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Fortin, Marcel. "La fortune critique d'Alain Grandbois, 1933-1963." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41326.
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Between 1933 and 1963, many Quebec critics followed with interest--some sporadically, others regularly--the works and career of Alain Grandbois (1900-1975). This thesis analyzes in systematic fashion the content and the evolution of their discourse.In addition to engaging in "dialogue" (via their reviews) with certain publishers, the critics reflected upon the problem of regionalism and universalism in Grandbois' "clear and simple" prose works, although in quite different ways with each new book. The collections of poems, on the other hand, because of their "hermetism", induced commentators to study the question of the intelligible and the unintelligible in poetry, a question closely linked to that of the meaning--or the absurdity--of existence. Moreover, these interpreters of Grandbois' works, in order to actualize them, read them into the social discourse of the time. Thus, some denounced them for reasons of dogma or of morality; others, more numerous, sought to make Grandbois' texts more "readable" by referring them to current events or phenomena, such as the Second World War, the immediate post-war period, or the "silent revolution" of the 1960s.
Products of the classical education system, Grandbois' exegetes drew their inspiration from the principal tendencies of European criticism. As well, they tended to compare Grandbois' prose works to those of French prose writers of the interwar years, and to link his poetry to that of European poets (the surrealists and those they influenced, among others), although occasional reference was made to local writers.
Over time, the critics came to construct the myth of Alain Grandbois, that "exceptional" literary and human being who acclimatized the "modern" poem to Quebec, after having roamed the world from 1925 to 1940. The history of Alain Grandbois' critical good fortune, in short, is that of a happy match between an "eminently" distinguished author and his grateful commentators, for whom he created the opportunity to say "new" things about man, art and life.
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Hirata, Hosea. "Translating Nishiwaki : beyond reading." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27317.
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This dissertation is divided into two parts. Part Two contains my translations of Japanese texts by Nishiwaki Junzaburō (1894-1982): three essays from Chōgenjitsushugi shiron (Surrealist Poetics) (1929), his first and second collections of poems written in Japanese, Ambarvalia (1933) and Tabibito kaerazu (No Traveller Returns) (1947), as well as a long poem from his "middle period," entitled "Eterunitas" (1962).
Part One, consisting of three chapters, attempts to expose various theoretical issues that these translations bring forth. Through this "exposé," several major issues surface, namely, the concepts of Language, Poetry, and Translation. Further, these concepts are interrelated by a "paradisal" centre—the notion of "non-meaning."
Chapter One presents a deconstructive examination of the notion of translation. Two opposing manifestations of Language, writing and reading, are set forth by way of Roland Barthes's textual concepts, "le scriptible" and "le lisible." "Writing" is here defined as a language-movement of production that opposes "knowledge," while "reading" is regarded as the consumption of codes, that is, "knowing." The question posed at this point is: what status does "translation" possess in terms of these two opposing language-movements? Is it writing or reading? Through Walter Benjamin's essay on translation, "Die Aufgabe des Übersetzers" (The Task of the Translator), as well as through Jacques Derrida's reading of it in his "Des Tours de Babel," translation is revealed to hold an essentially paradoxical function: a translation is secondary to the original in its status, yet it deconstructs the original and triggers the survival movement of Language towards its paradisal state of non-meaning. Thus translation is seen as partaking of an originary movement of writing, which Derrida elsewhere names "différance."
In Chapter Two, Nishiwaki's notion of Poetry presented in his Surrealist Poetics is discussed along with Georges Bataille's notions of "dépense" and "non-savoir," as well as with Derrida's grammatology. Nishiwaki proposes a negative evolution of poetry whose ultimate end is the (self-)extinction of poetry. Similarly, Bataille locates Poetry in the self-sacrificial "jouissance," beyond identity, beyond knowledge. Derrida's notion of "arche-writing" in turn exposes the "always-already" existence of the essentially transgressive movement of "writing" everywhere in our logocentric universe. Through these discourses, then, Poetry is envisioned as the death of writing, located outside of Language, in the paradise of non-meaning. Every writing strives towards this paradisal goal. At the same time, for Nishiwaki, this paradise includes an origin (the origin of poetry) which he names "tsumaranasa (boredom, insignificance) of reality." Poetry thus begins and ends in this fundamental loss of language, meaning, and knowledge.
In Chapter Three, the translated poems of Nishiwaki are discussed as representing not "reality" but a certain movement of Language, be it Benjamin's "translation" or Derrida's "arche-writing." The text of Ambarvalia essentially presents fissures in the Japanese language caused by the invasion of foreign tongues. Thus it is Nishiwaki's translatory textual strategy that produces a "new" poetic language. In No Traveller Returns, Nishiwaki's willful appropriation of past traditions is brought forth. In "Eterunitas," we witness the failure of silence, Language's failure to attain Poetry, initiating the incessant flow of writing, poetry, and translation, beyond reading.Arts, Faculty of
English, Department of
Graduate
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Miyauchi, Kazuko, and 宮內和子. "Reality inhabited by a poet, Nishiwaki Junzaburo." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B30097447.
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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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Papachristos, Katherine. "Le théâtre de Tristan Tzara : le passage de l'oralité à l'écriture." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40221.
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This doctoral thesis analyzes the plays of Tristan Tzara, specifically La Premiere Aventure Celeste de Monsieur Antipyrine (1920), La Deuxieme Aventure Celeste de Monsieur Antipyrine (1920), Coeur a Gaz (1921) et Mouchoir de Nuages (1924).In the first part of our study we examine the production of (dramatic) language in its oral, graphic and written qualities. The dada language of the two drama-manifestoes tends to adopt a syllabic writing which defines itself as a sonorousness free of syntaxico-semantic contingencies. The writing in Coeur a Gaz is more graphic in that it defines linear writing in terms of its inscription in a bidimensional frame (list, table) which caracterizes theatre in itself. And while Mouchoir de Nuages adhers more closely to dramatic writing of a metadiscursive nature, the apparent linearity of the writing of this drama leads to the subversion of the stage writing (scenography) and therefore of theatre itelf.
In the second part of our thesis we study the question of language reception, indispensable for the understanding of the Dada phenomenon in particular and theatrical in general. The aleatory vocality La Premiere Aventure Celeste de Monsieur Antipyrine provoked a violent reception by the historical spectator of 1920, whose esthetic parameters (horizon of expectation) are analyzed. Insofar as Coeur a Gaz is concerned the performance of 1923 consecrated the rupture of Andre Breton with the Dada group and led to the birth of the surrealist movement. Finally, the revolutionary scenographic work of Mouchoir de Nuages radically modifies the scenic perception of the spectator and announces the pluralist art of the twentieth century.
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Hughes, Jeremy Francis. "An examination of the sonnets of E.E. Cummings." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002287.
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This dissertation examines E. E. Cummings's writings in the sonnet genre and in those genres to which the sonnet is related in various ways. Its fundamental point is that, despite the surface impression of poetic iconoclasm for which Cummings has a popular reputation, in choosing to write sonnets he engages in a traditional literary practice. He does this because his purpose is always to be an artist, as defined by the Aesthetic movement which influenced him. In order to argue his embracing of a traditional artistic role, the theory of genres espoused by Alastair Fowler in his book, Kinds of Literature, is used. Chapter 1 of the thesis comprises general introductory material, both to the range of Aesthetic ideas to which Cummings subscribed, and to Fowler's theory of genres. Several key generic kinds are also described. The second chapter makes use of two of these generic models, the sonnet sequence and the silva, as a way of examining Cummings's deployment of the sonnet within the larger context of his poetry collections. It is a survey of the structure of the anthologies he compiled from Tulips & Chimneys (1922) to 95 Poems (1958). The third chapter explores the three sonnet modes which Cummings first identifies and names when compiling the manuscript of Tulips & Chimneys, and continues to use in his collections up to and including is 5 (1926). Chapter 4 shows how certain themes and concerns from these early sonnets are altered and synthesised as Cummings matures from an aesthete to a Romantic poet. Sonnets from his later books are taken to be representative of three central kinds in all of his work after is 5. Chapters 3 and 4 proceed by means of relatively close readings of individual sonnets. This practice fulfils a double role: it penetrates the apparent obscurity of the more difficult poems, and it attempts to preserve the integrity of individual poems which exemplify different generic tendencies in Cummings's work. One of Cummings's reasons for writing sonnets is that the form favours the achievement of what Wordsworth calls "a feeling of intense unity". In undertaking close readings of a few sonnets I have attempted to preserve that feeling.
