Vieira (1990), reaching the studies on amerindian perspectivism and shamanism, associated with the translation practice in Helena Martins (2012) and Álvaro Faleiros (2013). We then sought suitability in the traced associations, by analyzing Oswald’s translation of the poem “Hechos pasados” (Canto do passado), by the Chilean poet Arturo Torres-Rioseco (1897-1971), inserted in the collection of translated poems “Arturo Torres-Rioseco: Poesias” (1945). Although Oswald himself never approximated his cannibalistic metaphor to the translation phenomenon, as seen in current reflections in the Translation Studies field, we decided to bring up this discussion, since his attitude and choices as a translator seem to suggest the appropriateness of such association
A presente dissertação tem como objetivo discutir a pertinência da aproximação entre o conceito de antropofagia, desenvolvido pelo movimento modernista da década de 1920, especialmente na figura de Oswald de Andrade (1890-1954), e a prática de tradução literária, em específico a tradução de poesia. A fim de verificarmos a possibilidade de se pensar em uma poética antropofágica do traduzir, propõe-se um rastreamento da metáfora/conceito modernista desde a sua idealização (1928), passando por sua primeira associação ao fenômeno da tradução, realizada pelo poeta e tradutor Augusto de Campos na introdução do livro Verso, reverso, controverso (1978), e pela elaboração crítico-reflexiva realizada pelas pesquisadoras Eneida Maria de Sousa (1985) e Else Ribeiro Pires Vieira (1990), até chegar-se aos estudos sobre perspectivismo e xamanismo ameríndios associados à prática tradutória em Helena Martins (2012) e Álvaro Faleiros (2013). Verificou-se a razoabilidade das aproximações rastreadas, por meio da análise da tradução oswaldiana do poema “Hechos pasados” (Canto do passado) do poeta chileno Arturo Torres-Rioseco (1897-1971), inserida no livro Arturo Torres-Rioseco: Poesias (1945). Embora Oswald não tenha relacionado sua metáfora canibal ao fenômeno da tradução, como vê-se em reflexões atuais no campo dos Estudos da Tradução, adentraremos essa discussão, uma vez que a postura do poeta ao traduzir parece nos sugerir a pertinência de tal aproximação
Francisco, Alessandro de Lima. "Calçando os tamancos de Paul-Michel: um estudo sobre a psicologia na problematização filosófica de Michel Foucault com base nos manuscritos inéditos dos anos 1950." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20710.
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This research refers mainly to Jacques Lagrange’s unpublished manuscripts related to courses offered by Michel Foucault at École Normale Supérieure de Paris, and deposited at Institut Mémoires de l’Édition Contemporaine. It also refers to those by Michel Foucault himself recently deposited at Bibliothèque Nationale de France. The latter focus on files concerning the 1950s –a period not to be ignored if one intends to understand the development of his researches, in order to apprehend the role of Psychology in Michel Foucault’s philosophical problematic. This research intends to show that – leaving from a discourse on psykhé (Psychology) and reaching a conduction of psykhé (Psykhogogía) - , Foucault’s considerations adopt an anti-psychologic posture, while they allow a new understanding of subjectivity
Cette recherche est consacrée à l’étude des manuscrits inédits de Jacques Lagrange en ce qui concerne les cours proférés par Michel Foucault à l’École Normale de Paris pendant les années 1950, déposés à l’Institut Mémoires de l’Édition Contemporaine, et ceux de Michel Foucault lui-même récemment déposés à la Bibliothèque Nationale de France, plus spécialement les dossiers relatifs aux années 1950 – période qui ne peut être négligée si l’on souhaite entendre le développement de recherches de Michel Foucault –, pour comprendre le rôle de la psychologie dans sa problématisation philosophique, en essayant encore de soutenir qu’en partant d’un discours sur la psyché (psychologie), dans les années 1950, et en arrivant à une conduction de la psyché (psycagogie), les réflexions de Foucault, d’un côté, adoptent une posture antipsychologiste, mais, d’un autre côte, rendent possible une nouvelle compréhension de la subjectivité
Esta pesquisa se debruça mormente sobre os manuscritos inéditos de Jacques Lagrange relativos aos cursos ministrados por Michel Foucault na École Normale de Paris, depositados no Institut Mémoires de l’Édition Contemporaine, e aqueles do próprio Michel Foucault recentemente depositados na Bibliothèques Nationale de France, concentrando-se nos dossiês concernentes aos anos 1950 – período que não pode ser negligenciado se se pretende entender o desenvolvimento de suas pesquisas –, para compreender o papel da Psicologia na problematização filosófica de Michel Foucault, buscando defender que, partindo de um discurso sobre a psykhé (Psicologia) e alcançando uma condução da psykhé (Psykhagogía), as reflexões de Foucault adotam uma postura antipsicologista, possibilitando, contudo, uma nova compreensão da subjetividade.
Yantolo-Sotyelelwa, Betty Matase. "The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/3361.
