Dissertations / Theses on the topic '1896-1948 Criticism and interpretation'
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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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Koopmann, Jean-Philippe. "Interprétation des lieux dans cinq oeuvres en prose d'André Breton." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26740.
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This Master's thesis proposes to examine the place of space in five works by Andre Breton which are: Nadja (1928); Les Vases communicants (1932); L'Amour fou (1937); Arcane 17 (1945); Martinique charmeuse de serpents (1948). The first chapter of this thesis deals with the problem of space and its definitions through a sequence of seven authors who propose different perspectives. The second chapter explores the literary, the imaginary and the textual spaces in the aforementionned works while taking into account numerous surrealist concepts proposed by Breton.
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Levesque, Patrick. "Les voix de Vivier : langage harmonique, langage mélodique et langage imaginaire dans les dernières oeuvres de Claude Vivier." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81501.
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The five last vocal works of Claude Vivier: Lonely Child, Bouchara, Prologue pour un Marco Polo, Wo bist Du Licht! and Trois airs pour un opera imaginaire have in common different stylistic characteristics. The detailed analysis of these characteristics reveals the influence of tonal music in the melodic, harmonic and formal construction of these works. The tonal character of the music is masked by total chromaticism and the presence of harmonic spectra built through frequency addition, a technique borrowed from spectral music. These five works are also related by the use of an imaginary language, characteristic of Vivier's late music, serving a dual semantic and musical function. The conclusion of this thesis will discuss the evolution of these various characteristics in the context of Claude Vivier's life and aesthetics.
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Wong, Chong Stephen. "La nourriture dans l'oeuvre romanesque de Georges Bernanos /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60564.
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The presence or absence of food in the novels of Bernanos lie within a highly meaningful system of values and images. From a list of references to food, we will define the nature and role of food in Bernanos' novels. Then we shall try to bring out the symbolic system which organizes the various elements of this theme in one coherent whole. Thus we will see that food, scarce in this work, is always associated with evil, or tends to disappear in a system of images related to sin. As for food acceptable in the eyes of Bernanos, it also eventually loses its material quality by becoming metaphors of the spiritual world.
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Ouellette, Julie. "Écrire à partir de la fin : Georges Bernanos et le roman de combat." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100668.
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"Books are books, and can suffer the same fate as men. They too can be killed in battle," wrote Georges Bernanos in Francais, si vous saviez. Bernanos' work thus demands to be read through the optic of his battle against the modern spirit. If the polemical focus is clear in his political writings, criticism of his work has never fully recognized its deployment throughout his novels. It is therefore when Bernanosian fiction renounces any expression of its intention, eluding any dimension of rhetoric---when it is dramatically demobilized---that it is meant to be its most scandalous.What is the mission of fiction in the Bernanosian project? Based on the tools of reconciled rhetoric of figures and argumentation, the aim of this work is to re-examine the Bernanosian triple paradox of "convincing of the obvious without using words those who share his beliefs" which generates the tension of his project of writing from the end; that is to say finding a language worthy of Christian truth, a language so "true" and so "transparent" that it could be capable of immediate conversion of souls. To fully understand the place of battle in Bernanosian writing, the notion of the end as a creative principle is examined through three main themes: the preludes to the end of time (eschatology), the final struggle for the end (agony) and the end results of writing (aim).
Writing from the end fundamentally implies a return to the origins. The focus of this study will be to demonstrate that the Bernanosian project, through a return to the source of spiritual authority and a re-examination of asceticism, is a central part of the vast enterprise of reappropriation of language defining French literature after the armistice. The search for this language capable not of convincing but of conquering is mainly studied through the voices the author gives his characters who are simple in heart and soul: to his heroes who are "strangers to a certain fencing with language," locked in a perpetual battle with words. The analysis of these heroes' discourse in this "slow tongue" attempts to determine the exact, though improbable, degree to which their babbling voices carry a weight of authority.
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Johnson, Andrew M. "Error and epistemological process in the Pentateuch and Mark's Gospel : a biblical theology of knowing from foundational texts." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1896.