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So, Waifung. "Toward an aesthetics of sensation : a study of backlighting in Shunji Iwai's films." HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/702.
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Shunij Iwai is a significant director of the Japanese New Independent cinema, who is best known for the fascinating visual style he adopted from the 1990s onwards. Rejecting the obsession with Japaneseness in Japanese cinema, Iwai developed a unique style of aestheticism through the use of backlighting, a technique he refined in partnership with cinematographer Noboru Shinoda. In existing academic studies on backlighting, cinematic lighting has generally been understood as a representational element that works to fulfill the needs of narration. Examples of such studies include Sharon A. Russell's (1981) semiotic study on the lighting style of French cinema, Patrick Keating's (2010) discussion of lighting convention in classical Hollywood cinema, and Lara Thompson's (2015) analysis on the use of light as a narrative tool in narrative cinema. By contrast, lighting in Shunji Iwai's films works in a different way. This difference prompts me to review the general conceptualization of cinematic lighting and turn to a materialist perspective, a non- representational attempt to study the sensation of lighting in cinema. By adopting Deleuze's concepts of cinema and sensation, this project provides an analytical trajectory for studying lighting in cinema. I argue that lighting as an aesthetic materiality renders a new understanding of the film world of Shunji Iwai as something derived from the Deleuzian poetics of sensation. This argument can be a starting point for critically rethinking lighting as a means for producing a circulation of cinematic affects.
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Taylor, Bruce. "All natural shapes : symbolism in the poetry of Theodore Roethke." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65327.
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MacLeod, Kirsten. "Walter Pater, Oscar Wilde, and audiences of aestheticism." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20442.
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By examining the process of production and reception of the works of Walter Pater and Oscar Wilde, this thesis explores the ways in which both conceptions of audience and actual audiences shaped these works. As proponents of "aestheticism," a philosophy which required the development of a highly specialised mode of perception and critical awareness, Pater and Wilde wrote with a fairly select audience in mind. Confronted, however, with actual readers who did not always meet the "aesthetic" criteria (even if they were supporters), they were forced to rethink their conceptions of audience. Pater's and Wilde's developing understandings of audience can be traced in their works, as they experiment with style and genre in an attempt to communicate effectively with their readers. Although at base Pater and Wilde advocated a similar "aesthetic" philosophy, their distinct conceptions of audience played a significant role in determining the nature of their particular versions of aestheticism.
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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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Khalip, Jacques. "Loss unlimited : sadness and originality in Wordsworth, Pater, and Ashbery." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0002/MQ43895.pdf.
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Mason, Jean S. "The figure that love makes : a study of love and sexuality in the poetry of Robert Frost." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66249.
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Omlor, Daniela. "Memory and self-representation in the works of Jorge Semprún." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1963.
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Jorge Semprún’s work is the fruit of an incarceration in the concentration camp of Buchenwald as a resistance fighter and his expulsion from the Partido Comunista Español in 1964. Due to these biographical circumstances, many critical literary studies to date limit the discussion of his works to the autobiographical and the realm of Holocaust studies. Together with the texts that do not fit adequately into this categories, his self-identification as a Spanish exile has up to now been neglected. The present thesis aims to provide a more global view of his oeuvre by extending the literary analyses to texts that have deserved little critical attention. In order to achieve this, it investigates the role played by memory and self-representation in a variety of works by Semprún. Aspects connected to memory such as exile and nostalgia, the Holocaust, the interplay between memory and writing, politics and collective memory, postmemory and identity are examined by means of a detailed analysis of the selected works and are discussed thematically. Differences in genre are discarded for the discussion and interconnections between the various narratives are highlighted. With the help of memory and trauma theories, we come to the conclusion that memory is the overarching principle of Semprún’s writing and that he invests it with an aesthetic and ethical value which is interpreted as the justification for his devotion to writing.
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Sauders, Paulette G. "The idea of love in the writings of C.S. Lewis." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/530364.
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C. S. Lewis (1898 - 1963) wrote both fiction and non-fiction, both essays and books throughout his life. The purpose of this study is to examine the fiction he wrote for adults in light of his expository statements about love found in his "Equality," "The Weight of Glory," Mere Christianity, and, especially, The Four Loves to see if his fiction consistently presents the same ideas about love.The body of the paper examines Till We Have Faces, The Great Divorce, The Screwtape Letters, Out of the Silent Planet, Perelandra, and That Hideous Strength to see if his ideas about love are included in them and to see if his ideas about love changed or developed over the years of his writing.After examining Lewis's works (excluding the Narnian Chronicles), from his earliest writings in 1936 to his latest writings in 1963, this paper concludes that Lewis's ideas about love are clearly manifested in all of his fiction, that these ideas did not change or develop over the years, and that the various kinds of love and their perversions that he treats in The Four Loves are found in the themes of his novels and consistently personified in his characters.In fact, love is the core of Lewis's writings, especially his fiction. Love is the "peg" upon which he hung all of his plots and themes and characterizations. Understanding Lewis's systematic "doctrine" of love will help any reader understand his fiction.Department of English
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Peterson, Raileen L. "E.E. Cummings' poetics : the necessary anything." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762989.
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E. E. Cummings' reputation as America's pre-eminent avant-garde poet obscures his significant use of schemes and tropes in his traditional and free verse poems. Because of his influence as a sonneteer and lyricist, his poetics constitute an important facet of our modern definition of poetry. However, he did not formulate a coherent statement of his aesthetic theories. Therefore, inductive research is necessary to define "the necessary anything"--those elements which Cummings' practice indicates are essentially poetic.Cummings' traditional poems include his "Epithalamion," ballade-derivations, and a large body of sonnets. All of his sonnets are fourteen lines long; and most maintain line lengths of approximately ten syllables; follow rhyme schemes based on five, six, or seven rhymes; and adhere to traditional rhetorical patterns of development. Deviations from the prescribed scheme include experimental rhymes and rhyme schemes, metrical and rhetorical variations, and a wide variety of subjects and themes. Freedom to deviate from prescribed forms renders the choice to use traditional schemes and tropes significant. Cummings elects to use meter, rhyme, allusion, allegory, personification, metaphor, simile, irony, paradox, onomatopoeia, and economy in his sonnets and free verse.Besides esoteric typography and innovative syntax, half-rhyme and rhetorically significant rhyme and metrical patterns are his trademarks. Additionally, this study demonstrates that Cummings' typography is generally organic and that his aesthetic theories are grounded in the modern romantic movement. While innovation is primary in Cummings' poetics, traditional schemes and tropes are highly significant in the composition and artistic achievement of his poetry. In Cummings' poetry, "the necessary anything" is a product of his formal education in classical and contemporary literatures and his eccentric invention.Department of English
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Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.
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Kingsmill, Patricia. "C.S. Lewis on metaphor : a study of Lewis in the light of modern theory." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23850.
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Although C. S. Lewis was not a metaphor theorist, the issue of metaphor appears often enough in his writings for one to cull from them a general theoretical view. This thesis attempts to examine Lewis's thoughts on metaphor against the background of modern metaphor theory. Forty or fifty years ago such a study would have been less fruitful, for his views on metaphor so differed from contemporary theorists that their works offered no positive atmosphere in which to approach his work. Now, however, the general tenor of certain streams in metaphor theory has become more amenable to his views. Indeed, it appears that some key issues raised in modern metaphor theory exist in a seminal form in Lewis's writings. While Lewis cannot be put into any one school, modern theory offers the necessary tools with which to approach his discussions of the figure. This thesis, therefore, begins by briefly outlining the history of metaphor theory in so far as it relates to Lewis. The second chapter discusses his metaphysics, since he believed that his views on metaphor had metaphysical implications. The third and fourth chapters present Lewis's view of metaphor' process and function, as gleaned from his writings. Finally, the thesis concludes by relating Lewis's view back to his metaphysics.
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Cossíos, 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.
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The last years of the twentieth century have been characterized by an increased presence of women in Hispanic poetry, who inevitably brought forth a new poetic language. Typical of this new expression are the Spaniard Ana Rossetti and the Peruvian Rocio Silva Santisteban, who give free rein to their emotions and desires in their poetic texts, which reflect love as both eroticism and joyful sexuality. In their poetry the body becomes the instrument for the fulfillment of desire and the production of erotic states. Thus, love is despised almost innocently but through the use of Kitsch as pop songs and advertising slogans, love is rehabilitated and the pleasure-death relation is seen in multiple perspectives.