Full textThis study aims at highlighting one of the crucial aspects of Xhosa drama: how women have been regarded by a variety of communities as being inferior to men. This stereotype pervades almost all spheres of life. The low status assigned to women find its way into literature as well. Ngewu’s drama “Yeha mfazi obulala indoda” and Taleni’s drama “Nyana nank’uNyoko” has been examined. In most Xhosa literature, women are portrayed as submissive, obedient and minor characters. The advent of Ngewu’s work changed this scenario by portraying women as independent characters. This has led to great conflict with male characteristics and this demonstrates clearly that partriarchal domination is deep rooted in Xhosa culture.
Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Full textGrace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
Batista, Miguel. "Bildung and initiation : interpreting German and American narrative traditions." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.
Full textLawrence, James Alexander. "Abdication in an artistic democracy : meaning in the work of Barnett Newman and Donald Judd, 1950-1970 (and thereafter)." 2006. http://hdl.handle.net/2152/11945.
Full textMcCallum, Rebekah Sheppard. "Unendlicher Bruch: the struggle toward music in Johannes Brahms's and Ludwig Tieck's Magelone." Thesis, 2006. http://hdl.handle.net/1828/1950.
Full textWerth, Silke Clara. "Heinrich Mann als politischer Essayist." Thesis, 2012. http://hdl.handle.net/10210/7680.
Full textHeinrich Manns Engagement als politischer Essayist zwischen 1900 und 1950 ist bedeutend. Er hat groBenteils seine Essays auf unmittelbare Offentliche Anlasse bezogen. In seinem essayistischen Werk, vor allem in den Aufsatzen und Reden der Weimarer Zeit, ist deutlich eine Parteinahme zu erkennen. Heinz Gockel benennt diese in folgender Weise: Sie ist eher eine Parteinahme fur die "Produktivitat des Menschengeistes". Auch die Essays, die sich mit einzelnen Iiterarischen Figuren befassen, sind dieser Parteinahme verpflichtet. In der Tat kann man die Diskussion Ober den Geist als ein Leitmotiv in Heinrich Manns Essayistik bezeichnen. Betont wird jedoch am starksten die Kombination von Geist und Tat, deren Fehlen in Deutschland er als einen Mange! ansieht. Viele seiner Essays haben Bekenntnischarakter, was einer unmittelbaren politischen Stellungnahme gleichkommt. Obwohl seine politischen Forderungen keineswegs verwirklicht wurden, ob im Kaiserreich oder spater, hat Heinrich Mann sein Werben fur die Herrschaft des Geistes nie aufgegeben.
"1950年代唐滌生粤劇創作研究." Thesis, 2008. http://library.cuhk.edu.hk/record=b6074470.
Full textIn chapters three and four, the study applies the Merriam's model "concept", "behavior" and "music sound". First, the thesis examines the classical plays, the historical story, pre-existed Cantonese opera and other plays and discusses these "concepts" in relation to Tang's creation. His "behavior", behavior of performers, musicians, audiences and listeners constitutes in the stage performances, the movies and the recordings became the "music sound" of the works of Tang. Finally, it also attempts to understand the works of Tang against the social and cultural background in Hong Kong. The analysis of the selected works shows that Tang attempted to change the creative idea of the works, performing practice, the female role in the 1950s, and how Tang cultivated a unique Hong Kong flavor in his own works.
The theoretical framework is based on Merriam's research model, "concept", "behavior", and "music sound" itself, and has referred to Timothy Rice the revision model which developed a three-dimensional model ("historical construction", "social maintenance", and "individual creation and experience") for ethnomusicological research. Chapter two examines "individual creation and experience", which discusses the biography and the works of Tang Di-sheng, analyses his creativity and experience. Moreover, it is a macroscopic research to correlations in the Hong Kong society and Cantonese Opera. For "historical construction", this chapter studies the social background of Hong Kong's historical development, the development and changes of the social cultural contexts of Hong Kong society and a how did Tang receive "social maintenance" from 1950 to 1959.
戴淑茵.
Adviser: Chan Sau Yan.
Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2942.
Submitted: November 2007.
Thesis (doctoral)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (p. 373-399).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Dai Shuyin.
Middelkamp, Vera. ""Wir haben die Firma gewechselt, aber der Laden ist der alte geblieben": Kurt Tucholsky and the medialized public sphere of the Weimar Republic (1918-1933)." Thesis, 2005. http://hdl.handle.net/2152/1633.
Full textFarina, Alexa Jane. "Cross cultural influences in the work of Ian Garrett and Magdalene Odundo." Thesis, 2001. http://hdl.handle.net/10413/3059.
Full textThesis (M.A.)- University of Natal, Pietermaritzburg, 2001.
Douglas, William N. "Futures far and near : the science fiction of Olaf Stapledon." Phd thesis, 2010. http://hdl.handle.net/1885/151075.
Full textMarsden, Dorothy Frances. "Changing images : representations of the Southern African black women in works by Bessie Head, Ellen Kuzwayo, Mandla Langa and Mongane Serote." 1994. http://hdl.handle.net/10500/18134.
Full textEnglish Studies
M.A. (English)