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This thesis will consider the possibility of an epistemological process described in the narratives and teaching of the Pentateuch and the Gospel of Mark. The specific nature of this epistemological process will be explored upon the priorities constrained by the texts themselves. While the epistemological objectives are not always perspicuous to the reader of the canon, error is more clearly diagnosed in these narratives. This thesis then investigates the epistemological process by looking primarily at where characters of the narratives 'get it wrong' according to the narrative's diagnosis. Primacy appears to be given in these texts to heeding the authenticated and authoritative voice first, and then enacting the authoritative guidance in order to see what is being shown; in order 'to know'. Errors occur along the same boundaries. Failure to heed the authoritative voice creates a first order of error, while failure to enact the guidance yields a second order of error. We begin at the fore of the canon working through these Pentateuchal texts as they are presented to the reader. In the first chapter, the necessity of this current study will be defended. As well, we will survey various attempts at describing a 'biblical epistemology' and their deficiencies and/or methodological shortcomings. Chapter 2 will advance the case that Genesis 2-3 actually yields sufficient epistemological categories which resemble the rest of the Pentateuchal descriptions of error in more than superficial ways. Genesis 2 is analyzed as paradigmatic for proper epistemological process while Genesis 3 is paradigmatic of error. It is upon the boundary of the authenticated voice that error is assessed in the Garden of Eden. These patterns of error are lexically and conceptually reverberated in the stories of the patriarchs and Joseph. Chapter 3 then looks at how these features discovered in Genesis are interwoven in the reader's mind as they come to the stories regarding Moses' prophetic authentication, Pharaoh's errors, and eventually Israel's own errors. The errors of Balak with Balaam in Numbers are considered as further reason to believe that this epistemological process is not reserved for Israel. Chapter 4 explores the unique connections between Israel's Deuteronomic reflections and the creation narratives of Genesis. The fifth chapter leaps to the Gospel of Mark to discern whether or not any of these patterns from the Pentateuch remain in the Gospel narrative. In the final chapter, the fruit of our theological reading is brought forward to interact with current epistemological theories (mostly in analytic philosophy). These contemporary epistemologies are found wanting to describe anything like what we found in the scriptures. Implications are then drawn for theological prolegomena and praxis.
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Cooper, Shari Susan Friedman. "J.I. Segal, between two worlds." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63954.
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Vachon, Jean-Olivier. "L'artiste-passeur chez J. A. Loranger et G. Roy, et, La grange traversee." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32949.
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A thematic and formal analysis of Jean-Aubert Loranger's poetic tale "Le Passeur" [1920], and of Gabrielle Roy's novel La Montagne secrete [1962], shows that the construction of the two heroes' respective identity is directly related to the representation of small and large rivers in the two stories. Considering the generic difference between the two texts, these similarities---which are shaped up in a four steps "organizing scheme"---suggest the existence of a real structure in the construction of the modern identity (quebecoise). La Grande traversee, an historical novel about the massive Irish emigration of 1847, narrates the quest of identity of Seamus Doyle, while following the same four steps of this particular movement.
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Griffin, Brent. ""Plagues of the New World Order": Technology and Political Alternatives in William Gibson's Neuromancer." Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/GriffinBX2006.pdf.
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Fortier, Marie. "L'image de la femme dans les "grande proses" d'André Breton." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59881.
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Woman is an ever-present image in the prose poems Nadja, L'amour fou and Arcane 17 by Andre Breton. While the image incorporates several autobiographical references, this is not the revelation. With textual recurrence forming a thematic, topical thread, the image is seen in its poetic, symbolic and mythical dimensions. Woman offers a surrealist poet a rhetorical gift. In these works the image of woman acquires symbolic value. It is identified with Nature in its cosmic, telluric reality, rooted in the unconscious in its oneiric reality. It is epiphanic in that it gives access to the Other's vision. To the poet it represents, to use Carl Jung's hermeneutic, the archetypal figure of the Anima. In its mythical dimensions, finally, the image calls forth the great visions of femininity: Muse, Sprite, Fairy, Elf, Virgin...
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Hobbs, Jessica. ""Among Waitresses": Stories and Essays." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28429/.
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The following collection represents the critical and creative work produced during my doctoral program in English. The dissertation consists of Part I, a critical preface, and Part II, a collection of seven short stories and two nonfiction essays. Part I, which contains the critical preface entitled "What to Say and How to Say It," examines the role of voice in discussions of contemporary literature. The critical preface presents a definition of voice and identifies examples of voice-driven writing in contemporary literature, particularly from the work of Mary Robison, Dorothy Allison, and Kathy Acker. In addition, the critical preface also discusses how the use of flavor, tone, and content contribute to voice, both in work of famous authors and in my own writing. In Part II of my dissertation, I present the creative portion of my work. Part II contains seven works of short fiction, titled "Among Waitresses," "The Lion Tamer," "Restoration Services," "Hospitality," "Blood Relation," "Managerial Timber," and "Velma A Cappella." Each work develops a voice-driven narrative through the use of flavor, tone, and content. Also, two nonfiction essays, titled "Fentanyl and Happy Meals" and "Tracks," close out the collection. "Fentanyl and Happy Meals" describes the impact of methamphetamine addiction on family relationships, while "Tracks" focuses on the degradation of the natural world by human waste and other forms of pollution. In total, this collection demonstrates my approach to both scholarly and creative writing, and I am grateful for the University of North Texas for the opportunity to develop academically and achieve my goals.
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Taylor, Sharon C. "Dystopies et eutopies féminines : L. Bersianik, E. Vonarburg, E. Rochon." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84201.