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Mutter, Gisela. "Robespierre und die unvollendete FranzÜsische Revolution im Werk von Gertrud Kolmar (1894-1943)." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102838.
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This study deals with Gertrud Kolmar's literary texts, those that center upon the topic of the French Revolution. It endeavors to examine her poetic discourse dealing with the possibility of an alternative political leadership in a time of crisis. The texts comprise the essay "Bildnis Robespierres," the Robespierre cycle of poems, and the play Cecile Renault. These texts, in which Robespierre takes center stage, stand out from within the complete works of Kolmar. They were written between the fall of 1933 and March 1935 and may be read as texts of resistance against the Nazi dictatorship.Since these texts have to be seen as a direct reaction to the historical developments of the period, they are being closely examined herein, hoping to unearth their political and ideological intent. Drawing upon the theories and conclusions of New Historicism, which assumes that the writer and her subject cannot exist outside their socio-historical environment, important historical influences have been taken into consideration, in an effort to establish possible aspects that have entered into Kolmar's literary message.
A close reading of these texts demonstrates that, by first using the genre of the essay, Kolmar searched for a positive alternative paradigm of power to counter the fascist totalitarian regime. She finds this ideal in the figure of Robespierre because of his virtue and strong sense of justice. Because Kolmar interprets the Revolution as incomplete--since the Jacobin adhered to his principles up to his death--these texts may be considered as a revolutionary call to take up the fight for human rights once again. In her poems, Kolmar poetically creates a model of ideal leadership in the figure of Robespierre. She propagates his strict and harsh rule, as he presented himself to his fellow citizens and accepts violence as necessary in order to establish justice. Thus, Kolmar's model is problematic, since it mirrors, and therefore, confirms the given dictatorial power structures of the National Socialists. In an attempt to justify the use of violence and force, Kolmar immerses her protagonist in the messianic-idea. In her play, she adheres to her model of Robespierre as a messianic figure. But in the light of the altruistic attributes and the fate of the young Cecile Renault, whom Robespierre sacrifices, he appears questioned in his role as the only possible redeemer figure. Therefore, this last Robespierre-text reveals an expanded awareness and an altered attitude of the author towards her historical environment.
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Buis, Johann S. "Hindemith and early European music in the United States (1940-53)." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833671.
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Paul Hindemith (1895-1963)--composer, teacher, and performer of early music--was one of the inaugurators of the early music revival in the United States. During his tenure at Yale University (1940-53) Hindemith directed concerts of primarily medieval and Renaissance music in 1941 (Tanglewood), 1945-47 (Yale), 1948 (Yale and the Metropolitan Museum of Art), 1950 (Harvard), 1951 and 1953 (Yale and the Metropolitan Museum of Art). He participated in a concert of 17th-century music at Yale in 1943. The success of these performances gave Hindemith national recognition. He was able to establish these concerts as the result of self-education and relentless determination. Although he was not part of the burgeoning collegium musicum movement in Germany he directed the Yale Collegium Musicum unhindered, for the most part, by the disastrous effects of World War II. Neither before nor after his tenure at Yale did early music performance form a significant part of his life.Chapter 1 focuses on relevant issues in Hindemith's background while in Germany. Using Stephen Hinton's analysis of the idea of Gebrauchsmusik, this chapter shows that although Hindemith denounced the term "Gebrauchsmusik" as a slogan, his early music performances emerged from the same Gebrauchsmusik, (music-for-amateurs) philosophy. The term "Gebrauchsmusik" appears in this a dissertation as a favorable "pre-Nazi/Weimar Republic" concept; a philosophical construct which formed the basis of Hindemith's early music performances in the United States.Chapter 2 deals with Hindemith's advocacy of early music in the United States. This chapter also includes discussions on the public reception of Hindemith's early music programs, as well as the work of contemporaries during that phase of the early music revival in the United States. The following chapter is an evaluation of Hindemith's recordings of two Yale Collegium Musicum concerts, his use of historical instruments and his performance scores. The evaluation of Hindemith's performance scores centers primarily around French dances which he performed on period instruments in 1948 and their adaptation for modern instruments in his Suite franzoesischer Taenze (1958). The final chapter is a reflection upon the issues of Gebrauchsmusik, and historicity in Hindemith's early music performances. The appendices contain programs, personnel and repertoire lists.School of Music
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Hickey, Sean. "The Vichy regime and its National Revolution in the political writings of Robert Brasillach, Marcel Déat, Jacques Doriot, and Pierre Drieu La Rochelle." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61117.
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This thesis examines the campaign waged against Vichy's National Revolution by Robert Brasillach, Marcel Deat, Jacques Doriot, and Pierre Drieu La Rochelle. It explores the particular issues of contention separating Vichy and the Paris ultras as well as shedding light on the final evolution of a representative segment of the fascist phenomenon in France.
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Choinière, Paul. "Etude sur la rhétorique des premièrs écrits de Louis-Ferdinand Céline (1924-1944)." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28252.
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Since Celine's death, the pamphlets he wrote at the beginning of World War II always presented great difficulties for those who studied him. But in the last few years, for various reasons the pamphlets have stirred up researcher's interest. Following this movement, this thesis is an attempt to integrate these pamphlets to the prose of the author of Journey to the End of the Night in a general pattern of analysis.In order to do this analysis, is developed an hermeneutic model of analysis which divides Celine's work into a poetical investigation and a polemic pursuit that demonstrate that these two genres use the same rhetorical strategies.
Part I of this thesis investigates the distinct rhetoric used by Celine in mixing poetry and polemic. Part II examines the poetic investigation and the polemic pursuit separately, Celine having separated these two genres after Journey to the End of the Night.
Without eliminating the differences between poetry and polemic, this thesis aims at demonstrating the continuity and coherence of Celine's work which is particularly well suited for putting an hermeneutic model of analysis to the test because it is a work that is torn more than any other between the ravishing and the horrific, between the beautiful and the terrifying. And that is where in this profound humanity Celine's work is so rich in interpretation.
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Tonkin, Kati. "Marching into history : from the early novels of Joseph Roth to Radetzkymarsch and Die Kapuzinergruft." University of Western Australia. European Languages and Studies Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0085.
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This thesis takes as its starting point the consensus among scholars and interpreters of Joseph Roth’s work that his writing can be divided into two periods: an early “socialist” phase and a later “monarchist” phase. In opposition to this view, a reading of Roth’s novels is put forward in which his desire to make sense of post-Habsburg Central Europe provides the underlying logic, thus reconciling his early novels with Radetzkymarsch and Die Kapuzinergruft. The first chapter addresses the common contention that the transformation in Roth’s work is the result of a deep identity crisis. An alternative reading of the relevance of Roth’s identity to his work is offered: namely, that Roth’s conviction that identity is multivalent explains his rejection of both nationalism and other “solutions” to the problems of post-war Europe, a sentiment that finds expression in his early novels. The interpretation of these novels, which represent Roth’s early attempts to give literary form to contemporary reality, is the focus of the second chapter of the thesis. In the third chapter Radetzkymarsch is analyzed as a historical novel in the terms first proposed by Georg Lukács, as a novel which facilitates the understanding of the present through the portrayal of the past. Paradoxically, it is the historical form that most effectively captures and illuminates the complex reality of Roth’s contemporary times. The fourth and final chapter demonstrates that Die Kapuzinergruft is not simply an inferior sequel to Radetzkymarsch, a nostalgic evocation of an idealized lost Habsburg world and condemnation of the 1930s present, but rather continues the dialogue between past and present begun in Radetzkymarsch. In this novel, written before and in the immediate aftermath of the Anschluß of Austria to Nazi Germany, it is not Roth but his narrator who takes flight from reality, behaviour that Roth condemns as leading to the repetition of mistakes from the past and the failure to prevent the ultimate political catastrophe.
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Lansdown, Louise. "Paul Hindemith's sonatas for viola and piano." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/50056.