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Five "critical" utopias by Quebec women writers ( L'Euguelionne and Le pique-nique sur l'Acropole by Louky Bersianik; Le silence de la Cite and Chroniques du Pays des Meres by Elisabeth Vonarburg and L'Espace du diamant by Esther Rochon) make up the corpus of this thesis which aims to explore how the three novelists exploit the possibilities of this particular form of contemporary utopian writing. For these authors, the transformation of society depends upon the transformation of the individual. We therefore propose to examine the ways in which Bersianik, Vonarburg and Rochon represent, through the experiences of their characters, the social construction of individual identity. For our corpus, this entails a study both of the representations of gender and of the role of language in the construction of identity. We explore gender from a feminist perspective by examining the initial dystopian situation of the individual living in society; we then analyze the positive (i.e. eutopian) process of change undergone by the individual.This thesis begins by exploring a definition of literary utopia. We then trace the major periods in the history of literary utopia to provide background for our corpus. In chapter two, we examine the ways in which Bersianik, Vonarburg and Rochon denounce, through their fictional representations of the individual, dystopian configurations of gender. In particular, we study various "structural" metaphors used by the authors to interrogate the social role of women and the status of the female body in patriarchal society. In chapter three, we examine the new configurations of social and sexual identity proposed by the authors. We then study the author's treatment of the role of language in the social construction of individual identity in chapter four. After defining "sociolect" and introducing "sexualect", we apply these concepts to the study of the critique of sexist language and discourses of authority in our corpus. In chapter five, we explore how the authors employ discursive strategies, such as parody and "defamiliarization", to alter language and thus inscribe female subjectivity in language (Bersianik and Vonarburg) and to liberate individuals from the imprisonment of authoritarian discourses (Bersianik, Vonarburg and Rochon). Lastly, we find that after having examined the human condition in dystopian societies, our authors propose social projects that are infinitely dynamic and mutable rather than fixed models of an ideal social state.
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陳叢. "隱晦的 "詩歌革命" :郁達夫舊體詩的風格意蘊及現代闡釋 = Obscure "poetry revolution" : Yu Dafu's classical poems and its modern interpretations." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690442.
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Hagemann, Michael Eric. "Humour as a postcolonial strategy in Zakes Mda's novel, The heart of redness." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&.
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This thesis sought to demonstrate that humour and the grotesque are the primary tools by which Mda achieve his postcolonial strategies of "writing back"
, that is, of asserting an identity in the face of colonial pressures, apartheid and the growing selfishness of many in the new, post-democratic South African society.
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Toerien, Michelle. "Boundaries in cyberpunk fiction : William Gibson's Neuromancer trilogy, Bruce Sterling's Schismatrix, and Neal Stephenson's Snow crash." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51639.
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Thesis (MA)--Stellenbosch University, 2000.ENGLISH ABSTRACT: Cyberpunk literature explores the effects that developments in technology will have on the lives of individuals in the future. Technology is seen as having the potential to be of benefit to society, but it is also seen as a dangerous tool that can be used to severely limit humanity's freedom. Most of the characters in the texts I examine wish to perpetuate the boundaries that contain them in a desperate search for stability. Only a few individuals manage to move beyond the boundaries created by multinational corporations that use technology, drugs or religion for their own benefit. This thesis will provide a definition of cyberpunk and explore its development from science fiction and postmodern writing. The influence of postmodern thinking on cyberpunk literature can be seen in its move from stability to fluidity, and in its insistence on the impossibility of creating fixed boundaries. Cyberpunk does not see the future of humanity as stable, and argues that it will be necessary for humanity to move beyond the boundaries that contain it. The novels I discuss present different views concerning the nature of humanity's merging with technology. One view is that humanity is moving towards a posthuman future, while some argue that humanity is not discarded, but that these characters have merely evolved to the next step in the natural development of humankind. Both these views deal with constant change, a notion advocated by both postmodernism and cyberpunk.
AFRIKAANSE OPSOMMING: "Cyberpunk" literatuur ondersoek die uitwerking wat tegnologiese ontwikkeling in die toekoms op die lewens van individue sal hê. Tegnologie word gesien as tot moontlike voordeel vir die samelewing, maar dit kan ook 'n gevaarlike wapen wees wat gebruik kan word om die mens se vryheid in te perk. Die meerderheid van die karakters in die romans wat ek bespreek verkies om die grense wat hulle inperk te handhaaf in 'n desperate strewe na stabiliteit. Slegs 'n paar individue kry dit wel reg om verby die grense te breek wat deur multinasionale organisasies geskep word vir hul eie gewin. In hierdie tesis kyk ek na 'n definisie van "cyberpunk" en ek ondersoek die invloed van wetenskapsfiksie en postmodernisme op die ontwikkeling van die beweging. Die invloed van postmodernistiese denke kan gesien word in "cyberpunk" se fokus op veranderlikheid eerder as stabiliteit. "Cyberpunk" sien nie die toekoms van die mens as stabiel nie, en die argument is dat dit nodig is vir die mens om verby die grense te beweeg wat vryheid inperk. Die romans wat ek bespreek bevat verskillende sieninge oor die tipe samesmelting wat die mens en tegnologie sal hê. Sommige voel dat die kategorie "mens" permanent agterlaat gaan word, terwyl ander argumenteer dat individue slegs sal ontwikkel tot die volgende stap in die natuurlike ontwikkeling van die mens. Voortdurende verandering is die fokus van beide hierdie standpunte, en dit is ook die belangrikste fokus van beide "cyberpunk" en postmodernisme.