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Thesis (MMus) -- University of Stellenbosch, 2004.ENGLISH ABSTRACT: This dissertation is an account of Paul Hindemith's life between 1919 and 1939 with special reference to his compositional development through the three sonatas for viola and piano. The introduction to the dissertation initially provides a list of Hindemith's vast output for the viola followed by insight into the reason and need for undertaking this research, literary sources used and their function in the context of this study and the conclusion that there is a lack of extant research on the three sonatas for viola and piano. This is followed by comments on Hindemith as a viola player and composer, supported by opinions of scholars and performers. An overview of the contents and aim of the dissertation completes the introduction. This first of the two comprehensive chapters briefly discusses Hindemith's character traits as viewed by a number of scholars and continues by introducing the political, social and financial circumstances in Germany in 1919. The chapter progresses into a division of the period 1919-1939 into six sub-sections of dates within this time span. Each section focuses on the political, financial and musical circumstances in Hindemith's life, with special attention given to the periods of greatest change and conflict. Included in this chapter are also the specific circumstances surrounding the composition, first performances and publication of the three sonatas for viola and piano, alongside mention of other works written at the same time. This is supported by references and quotations from correspondence between Hindemith and his wife, colleagues and friends, as well as translations of newspaper articles, letters and articles which thus far have not been translated into English. Special attention is given to possible reasons for the late publication of op.25 no.4 in 1977. Chapter 2 looks deeper into the significance, success and development of Hindemith through these three works. His stylistic development beginning with the influences of Debussy and Reger, his identification with the 'Neue Sachlichkeit' until the beginning of his later conservatism can be seen clearly in these three works. The aim of the study is to assimilate the available information into an accurate and coherent picture of the composer's life and stylistic development between 1919 and 1939 in a way that has not been presented before. It is my intention through this work that the unique style of the sonatas as well as their important place in the viola repertoire is apparent, and consequently of interest to other viola players, hopefully encouraging them to play the works themselves.
AFRIKAANSE OPSOMMING: In hierdie tesis word Paul Hindemith se lewe tussen 1919 en 1939 beskryf, met spesiale verwysing na sy ontwikkeling as komponis soos dit waargeneem kan word in die drie sonates vir altviool en klavier. Die inleiding tot die tesis verskaf 'n lys van Hindemith se omvangryke oeuvre vir die altviool, gevolg deur 'n motivering waarom hierdie studie onderneem word. Die omvattende literatuurstudie dui daarop dat daar tot op datum baie min navorsing oor die drie altvioolsonates gedoen is. Vervolgens word kommentaar gelewer op Hindemith as altviolis en komponis, ondersteun deur opinies van uitvoerende kunstenaars en musikoloë. 'n Oorsig oor die inhoud en die doelstellings van die tesis sluit die inleiding af. Die eerste van die twee omvattende hoofstukke begin met 'n bespreking van Hindemith se karakter, gevolg deur 'n oorsig oor die politieke, sosiale en ekonomiese omstandighede in Duitsland rondom 1919. Die tydperk 1919-1939 word dan in ses onderafdelings verdeel. Elke onderafdeling plaas die fokus op spesifieke politieke, finansiële en musikale omstandighede in Hindemith se lewe. Die jare waarin konflik en verandering op besondere wyse na vore tree word meer omvattend bespreek. Teen die agtergrond van ander werke uit hierdie tyd word die spesifieke omstandighede rondom die komposisie, eerste uitvoering en publikasie van die drie altvioolsonates in detail beskryf. Dit word aangevul deur verwysings na en aanhalings uit korrespondensie tussen Hindemith en sy vrou, kollegas en vriende, sowel as deur vertalings van koerantartikels en briewe wat tot dusver nog nie in Engels beskikbaar was nie. Hoofstuk 2 plaas die klem op Hindemith se stilistiese ontwikkeling, soos dit in the drie sonates waargeneem word. Die sonates illustreer Hindemith se ontwikkeling vanaf sy bewondering vir Debussy en Reger, oor sy vereenselwiging met die ideale van die 'Neue Sachlichkeit' tot by die meer konservatiewe benadering wat hy later gevolg het. Hierdeur word gepoog om die unieke waarde van die sonates, asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel. Die doel van die studie is dus om die beskikbare inligting tot 'n samehangende en akkurate beeld van die komponis se lewe en stilistiese ontwikkeling tussen 1919 en 1939 te voeg op 'n wyse wat nog nie voorheen gedoen is nie. Hierdeur word gepoog om die unieke waarde van die sonates asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel.
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Massie, Eric. "Stevenson, Conrad and the proto-modernist novel." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.
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This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
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Sellars, Jeffrey Thomas. "Reasoning beyond reason : imagination as a theological source in the work of C.S. Lewis." Thesis, University of Wales Trinity Saint David, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683258.
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胡雅坤. "跨文化背景下的衝突與融合 : 福克納對當代中國作家影響的倫理敍事研究." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2150847.
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El-Mouelhy, Mossino Lauretta. "Beppe Fenoglio e le tradizioni celtiche del Piedmonte." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30165.
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Reading of the poetics of Beppe Fenoglio in relation to the philosophical and religious systems of the ancient Celts, a people who dominated the territory of Piedmont from the IV century BC to the I century AD.A brief explanation of the history of Piedmont from prehistoric times, through Ligurian and Celtic domination, to Roman conquest and the consequent partial romanization of the territory will introduce the subject.
Certain aspects of the religion of the Celts, as described both by classical authors and modern scholars, will be examined in the context of beliefs, customs, and traditions of modern rural Piedmont using interviews (See Appendix ) conducted in Beppe Fenoglio's homeland, the Langhe.
Rural Piedmontese traditions and beliefs will be identified in the works of Fenoglio, particularly in Il partigiano Johnny and La malora, in order to describe the nexus that ties the concept of nature and the view of life and death expressed in the works with the naturalism of the ancient Celts.
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Beyer, Carola. "‘The man I could have been’: masculinity and uncanny doubles in selected novels of Damon Galgut." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97100.
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Thesis (MA)--Stellenbosch University, 2015ENGLISH ABSTRACT: In this thesis I examine the portrayal of masculinity in selected works of Damon Galgut. Masculinities are read through the lens of the double and the uncanny as conceived by Freud and other scholars. The selected novels include The Beautiful Screaming of Pigs (1991), The Quarry (1995), The Good Doctor (2004), The Impostor (2008) and In a Strange Room (2010). In the introduction theoretical issues relating to masculinities, the double and the uncanny are discussed and a broad framework for the thesis is outlined. Subsequently each chapter discusses the representation of men and masculinities in the selected novels. Issues such as masculinity in the military, friendship amongst men, relationships with women, masculinity and apartheid, masculinity and whiteness and heterosexuality and homosexuality are discussed and explored through the lens of the double and the uncanny. Questions that emerge from this study are: What perspectives does Galgut offer of masculinities before and after apartheid? How do the men experience their political and social environment? How do the male characters in the novels interact with the female characters? What obligations do men and women have towards each other?:
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die uitbeelding van manlikheid in geselekteerde werke van Damon Galgut. Manlikhede word gelees deur die lens van die dubbelganger en die Unheimliche soos deur Freud en ander teoretici gekonsipieer. Die geselekteerde romans sluit in The Beautiful Screaming of Pigs (1991), The Quarry (1995), The Good Doctor (2004), The Impostor (2008) en In a Strange Room (2010). In die inleiding word teoretiese kwessies met betrekking tot manlikhede, die dubbelganger en die Unheimliche bespreek en ʼn breë raamwerk vir die tesis word uiteengesit. Daarna bespreek elke hoofstuk die voorstelling van mans en manlikhede in die geselekteerde romans. Kwessies soos manlikheid in die weermag, vriendskap tussen mans, verhoudings met vroue, manlikheid en apartheid, manlikheid en witheid, en heteroseksualiteit en homoseksualiteit word deur die lens van die dubbelganger en die Umheimliche bespreek en verken. Die volgende vrae word in die studie aangepak: Watter perspektiewe bied Galgut op manlikhede voor en ná apartheid? Hoe ondervind die mans hulle politieke en sosiale omgewing? Hoe gaan die manlike karakters in die romans met die vroulike karakters om? Watter verpligtinge het mans en vroue teenoor mekaar?
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Reed, Marthe. "The poem as liminal place-moment : John Kinsella, Mei-mei Berssenbrugge, Christopher Dewdney and Eavan Boland." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0136.
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Places are deeply specific, and often richly resonant for us in terms of memory, emotion, and association, yet we nevertheless frequently move through them insensible of their constitution and diversity, or the shaping influences they have upon our lives. As such, place affords a vital window into the creation and experience of poetry where the poet is herself attuned to the presence and effect of places; the challenge for the scholar is to articulate place's nature and role with respect that poetry. In
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Perez, Roy. "Off the hyphen : race consciousness in Du Bois and U.S. Latina/o cultural theory." Honors in the Major Thesis, University of Central Florida, 2003. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/414.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English Literature
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Crous, Matthys Lourens. "Presentations of masculinity in a selection of male-authored post-apartheid novels." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1672.