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Di, Ponio Amanda Nina. "The Elizabethan Theatre of cruelty and its double." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/836.
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This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.
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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.
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Kuxdorf, Stephanie. "Love in a machine age : gender relationships in the novels and short stories of F. Scott Fitzgerald." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59896.
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The primary purpose of this study is to examine the effects of the social and cultural revolution in post-World War One American society on gender relationships in F. Scott Fitzgerald's novels and a selection of his short stories. In his fictional works, Fitzgerald becomes a kind of social and cultural historian, reflecting the fundamental changes that began to occur in the 1920s. There were many factors that contributed to this Jazz-Age revolution in "manners and morals": the emancipation of women, giving rise to the American New Woman; the influence of Freud and his psychoanalytic theories on the already blossoming sexual revolution; and the mechanization and commercialization of all aspects of life in the machine age, drastically altering the way men and women had traditionally thought, behaved, and, communicated with one another.
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Ticha, Ignatius Khan. "Evocations of poverty in selected novels of Meja Mwangi and Roddy Doyle : a study of literary representation." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85650.
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Thesis (PhD)-- Stellenbosch University, 2013.ENGLISH ABSTRACT: The study explores fictional representations of poverty in selected novels of Meja Mwangi and Roddy Doyle, respectively Kenyan and Irish – examining techniques of literary representation and how the two authors make imaginative use of various stylistic techniques and verbal skills in a selection of their texts to achieve compelling representations of poverty. The study recognizes that poverty is one of the most recurrent subjects of discussion in the world, that it is a complex and multifaceted concept and condition and that it affects societal, political and economic dimensions of life. The study considers the (broad) United Nations definition of poverty as: “… a human condition characterised by the sustained or chronic deprivation of the resources, capabilities, choices, security and power necessary for the enjoyment of an adequate standard of living and other civil, cultural, economic, political and social rights” (United Nations High Commission for Human Rights, 2002). Rather than suggest that fiction replaces other approaches in the study of poverty, the study calls for a complementary “conversation” between fiction and the social sciences in depictions of the condition of poverty. However, the study notes the advantage that fiction has in its nuanced exploration of the subject of poverty. In fact, fiction reflects social reality in interestingly subversive but also empowering ways – showing a unique way of dealing with difficult situations. Fiction is equipped with the subtle instruments and complex power of literary devices to articulate multiple layers of possible meanings and human experiences and conditions vividly and movingly – in ways that are accessible to a variety of readers. While giving a voice to the voiceless – the poor – narrative fiction opens inner feelings and thoughts of the depicted poor and enables the reader to probe deeply into the inner feelings of characters depicted; allowing the reader to develop a deeper understanding of the condition of poverty, but also allowing the reader to bring his or her interpretation to bear on what is represented. The five main chapters of the thesis are thematically arranged, but the analysis draws on a variety of theoretical paradigms including but not limited to those of Maria Pia Lara and Mikhail Bakhtin. Significant to the study is Maria Pia Lara’s ideas of literature as a “frame for struggles of recognition and transformation” (Lara, 1998: 7) and of the “illocutionary force” (1998: 5) of literature – its ability to articulate aspects of a human condition (such as poverty) vividly and compellingly. Bakhtin’s suggestion that “language is not self-evident and not in itself incontestable” (Bakhtin, 2004: 332) is important – capturing the idea of a distinctive flexibility of discourse in the novel and rejecting simplistic ideas that there is a single truth concerning a particular situation such as poverty.
AFRIKAANSE OPSOMMING: Hierdie tesis onderneem ‘n studie van literêre voorstellings van armoede in geselekteerde romans van Meja Mwangi en Roddy Doyle, respektiewelik ‘n Keniaanse en ‘n Ierse outeur. Die analise sentreer rondom die literêre tegnieke waarvan die skrywers gebruik maak en ondersoek hul verbeeldingryke gebruik van verskillende stilistiese tegnieke en verbale kunste in ‘n seleksie van hul tekste om sodoende indrukwekkende voorstellings van armoede te boekstaaf. Die studie erken dat armoede een van die mees bespreekte onderwerpe in die wêreld is, dat dit ‘n komplekse en veelkantige konsep en tipe lewenservaring is en dat dit by sosiale, politiese en ekonomiese lewensdimensies aansny. Die studie maak gebruik van die breë definisie van armoede soos verskaf deur die Verenigde Volke: “… ‘n menslike kondisie wat gekenmerk word deur die langdurige of kroniese ontneming van die bronne, kapasiteite, keuses, sekuriteit en mag wat nodig is ten einde ‘n adekwate lewensstandaard en ander siviele, kulturele, ekonomiese, politiese en sosiale regte te kan geniet” (Verenigde Volke Kommissie van Menseregte, 2002). Instede daarvan om te suggereer dat fiksie ander maniere om oor armoede te bestudeer, behoort te vervang, stel hierdie studie voor dat ‘n komplementerende “gesprek” tussen fiksie en die sosiale wetenskappe behoort plaas te vind aangaande die toestand van armoede. Nogtans meld hierdie studie die voordeel aan waaroor fiksie beskik in die genuanseerde ondersoek aangaande die onderwerp van armoede. Fiksie reflekteer sosiale werklikhede op interessante, selfs subversiewe maar ook bemagtigende maniere – sodoende manifesteer dit ‘n unieke metode van omgaan met moeilike situasies. Fiksie beskik oor subtiele instrumente en die komplekse krag van literêre metodes om die veellagige moontlike betekenisse en toestande waardeur armoede gekenmerk word, te artikuleer – op heldere asook aandoenlike maniere wat terselfdertyd weerklank kan vind by ‘n verskeidenheid van lesers. Terwyl dit ‘n stem verskaf aan die stemloses – die armes – open narratiewe fiksie die dieper gevoelens en gedagtes van die armes en maak sulke werke dit vir die leser moontlik om deur te dring tot die binneste gevoelslewe van die karakters. Op hierdie manier maak fiksie dit vir die leser moontlik om ‘n beter begrip van die ervaringswêreld van armoedige mense te bekom, maar word dit ook vir die leser moontlik om sy of haar eie interpretasie te maak van die voorgestelde toestand van armoede. Die vyf hoofstukke van die tesis is tematies gestruktureer, maar die analise maak gebruik van ‘n paar teoretiese perspektiewe wat díe van Maria Pia Lara en Mikhail Bakhtin insluit. Lara se idees aangaande letterkunde as “[a] frame for struggles of recognition and transformation” en oor die “illocutionary force” (Lara, 1998: 7, 5) van letterkunde – m.a.w. die mag van literêre voorstellings om aspekte van menslike ervaring (bv. armoede) op duidelike en kragtige maniere uit te beeld – en Bakhtin se suggestie: “language is not self-evident and not in itself contestable” (Bakhtin, 2004: 332) is belangrik omdat dit die kenmerkende buigsaamheid van diskoers in die roman saamvat en simplistiese idees dat daar ‘n enkelmatige waarheid i.v.m. ‘n komplekse toestand soos armoede kan wees, verwerp.
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Jacobs, Anthony Richard. "Flying in the face of convention: "The heart of redness" as rehabilitative of the South African pastoral literary tradition through the frame of universal myth." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&.
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This thesis analyzed Zakes Mda's The Heart of redness in the tradition of South African pastoral and counter-pastoral. It proposed that the novel is a hybrid of both African and European tradition and perspectives. It adduced Northrop Frye's theory of myth and archetypes in literature as a basis for study. It also analysed the novel in its use of irony.
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Kagai, Ezekiel Kimani. "Encountering strange lands : migrant texture in Abdulrazak Gurnah’s fiction." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86484.
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Thesis (PhD)-- Stellenbosch University, 2014.ENGLISH ABSTRACT: This study engages with the complete novelistic oeuvre of the Zanzibari-born author Abdulrazak Gurnah, whose fiction is dedicated to the theme of migration. With each novel, however, Gurnah deploys innovative stylistic features as an analytic frame to engage with his signature topic. From his first novel to his eighth, Gurnah offers new insights into relocation and raises new questions about what it means to be a migrant or a stranger in inhospitable circumstances and how such conditions call for a negotiation of hospitable space. What gives each of his works a distinct aesthetic appeal is the artistic resourcefulness and versatility with which he frames his narratives, in order to situate them within their historical contexts. This allows him to interrogate the motives behind his characters’ actions (or behind their inaction). Gurnah, therefore, employs a variety of narrative perspectives that not only challenge the reader in the task of interpreting his complex works, but which also allow for the pleasure of carrying out this task. In its exploration of migrant subjectivities and their multiple and varied negotiations to create enabling spaces, this thesis shows how Gurnah’s fiction deploys various artistic strategies as possible ways of thinking about individual identity and social relations with others. In short, this thesis explores how Gurnah’s texts become discursive tools for understanding the complexity of migrancy and cultural exchanges along the Swahili coast, in Zanzibar, in the Indian Ocean, and in the UK.