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Newman, Sigrid J. "Visual representation in the work of Joseph Roth, 1923-1932." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/317.
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Through an examination of Joseph Roth’s reportage and fiction published between 1923 and 1932, this thesis seeks to provide a systematic analysis of a particular aspect of the author’s literary style, namely his use of sharply focused visual representations, which are termed Heuristic Visuals. Close textual analysis, supplemented by insights from reader-response theory, psychology, psycholinguistics and sociology illuminate the function of these visual representations. The thesis also seeks to discover whether there are significant differences and correspondences in the use of visual representations between the reportage and fiction genres. Roth believed that writers should be engagiert, and that the truth could only be arrived at through close observation of reality, not subordinated to theory. The research analyses the techniques by which Roth challenges his readers and encourages them to discover the truth for themselves. Three basic variants of Heuristic Visuals are identified, and their use in different contexts, including that of dialectical presentations, is explored. There is evidence of the use of different variants of Heuristic Visuals according to the respective rhetorical demands of particular thematic issues. It has also been possible to establish synchronic correspondences between the different genres, and diachronic correspondences within genres. Although there are examples within the reportage where the entire article is based on an Heuristic Visual, the use of Heuristic Visuals cannot be seen as a key organizing principle in Roth’s work as a whole. As his mastery of the technique reaches its highest point in the early 1930s, Heuristic Visuals are often incorporated into the reconstruction of a complete sensory experience. Analysis of Roth’s heuristic use of visual representations has led to important insights, including a reinterpretation of the endings of Roth’s two most famous novels: Hiob and Radetzkymarsch.
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McInnis, Jeff. "Shadows and chivalry : pain, suffering, evil and goodness in the works of George MacDonald and C.S. Lewis." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2881.
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This thesis argues that George MacDonald's literary influence upon C. S. Lewis-concerning the themes of pain, suffering, evil and goodness-was transforming and long-lasting. It is argued in the opening chapter that MacDonald's work had a great deal to do with the change in young Lewis's imagination, helping to convert him from a romantic doubter to a romantic believer in God and his goodness. A review of both writers' first works suggests that such influence may have begun earlier in Lewis's career than has been noticed. The second chapter examines how both authors contended with the problems that pain and suffering present, and how both understood and presented the nature of faith. Differences in their treatment of these subjects are noted, but it is argued that these views and depictions share fundamental elements, and that MacDonald's direct influence can be demonstrated in particular cases. The view that MacDonald was primarily a champion of feelings is challenged, as is the idea that either man's later writing displays a loss of faith in God and his goodness. The third chapter, in specifically refuting the assertion that MacDonald's view of evil was inclusive in the Jungian or dualistic sense, shows how both authors' work maintains an unmistakable distinction between evil fortune and moral evil. The next two chapters examine fundamental similarities in their treatment of evil and goodness. Special care is taken in these two chapters to trace MacDonald's direct influence, especially regarding the differences they believed existed between hell's Pride and what they believed God to be. The fifth chapter reviews their ideas and depictions of heaven in summing up the study's argument concerning the overall influence of MacDonald's writing upon Lewis's imagination-in particular the change in Lewis's understanding of the relations between Spirits, Nature, and God.
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宋菲. "蘇童作品的人文內涵及敍事分析 = Human intension and ways of narration of Sutong's work." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636200.
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Wright, Barbara Irene. "La bête humaine : an examination of the problems inherent in the process of adaptation from novel to film." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26943.
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In this thesis the process of adaptation from novel to film is examined. La Bête humaine by Emile Zola and the film version by Jean Renoir provide specific examples. The starting point is the assumption, often made by cinema audiences, that the film should be "faithful" to the novel upon which it is based. A statement made by Renoir regarding his efforts to be true to what he describes as the "spirit of the book" is quoted to illustrate the prevalence of this attitude. Novel and film are then compared in order to test Renoir's claim to fidelity. What is revealed are the differences between the two. Through an examination of character, action, and space some of the reasons for the director's departure from the novel begin to emerge and it becomes increasingly clear that Renoir was obliged to adopt a different approach. Theme and form are then examined and the organic nature of their relationship suggested. Finally, the departure of the film from the novel is traced to the very different ways in which the two media function — linearity in the written medium as opposed to simultaneity in the cinematic medium — and the indelible nature of the association of theme and form is confirmed. In conclusion, the view that the media should and do correspond is found to be mistaken, and Renoir's statement is re-evaluated and assessed as an attempt, by a director sensitive to the public's insistence on fidelity, to disarm criticism.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Hunt, Sally Ann. "The discoursal construction of female physical identity in selected works in children's literature." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005965.
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This thesis reports on an analysis of the discursive construction of female and male physical identity in children’s literature and explicitly combines corpus linguistic methods with a critical discourse approach. Based on three novels from each of the Chronicles of Narnia and the Harry Potter series, it shows clear gendering of body parts, not only in terms of the purely quantitative preferences for certain body parts to be associated with one or other gender, but in terms of discourse prosody, or the uses to which the body parts are put. Human body parts in these series are mostly used in the following four ways, all of which show differences in realisation in terms of gender: · to describe individuals, physically, in order to distinguish one from the other; · to convey emotion, unintentionally as well as consciously; · for physical interaction between people and · for interaction with the world more broadly: responses to danger and agency, i.e. the ability to act on the world and the nature of what is achieved. The use of body parts by characters to express emotion and act agentively on the world is revealed to be strongly gendered in the two series. I characterise the most prominent patterns in terms of the bodily products blood, sweat and tears, of which the last is strongly connected to female characters, who are generally associated with emotion. The other two, referring to active participation in fighting and injury, as well as agency, are almost exclusively reserved for males, with female characters rendered unable to act on the physical world as a result of overwhelming feelings. The females’ response to danger suggests stereotyped discourses of inequality which see women and girls as requiring protection and being physically incapable. Thus gender is still a particularly salient aspect in these widely-read examples of children’s literature, despite plots which appear to be fairly positive towards women. The strength of the inclusion of a corpus approach in this study lies in its capacity to reveal objective, and often fairly covert, trends in language use. These in turn enrich the critical analysis of discourses in these influential texts, which facilitates social change through linguistic analysis.
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Howitt, Caroline Ailsa. "Romance in the prose of Robert Louis Stevenson." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4208.
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This thesis provides a wide-ranging account of the work of Robert Louis Stevenson, tracing an unyielding preoccupation with the mode of romance throughout his famously diverse body of writing. It argues that Stevenson's prose retools romance in several important ways; these include modernization, disenchantment, and the reinterpretation of romance as a practical force able to reach beyond textual confines in order to carve out long-lasting psychological pathways in a reader. In its pursuit of these arguments, the thesis draws upon and appends a significant amount of archival material never before used, including excerpts from The Hair Trunk – Stevenson's first extended piece of fiction, still unpublished in English. More widely, it analyses the appearance of romance within four major aspects of Stevenson's prose: aesthetic theme, structure, setting, and heroism, each of which is the focus of a discrete chapter. The introduction engages with the history and definition of romance itself, arguing that it is most usefully approached as mode rather than genre in the context of Stevenson's writing. Chapter I then assesses Stevenson's direct critical engagement with romance, and appraises his wider literary aesthetic in that light. Romance is shown to be built in to the way he writes about writing, adventure being intrinsic to his authorial quest for adequate expression. Chapter II goes on to examine Stevenson's relationship with structure, and argues that self-reflexivity interacts with romance to form the habitual core of his creative writing. Chapter III investigates the use of cities, forests and seas as sites of modern romance within Stevenson's oeuvre, arguing that he eschews descriptive Romanticism and instead lauds a primarily practical approach towards the navigation of these environments. Finally, Chapter IV demonstrates Stevenson's perception of a relationship between authorship and the heroic, charting his use of romance as part of a progressive evocation of the failure of heroism itself as a sustainable modern ideal.
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Marinho, Danielle 1991. "O sobrevivente insalvável : tempo e imagem em "A quarta cruz" de Weydson Barros Leal." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269948.