AFRIKAANSE OPSOMMING: Hierdie tesis is ‘n studie van die geheelwerk van die Zanzibar-gebore skrywer Abdulrazak Gurnah, wie se fiksiewerk gewy is aan die tema van migrasie. Hoewel daar so ‘n deurlopende en kenmerkende tema in die geheelwerk is, ontwikkel die skrywer stilistiese vernuwing in elk van die individuele romans. Vanaf sy eerste roman tot en met sy agtste en mees onlangse, bied Gurnah se romans aan die leser nuwe insigte in die tema van verhuising, en die romans vra elkeen nuwe vrae oor wat dit beteken om ‘n migrant of vreemdeling te wees in onverwelkomende omgewings. Die romans wil ook vra wat die opsies is vir die individu om sulke omgewings meer verwelkomend te ervaar, of meer verwelkomend te maak. Wat Gurnah se werk so uitsonderlik maak en wat elke individuele roman ‘n kenmerkende estetiese eienskap gee, is sy vernuf en veelsydigheid as skrywer, en veral sy vermoë om sy verhale te historiseer. Hierdie historisering stel hom in staat om die beweegredes van sy karakters en hulle aksies (en dikwels ook gebrek aan aksies) te verken sowel as te bevraagteken. Gurnah maak gebruik van ‘n aantal estetiese perspektiewe wat nie alleen ‘n uitdaging stel aan die leser nie, maar wat terselfdertyd ‘n hoogs bevredigende leesaktiwiteit moontlik maak. Hierdie tesis is ‘n ondersoek na die aard van Gurnah se werk, en veral die verkenning van die innerlike wereld van die verhuisde, en die veelvoudige verskeidenheid van onderhandelings wat sulke individue het met hulle omgewing. Die tesis verken die maniere waarop Gurnah se tekste beskou kan word as kreatiewe handleidings met die doel om die kompleksiteite van verhuising en migrasie te begryp; en veral verhuising en kulturele wisselwerkinge aan die Swahili-kus, sowel as Zanzibar, die groter Indiese Oseaan-wereld en ook die Verenigde Koninkryk.
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McFarlane, Anna M. "A gestalt approach to the science fiction novels of William Gibson." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6263.
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Gestalt psychologists Kurt Koffka and Wolfgang Köhler argue that human perception relies on a form, or gestalt, into which perceptions are assimilated. Gestalt theory has been applied to the visual arts by Rudolf Arnheim and to literature by Wolfgang Iser. My original contribution to knowledge is to use gestalt theory to perform literary criticism, an approach that highlights the importance of perception in William Gibson's novels and the impact of this emphasis on posthumanism and science fiction studies. Science fiction addresses the problem of difference and the relationship between self and other. Gestalt literary criticism takes perception as the interface between the self and the other, the human and the inhuman. Gibson's work is of particular interest as his early novels are representative of 1980s cyberpunk while his later novels push the boundaries of science fiction through their contemporary settings. By engaging with Gibson the thesis makes its contribution to contemporary science fiction criticism explicit. In Gibson's Sprawl trilogy autopoiesis defines life and consciousness, elevating the importance of perception (Chapter I). The Bridge trilogy uses the metaphor of chaos theory to examine dialectic tensions, such as the tension between space and cyberspace (Chapter II). Faulty pattern recognition is a key theme in Gibson's post-9/11 work as gestalt perception allows and limits knowledge (Chapter III). Chapter IV explains how the gestalt in psychoanalysis creates a fragmented subject in Spook Country (2007). Finally, the gestalt appears as a parallax view, a view that oscillates between the world we experience and the world as represented in the text (Chapter V). I conclude that gestalt literary criticism offers an exciting new reading of Gibson's work that recognises its engagement with visual culture and cyberpunk as a whole.
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Ayivor, Moses Geoffrey Kwame. "Africa's golden age debunked: a study of the sources of select black African historical novels." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002275.