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Orientador: Eduardo Sterzi de Carvalho JúniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-28T14:21:32Z (GMT). No. of bitstreams: 1 Marinho_Danielle_M.pdf: 1646369 bytes, checksum: e3a300c6b6c0dd63fa91b1b7c870a4f4 (MD5) Previous issue date: 2015
Resumo: Se a questão que se impõe na atualidade é a da sobrevivência do homem em uma terra devastada ¿ numa dimensão ambiental e civilizacional ¿ e se há ainda um esforço de criação em meio a essa dispersão, como o é a tentativa poética, o mundo que então se revela não é feito de presença e inteireza, é um mundo cuja imagem encontra-se também arruinada. O poeta que, hoje, opta por lidar com essa destruição, cria no poema um campo de ressurgências de imagens e palavras, no qual vibra, como potência daquilo que é resto, o fato de elas terem resistido, apesar de tudo. Nesse contexto a obra "A quarta cruz", de Weydson Barros Leal, adquire ainda mais densidade, pois suas figurações são visões da crise, da ruína, da perda de imagem, ou da imagem que se dá apesar da destruição. A cruz de Weydson Leal é talhada no tempo, na memória, na desesperança; é cinza que sobrevive ao incêndio, à catástrofe da palavra, ao grito do silêncio; é visão do escuro, forma do excesso, presença do vazio. Suas imagens poéticas lampejam em desaparecimentos e reaparições, dando corpo ao que denominamos, com base em Georges Didi-Huberman, uma poética da sobrevivência. Se essa marca inventiva puder ser considerada não só em sua dimensão de crise, mas também como análise dessa crise, então, de algum modo, os resquícios e ruínas da imagem do mundo que constituem sua poética organizam nossa consciência de sermos sobreviventes, isto é, organizam nosso pessimismo, pois estabelecem a sobrevivência das palavras e das imagens quando a nossa própria sobrevivência encontra-se comprometida. Voltando-se para o futuro, o poeta não pode redimir sua obra, pois sua condição é a vida que lhe resta, tardia, irreparável, insalvável, como a define Giorgio Agamben. Cabe-lhe, por fim, afirmar que o homem é destrutível e indestrutível, e a partir desse paradoxo disseminar sobrevivências
Abstract: If the question to be answered today is the survival of mankind in a wasteland ¿ in a environmental and civilizational meaning ¿, and if there is an effort to create in the midst of this dispersion, as it is the poetic attempt, then the world that is revealed is not made of the presence and integrity, is a world whose image is also ruined. The poet who deals with this destruction creates in the poem a field of resurgence of images and words, where vibrates, as a potencial of the rest, the fact that they have endured, though. In this context, the book "A quarta cruz" ("The fourth cross"), written by Weydson Barros Leal, becomes denser, since their poetic images are visions of the crisis, the ruin, the loss of image, or the image that remains despite the destruction. The cross of Weydson Leal is carved in time, in memory, in despair; it is ashes surviving the fire, the catastrophe of the word, the cry of silence; it is vision of the darkness, form of excess, presence of emptiness. His poetic images are disappearances and reappearances, forming what we call, based on Georges Didi-Huberman, a poetics of survival. If this inventive peculiarity can be considered not only in its dimension of crisis, but also as analysis of this crisis, then, somehow, the ruins of the world image that make up his poetic organize our awareness of being survivors, that is, it organizes our pessimism, because it establishes the survival of words and images when our very survival is compromised. Turning to the future, the poet cannot redeem his work because his condition is life he have left, late, irreparable, unsaveable, as Giorgio Agamben defines. The poet must, finally, affirm that we are destructible and indestructible, and from that paradox disseminate survivals
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
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Lynch, Éadaoín. "'This may be my war after all' : the non-combatant poetry of W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16566.
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This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.
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McNabb, Stephen Delaney. "Shouts of the Khori-Challwa: Andean Mythological and Cosmological Reconsiderations of the American Identity in Gamaliel Churata’s El pez de oro." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/4010.
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This thesis explores the possible creation of a new categorization of American Literature as presented in the Andean novel El pez de oro: Retablos del Laykhakuy (1957) by Gamaliel Churata. In El pez de oro, Gamaliel Churata presents a strategy for the recuperation of native Andean cultural agency that enables the Andean subject to reclaim traces of their ancestral past under more verisimilar and verifiable terms. Churata argues that through a recuperation of native language and its infusion into the body of the major colonial language, Spanish, the Andean subject is equipped with a new culture producing tool that enables the recuperation of language, agency, history, and, ultimately, representation and inclusion within cultural and political institutional frameworks. By introducing his own function of bilingualism, vernacular language, and mythological infusions into the body of colonial letters, Gamaliel Churata is able to destabilize and disrupt colonial historical and textual authority to the point where the invented concept of America and the colonial product of American identity can be re-examined. Through this examination emerges a new option for the categorization of American identity as an aesthetic construct. Within this new categorization of aesthetic American identity, the Andean subject can begin his own process of self-identification through his native language toward the production of a future Andean American subject.
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Lawrence, Faith. "'True receivers': Rilke and the contemporary poetics of listening (Part 1) ; Poems: Small weather (Part 2)." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7418.
Full textAbstract:
Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'.
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Dunsmore, Patricia Berard. "Robert Louis Stevenson and Scotland: A most complicated relationship." CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/847.
Full text
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Rush, Anna. "The generic originality of Iurii Tynianov's representation of Pushkin in the novels 'Pushkin' and 'The Gannibals." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1712.
Full textAbstract:
This thesis is the first extensive study devoted to the generic originality of Iurii Tynianov’s representation of Pushkin in his two historical novels, Pushkin (1935-1943) and the abandoned The Gannibals (1932). Chapter 1 contextualises Tynianov’s contribution to the current debates on the novel’s demise, ‘large’ form and the worthy protagonist. The conditions giving rise to contemporary interest in the genres of biography and the historical novel are delineated and the critical issues surrounding these are examined; Tynianov’s concern to secularise the rigid monolith of an all but sanctified ‘state-sponsored Pushkin’ and the difficulties of the task are also reviewed. Chapter 2 shifts the examination of Pushkin as a historical novel to its study within the generic framework of the Bildungs, Erziehungs and Künstlerromane with their particular problematics which allowed Tynianov to grapple with a cluster of moral, philosophical and educational issues, and to explore the formative influences on the protagonist’s identity as a poet. Chapter 3 explores the concept of history underlying Tynianov’s interpretation of the characters and events and the historiographical practices he employed in his analyses of the factors that shaped Pushkin’s own historical thinking. Chapter 4 investigates Tynianov’s scepticism about Abram Gannibal’s and A. Pushkin’s mythopoeia which reveals itself in Tynianov’s subversively ironical and playful use of myth in both novels. The Conclusion assesses Tynianov’s contribution to the 20th century fictional Pushkiniana and reflects on his innovative transgeneric historical novel which broke the normative restrictions of the genre, elevated it to the level of ‘serious’ literature and made it conducive to stylistic experimentation.
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Casagrande, Eduardo Vignatti. ""Each one of us goes through life inside a bottle" : a reading of Brave new world in the light of Zygmunt Bauman's theory." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/141236.