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The main thesis of this dissertation is that even a casual analysis of African writing reveals that contemporary African literature has and is still undergoing a distinctive metamorphosis. This change, which amounts to a significant departure from the early fifties, derives its creative impulse from demonic anger and cynical iconoclasm and is triggered by the mind-shattering disillusion that followed independence. The proclivity towards tyranny and the exploitation of the ruled in modern Africa is traced by radical African creative writers to an ancient source: the legendary and god-like rulers of precolonial Africa. Ouologuem's Bound to Violence and Armah's Two Thousand Seasons and The Healers hypothesize that past sins begot present sins. The legendary warrior heroes of the past, whose glory and splendour were once exalted in African writing, are now ruthlessly disentombed and paraded as miscreants and despots, who not only brutalized and sold their people into slavery but also ideologically fabricated their own legends and myths in order to maximize their tyrannical power. The preoccupation of these works is, therefore, to divest the ancient heroes of their false glory. contemporary critics tend to perceive this anti-traditional posture purely as a modern trend in African literature. The truth of the matter, however, is that the literary foundations of this anti-nativist/anti-Afrocentric literary tradition were laid by Thomas Mofolo and Sol Plaatje, whose Chaka (1925) and Mhudi (1930) are the precursors. The five primary works in this study parody and veer away from the generally accepted traditional African epic heroism and recorded history towards a communal heroic ideal which celebrates the larger community instead of the single epic heroes normally romanticized in African legendary tradition. These novelists, while dismantling the European and African myths about Africa's Golden Age, also disfigure the often glorified ancient historical landmarks and the fabled heroes of Africa's oral and recorded history. The rationale behind this investigation is the fact that though these works have innovated, assimilated, and parodied the African oral arts, particularly traditional African epic heroism, no detailed study has been made to explore the literary transformation these texts have undergone as written works. Treating African texts only as appendages of Western literature may undermine the ability of the critical evaluations which go into the heart of these texts and unravel their deeper meanings. The outcome of this kind of approach is that pertinent issues of style and theme originating from negro-African metaphysics, oral traditions, and iconography could thereby be left unexplored. Besides, the bulk of the current body of criticism on African literature, particularly on colonial Africa, tends to concentrate on colonialist Christian values and Western literary production models. One of the overriding concerns of this research, therefore, is to veer away from merely rehashing Eurocentric pronouncements on European influences and literary modes parodied by these works, by taking a fresh. look at the texts from the perspective of Afrocentrism and in particular from the point of view of the traditional African oral bards. To this end, therefore, the dissertation is divided into six main chapters and a short concluding chapter: Chapter 1, A Survey of Black Representations of Pre-colonial Africa, functions as an introduction, sketches the European image versus the Black counter-discourse, and locates the study within the current debate on the concept of pre-colonial Africa's Golden Age. Chapter 2, Thomas Mofolo's "Inverted Epic Hero", the nucleus of the study I analyzes the anti-epic and ironic modes manipulated by the text and also maps out the epic generic framework which structures the whole dissertation. Chapter 3, Traditional African Epic Heroism Revised, discusses Plaatje's Mhudi, paying special attention to the text's deployment of the African epic genre as well as the caricaturist and the anti-heroic modes. In Chapter 4, Yambo Ouologuem's Bound to Violence is examined under the title A World Trapped in an Orgy of Violence, Barbarism and Servitude. African oral art is used as the hermeneutic key in unlocking the complexities of Ouologuem's novel. Chapter 5, The African Anti-Legendary Creative Mythology, scrutinizes Armah's Two Thousand Seasons, highlighting, among other topics, Armah's daring innovative stylistic experimentation. Chapter 6, entitled The Akan Iconic Forest of Symbols, deals with Armah' s The Healers, concentrating on the Akan iconographic backdrop which shapes and informs this work. And finally, The Metamorphosis of Traditional African Epic Heroism, the title of the concluding chapter, sums up this dissertation.
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Stiebeling, Detlef. "Traditional iconographic themes in a Victorian context : paintings by Sir John Everett Millais between 1848 and 1860." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73982.
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Mendes, Emilia Raquel. "Os narradores hibridos de Memorias da Emilia de Monteiro Lobato." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270110.
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Orientador: Marisa LajoloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O livro Memórias da Emília de Monteiro Lobato, publicado pela primeira vez em 1936, e rico em questões filosóficas, destacou-se entre os demais livros do Sítio do Picapau Amarelo. Pesquisando em trabalhos (livros, teses, artigos) de especialistas em Literatura e em Monteiro Lobato, comparando diferentes edições da obra e a considerando como integrante de uma coleção, foi possível realizar este trabalho. Buscamos evidenciar os seguintes aspectos: a preocupação do autor com o livro (considerando-o como um objeto a ser consumido); as semelhanças e diferenças com o gênero memorialístico; o diálogo com outras manifestações artísticas, especificamente com o cinema; e a multiplicidade de vozes e de pontos de vista.
Abstract: The book Memórias da Emilia, by Monteiro Lobato, first published in 1936, and richin philosophical questions, was a highlight among the other books from the series "O Sítio do Picapau Amarelo". Searching on works (books, theses, articles) from literature and Monteiro Lobato experts, comparing different editions of this book and considering it as part of a collection, it was possible to carry out this work. The following aspects were highlighted: the concern of the author with the book (considering it as an object for consumption), the similarities and differences in the memoirs genre;the dialogue with other artistic events, specifically with the cinema, and the multiplicity of voices and points of view.