Full textAbstract:
Esta dissertação propõe uma leitura do romance Admirável Mundo Novo (1932) de Aldous Huxley sob a luz dos conceitos de Zygmunt Bauman da Modernidade Líquida. A narrativa ocorre em uma Londres futurística no século 26, no ano 2540 de nossa Era Comum, ou – na narrativa no ano 632 AF (Após Ford). Subjacente ao cenário distópico de avanço tecnológico e organização altamente desenvolvida, porém, os temas discutidos no romance remetem à circunstância do tempo e lugar de sua produção, o início dos anos 1930, em um contexto de desenvolvimento industrial, tensão política e crise econômica. Nesta pesquisa, eu busco a resposta para a seguinte pergunta: “De quais maneiras a ficção de Huxley antecipa o tipo de sociedade seus leitores vivem no tempo presente, três-quartos de século após sua publicação? Com ajuda das teorias do Professor Zygmunt Bauman, eu construo minha interpretação das metáforas encontradas no romance, que prognosticam as atuais condições de capitalismo de mercado livre, consumismo, obsolescência programada que determinam a ética, a estética e a forma de pensar de nosso tempo presente. As hipóteses de Bauman concernem a liquidez do mundo atual, no qual nada deve durar muito. Esta premissa gera um grande número de consequências, tais como: fragilidade dos laços humanos, pensamento crítico superficial e supremacia dos contatos virtuais sobre ocontato de fato entre as pessoas. A dissertação está dividida em quatro capítulos. No primeiro, eu contextualizo o conceito de distopia. No segundo, eu trago a contextualização necessária sobre o tempo, a obra e o autor. No terceiro, eu introduzo os conceitos de Bauman sobre modernidade sólida e líquida e os conecto com o estudo de Admirável Mundo Novo. No capítulo IV, apresento minha leitura da obra. Ao final da pesquisa, espero encontrar respostas para a questão proposta estabelecendo inter-relações entre os aspectos ficcionais do romance e os traços sociais de nosso tempo atual.The present thesis proposes a reading of Aldous Huxley’s Brave New World (1932) in the light of Zygmunt Bauman’s concept of Liquid Modernity. The plot of the novel unfolds in the futuristic London of the 26th century, in the year 2540 of our Common Era, or – in the narrative – in the year 632 AF (After Ford). Underlying the dystopian scenario of technological advancement and highly developed organization, however, the themes discussed in the novel actually address the circumstances of the time and place of its own production, the beginning of the 1930’s, in a context of developing industrialization, political tension, and economic crises. In this research, I pursue the answer to the following question: “In what ways does Huxley’s fiction anticipate the kind of society its readers would be living in at our present time, three quarters of a century after its publication?” With the help of Professor Zygmunt Bauman’s theories, I build my interpretation of the metaphors found in the novel, that prognosticate the current conditions of free-market capitalism, consumerism, programmed obsolescence, that determine the ethics, the aesthetics and the ways of thinking of our present times. Bauman’s assumptions concern the liquidity of the contemporary world, where nothing is meant to last long. This premise generates a number of consequences such as overconsumption, frail human bonds, superficial critical thought, and supremacy of online over factual contacts among people. The thesis is devised in three chapters. In the first, I contextualize the concept of dystopia. In the second, I bring the necessary contextualization about the time, the work and the author. In the third, I introduce Bauman’s concepts of solid modernity and liquid modernity and connect them with the study of Brave New World. Finally. In Chapter IV, I present my reading of the novel. At the end of the research, I expect to find the answers to the posed question by establishing critical interrelations between the fictional aspects of the novel and the social features ongoing in our present time.
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Veratti, Nelson Samuel Porto. "Admiravel Mundo Novo : um enredo de possiveis." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269877.
Full textAbstract:
Orientador: Adelia Toledo Bezerra de MenesesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-08T09:03:32Z (GMT). No. of bitstreams: 1 Veratti_NelsonSamuelPorto_M.pdf: 1167836 bytes, checksum: 0c69a907ec6083e5ebe70538b1937d34 (MD5) Previous issue date: 2007
Resumo: Este trabalho busca a revitalização da obra Admirável Mundo Novo, de Aldous Huxley, por meio de uma leitura que não apenas reconhece o seu mérito literário como também resgata o seu teor crítico, cujo valor vem sendo desconsiderado por aqueles que recusam alguns de seus aspectos. Procuramos examinar e reconsiderar os prováveis motivos que levam a obra à margem da crítica literária para, em seguida, apontar a importância desse romance que permite reflexões relevantes sobre o mundo contemporâneo
Abstract: This thesis argues for a renewed reading of Aldous Huxley's ¿Brave New World¿. The interpretation carried out therein not only aknowledges the novel's literary merit, but also recuperates its critical tenor, whose import has been ignored by those who refuse to accept some of its most relevant aspects. The thesis examines and reconsiders the most probable motives which led to this marginal position in critical discourse; following this, it highlights the importance of the novel, which allows one to develop revelant reflections on the contemporary world
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Derrick, Stephanie Lee. "The reception of C.S. Lewis in Britain and America." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/19765.
Full textAbstract:
Since the publication of the book The Screwtape Letters in 1942, ‘C. S. Lewis’ has been a widely recognized name in both Britain and the United States. The significance of the writings of this scholar of medieval literature, Christian apologist and author of the children’s books The Chronicles of Narnia, while widely recognized, has not previously been investigated. Using a wide range of sources, including archival material, book reviews, monographs, articles and interviews, this dissertation examines the reception of Lewis in Britain and America, comparatively, from within his lifetime until the recent past. To do so, the methodology borrows from the history of the book and history of reading fields, and writes the biography of Lewis’s Mere Christianity and The Chronicles of Narnia. By contextualizing the writing of these works in the 1940s and 1950s, the evolution of Lewis’s respective platforms in Britain and America and these works’ reception across the twentieth century, this project contributes to the growing body of work that interrogates the print culture of Christianity. Extensive secondary reading, moreover, permitted the investigation of cultural, intellectual, social and religious factors informing Lewis’s reception, the existence of Lewis devotees in America and the lives of Mere Christianity and The Chronicles of Narnia in particular. By paying close attention to the historical conditions of authorship, publication and reception, while highlighting similarities and contrasts between Britain and America, this dissertation provides a robust account of how and why Lewis became one of the most successful Christian authors of the twentieth century.
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Blanc, Marie Thérèse 1960. "Another face of justice : interpretative debates within the Canadian trial novel after 1970." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84478.
Full textAbstract:
This study examines Canadian works of fiction that contain historical trial narratives and that enact an adversarial trial of their own for an implied reader who acts as 'appellate judge.'' Included are four Canadian novels published after 1970 that fictionalize the circumstances leading to notorious criminal trials: Margaret Atwood's Alias Grace (1996), Lynn Crosbie's Paul's Case: The Kingston Letters (1997), and Rudy Wiebe's The Temptations of Big Bear (1973) and The Scorched-Wood People (1977). They represent commentaries on the justice or injustice done to convicted murderer Grace Marks (whose trial took place in 1843), to rebel Cree chief Big Bear and Metis leader Louis Riel (1885), and to serial rapists and killers Karla Homolka and Paul Bernardo (1993, 1995).Each work reproduces excerpts from the original trial yet also represents a response to the historical trial's unfolding. This adversarial response takes the form of a trial-like narrative (or counternarrative) that engages with the original trial. Consequently each of these works is what I call a 'trial novel' that raises fundamental questions about justice and citizenship.
Chapter One analyzes Atwood's Alias Grace and lays bare the fictional constructs included in a trial narrative. Chapter Two looks at Crosbie's Paul's Case and pits the judicial system's claim to sober neutrality against a more populist version of justice based on affect and revenge. Finally, Chapter Three, which is devoted to Wiebe's novels, studies the conflict of normative universes implicit in trials for treason and posits that rebel nomoi are as coherent as the dominant ones that quash them.
Three communities are implicit in these novels and enter into a debate with one another: at the core of each work is a historical community of persons (the accused, attorneys, the judge, jurors, and members of the Canadian public) mobilized around an actual crime. This original community and its judgment provide the inspiration for the fictional community of the novel, which grapples with its own version of the crime and trial. Finally, an imaginative community of readers deliberates upon the questions raised both by the original trial and by the 'trial novel'.
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"蘇童小說研究." 2004. http://library.cuhk.edu.hk/record=b5896136.
Full textAbstract:
吳潔盈."2004年8月".
論文(哲學碩士)--香港中文大學, 2004.
參考文獻 (leaves 282-302).
附中英文摘要.
"2004 nian 8 yue".
Wu Jieying.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 282-302).
Fu Zhong Ying wen zhai yao.
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 引言 --- p.1
Chapter 一. --- 蘇童簡介 --- p.2
Chapter 二. --- 蘇童小說的硏究價値和意義 --- p.5
Chapter 第二節 --- 蘇童小說硏究述評 --- p.9
Chapter 一. --- 硏究槪況 --- p.9
Chapter 二. --- 論者對蘇童小說的評價 --- p.15
Chapter 第三節 --- 小結 --- p.19
Chapter 第二章 --- 硏究法與論述架構 --- p.20
Chapter 第一節 --- 硏究目的及方法 --- p.21
Chapter 第二節 --- 理論框架與論述架構 --- p.24
Chapter 第三章 --- 文學槪念釋義與蘇童創作觀 --- p.30
Chapter 第一節 --- 「先鋒小說」、「新寫實小說」及「新歷史小說」釋義 --- p.31
Chapter 一. --- 「先鋒小說」釋義 --- p.31
Chapter 1. --- 從「先鋒」到「先鋒小說」：「先鋒小說」的涵意 --- p.32
Chapter 2. --- 「形式主義」之外：「先鋒小說」的整體特色 --- p.35
Chapter 二. --- 「新寫實小說」釋義 --- p.38
Chapter 1. --- 對一種小說傾向的歸納：「新寫實小說」槪念的產生 --- p.38
Chapter 2. --- 「還原生活本相」的追求：「新寫實小說」的整體特色 --- p.41
Chapter 三. --- 「新歷史小說」釋義 --- p.42
Chapter 1. --- 作爲一個文學槪念的獨立性：「新歷史小說」的具體意義 --- p.43
Chapter 2. --- 建構歷史，解構歷史：「新歷史小說」的整體特色 --- p.46
Chapter 第二節 --- 蘇童的創作觀念 --- p.48
Chapter 一. --- 排斥教條:蘇童的自我審視 --- p.49
Chapter 1. --- 評論與創作 --- p.50
Chapter 2. --- 長篇與短篇 --- p.53
Chapter 二. --- 「靈魂的逆光」：蘇童的小說藝術 --- p.59
Chapter 1. --- 形式感與創新精神 --- p.60
Chapter 2. --- 現實與虛構 --- p.63
Chapter 第三節 --- 小結 --- p.66
Chapter 第四章 --- 蘇童小說中的「時間」與「空間」 --- p.67
Chapter 第一節 --- 尋找「過去」´ؤ´ؤ歷史與回憶 --- p.68
Chapter 一. --- 蘇童小說的時間敘述模式 --- p.68
Chapter 1. --- 「現在」與「過去」的分裂 --- p.69
Chapter 2. --- 時間的凝定與延伸 --- p.76
Chapter 二. --- 軌內外的國族歷史 --- p.82
Chapter 1. --- 歷史的軌跡以內：《我的帝王生涯》 --- p.83
Chapter 2. --- 軌跡的「歷史」：《武則天》 --- p.88
Chapter 三. --- 家族生命的開展與凋:家族歷史的建構 --- p.93
Chapter 1. --- 生命與血脈的延展 --- p.93
Chapter 2. --- 墮落與衰敗的根源 --- p.97
Chapter 四. --- 少年回憶的重構 --- p.100
Chapter 1. --- 逝去的青春年華 --- p.100
Chapter 2. --- 永恆的少年回憶 --- p.104
Chapter 第二節 --- 敘說「南方」´ؤ´ؤ鄉村與城市 --- p.109
Chapter 一. --- 蘇童小說的空間敘述模式 --- p.110
Chapter 1. --- 敘述者的身份 --- p.112
Chapter 2. --- 敘述者與故事的距離 --- p.114
Chapter 3. --- 「南方視角」過濾下的「南方故事」 --- p.117
Chapter 二. --- 想像中的楓楊樹鄉 --- p.123
Chapter 1. --- 精神家園，夢裡故鄉 --- p.124
Chapter 2. --- 天災橫降，人禍昭彰 --- p.130
Chapter 三 --- 回憶中的香椿樹街 --- p.137
Chapter 1. --- 閒言充斥，蜚語流竄 --- p.137
Chapter 2. --- 罪惡處處，慾望糾纏 --- p.140
Chapter 第三節 --- 存在探索´ؤ´ؤ時空交織下的深層意蘊 --- p.146
Chapter 一. --- 逃亡與還ˇёإ --- p.147
Chapter 二. --- 圍觀與示眾 --- p.154
Chapter 三. --- 死亡與魂歸 --- p.159
Chapter 第四節 --- 小結 --- p.166
Chapter 第五章 --- 《蛇爲甚麼會飛》中的「時間」與「空間」 --- p.169
Chapter 第一節 --- 中、短篇小說的嘗試´ؤ´ؤ「直面現實」的創作方向 --- p.171
Chapter 第二節 --- 火車站廣場上的世紀鐘´ؤ´ؤ時間與空間的設置 --- p.177
Chapter 一. --- 時間的落差 --- p.178
Chapter 二. --- 空間的割切 --- p.183
Chapter 第二節 --- 荒謬的「南方城市」´ؤ´ؤ《蛇爲甚麼會飛》中的城市建構 --- p.188
Chapter 一. --- 夾縫中的城市 --- p.190
Chapter 二. --- 被孤立的城市 --- p.194
Chapter 第四節 --- 直面慘淡人生´ؤ´ؤ《蛇爲甚麼會飛》中的人物刻劃 --- p.200
Chapter 一. --- 失陷於荒謬城市 --- p.201
Chapter 二. --- 尋找在他方城市 --- p.205
Chapter 第五節 --- 小結 --- p.210
Chapter 第六章 --- 結語 --- p.213
附錄一：蘇童著作目錄 --- p.216
附錄二 ：《蛇爲甚麼會飛》中的時間敘述 --- p.223
參考書目及論文 --- p.228
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"愛情・倫理・革命: 白薇戲劇再探 = Love, ethics and revolution : a re-examination of Bai Wei's drama." 2014. http://library.cuhk.edu.hk/record=b6116495.
Full textAbstract:
白薇（1894-1987）被譽為最優秀的中國現代女劇作家，她的劇作除對五四風潮內的核心議題有深刻反思，亦有不少超前於同代作家的創作嘗試。但可惜的是，她的劇作因其晦澀而狂放的風格而未有在當世的社會急務中獲得理解，藝術上又與旗幟鮮明的現實主義相頡頏，而少數關注她的研究者亦對其劇作的獨異之處存有不少誤解，故她真正的創作貢獻暫時仍隱沒於文學史背後。「愛情」和「革命」是白薇文學創作的兩大面向，也是歷來研究其生平與文學轉向關係的焦點，但「倫理」亦同是她所著力書寫的議題，在回應自身家庭與社會問題之餘，同時叩問愛情與革命的應然性。本論文以此三項為座標，選取《琳麗》、〈打出幽靈塔〉和〈革命神的受難〉為主要研究對象，輔以其他相同題材的作品，揭示當中罕見的愛情哲學、倫理羈絆和革命諷諭。通過再探白薇之戲劇創作的熱情與理性、現實與想像，重新審視劇作蘊涵的細密思辯、藝術創新與人文關懷，為已有定評的白薇戲劇藝術提出新的分析和見解。二十年代少數作家對現代戲劇宣傳功能的突破，以及個人浪漫追求在社會現實主義洪流中的掙扎和消隱的問題，在白薇戲劇再探中可開展新的方向。
Bai Wei (1894-1987) is known as the most outstanding Chinese modern female playwright. Her plays have embedded profound reflections upon core values of the May Fourth Era, and have displayed a variety of creative attempts which are way beyond the reach of other playwrights from the same generation. Regrettably, the obscure and wild style of her plays have precluded them to be understood by peers of the same epoch, as these plays were presumptuous and prematurely considered irrelevant to the social imperatives. And while compared to the clear-cut stance of realism, Bai Wei’s plays had antagonistically overshadowed. Moreover, misconceptions upon characteristics of Bai Wai’s drama have also been made by the few researchers who had paid attention to her. As a result, the distinguished achievements of Bai Wei are still temporarily buried in the literary history.
‘Revolution’ and ‘Love’ are the two major aspects of Bai Wei’s literary writing, and they have long been focus of research on her life and on the shifting of direction in her literary career. However, ‘Ethics’ has also been a major concern of Bai Wei, for apart from responding to ethical issues regarding family and society, she had also provoked meditations on the suitability of love and revolution. Based on the three themes mentioned, this present study will conduct in-depth analysis on her three prominent plays, including Linli, Dachu Youlingta (Breaking out of the Ghost Tower) and Gemingshen de Shounan (The Suffering of the The Revolutionary God), complemented by investigations on works of the same motifs, with aims to reveal the philosophy of love, ethical restraints and revolutionary allegory rarely found in other plays.
By clarifying the correlation of passion and rationality, as well as the cluster of reality and imagination encompassed in Bai Wei’s drama, this study strives to re-examine the fine speculations, artistic innovations and humanistic care captured in her dramatic vision. This study sought to provide new insights on interpretations of Bai Wei’s plays, and to reiterate the significance of her endeavors, on top of the fixed impressions created by previous critics. Through the re-examination of Bai Wei’s drama, this study will also contribute to the enrichment and extension of the researches on the breakthroughs of theatrical conventions for drama to be served as tools of enlightenment and political manifestation which were facilitated by a minority group of playwrights in the 1920s, as well as on the struggles and termination of personal romantic pursuits under the overidding trend of realism across the Chinese society during the early Republican period.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
姜曉敏.
Parallel title from English abstract.
Thesis (M.Phil.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 211-226).
Abstracts in Chinese and English.
Jiang Xiaomin.