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Batista, John Londerry. "A capacidade de estar só: a perspectiva psicanalítica de D. W. Winnicott." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20417.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This work aims to understand the capacity to be alone from the psychoanalytic perspective of D. Winnicott, thus seeking the importance of this theoretical formulation for human maturation and, consequently, showing its relevance to the clinic. In our clinical experience, we find many people who fear being alone and are always in search of someone or something to do. And very often we listen to these individuals who, when alone, do not know what to do, feel lost, helpless, so they prefer to work without rest to feel alive. This led us to interest in the study of the capacity to be alone in the light of Winnicottian psychoanalytic thinking. For this, in view of the classical principle of hermeneutics, in which each concept of an author must be elucidated in the totality of his work, one sought the comprehension of the capacity to be alone in the whole psychoanalytic thought of D. W. Winnicott. In this way, we tried to contextualize the starting point of the Winnicottian psychoanalytic vision and global comprehension of its psychoanalytic perspective, emphasizing some concepts, such as: the human animal, the experience animal, the ego and id, his notion of Instinct and drive, that of false and true self, that of ego (egorelatedness), the paradox, that of favorable environment, and especially its fundamental theory of human emotional maturation. We emphasize these concepts, therefore, as they support the understanding of the study theme. From this, we sought to reflect on the ability to be alone and to explain the understanding of this original Winnicottian formulation, served as a clinical case attended and described by Winnicott himself, the so-called case B. From the theory of emotional maturity of DW Winnicott, the ability to be alone is associated with an important initial moment of human development: the essential solitude. With evolving from the integrative process of the individual, five fundamental themes need to be established for him to experience being alone, as ability: first, the status of a unitary identity; Acquisition of a personality and a personal identity (true self); Third, the organization of the egoic nucleus that makes possible to experience a personal environment; Fourth, personal development facilitated by the maternal environment and, finally, the recognition and incorporation of maternal (mother-environment) care as a good object. Thus, in Winnicott's perspective, being alone as a capacity is a highly sophisticated phenomenon, in which the individual enjoying emotional health can experience, with all confidence in himself and in the environment in which he is inserted, being with himself, calmly, Being able to rest, relax without losing contact with shared reality and, moreover, live their interpersonal relationships, be it friendship or loving, with personal sense, experiencing them as real and valiant
Este trabalho tem como objetivo compreender a capacidade de estar só desde a perspectiva psicanalítica de D. W. Winnicott, buscando, assim, a importância dessa formulação teórica para o amadurecimento humano e, consequentemente, mostrando a sua relevância para a clínica. Em nossa experiência clínica, encontramos muitas pessoas que temem estar sós e sempre estão em busca de alguém ou de algo para fazer. E, com muita frequência, escutamos desses indivíduos que, quando estão sós, não sabem o que fazer, sentem-se perdidos, desamparados, por isso, preferem trabalhar sem descanso para se sentirem vivos. Isso nos levou a nos interessar pelo estudo da capacidade de estar só à luz do pensamento psicanalítico winnicottiano. Para tanto, tendo em vista o princípio clássico da hermenêutica, no qual cada conceito de um autor deve ser elucidado na totalidade de sua obra, buscamos a compreensão da capacidade de estar só no conjunto do pensamento psicanalítico de D. W . Winnicott. Desse modo, procuramos contextualizar o ponto de partida da visão psicanalítica winnicottiana e compreensão global de sua perspectiva psicanalítica, enfatizando alguns conceitos, tais como: o de animal humano, o de experiência, o de ego e de id, a sua noção de instinto e de pulsão, o de falso e verdadeiro si-mesmo, o de relação de ego (egorelatedness), o paradoxo, o de ambiente favorável, e, especialmente, a sua fundamental teoria do amadurecimento emocional humano. Destacamos tais conceitos, pois, eles sustentam o entendimento do tema do estudo. A partir disso, procuramos refletir sobre a capacidade de estar só e, para explicitar a compreensão desta original formulação winnicottiana, servimos de um caso clínico atendido e descrito pelo próprio Winnicott, o denominado caso B. A partir da teoria do amadurecimento emocional de D. W. Winnicott, a capacidade de estar só se associa a um importante momento inicial do desenvolvimento humano: a solidão essencial. Com evoluir do processo integrativo do indivíduo, cinco temas fundamentais necessitam ser estabelecidos para que ele experimente o estar só como capacidade: primeiro, o estatuto de um identidade unitária, segundo, a aquisição de uma personalidade e uma identidade pessoal (si-mesmo verdadeiro), terceiro, a organização do núcleo egoico, que possibilita experimentar um ambiente pessoal, quarto, o desenvolvimento pessoal facilitado pelo ambiente materno e, por último, o reconhecimento e a incorporação dos cuidados maternos (mãe-ambiente) como um objeto bom. Assim, na perspectiva winnicottiana, o estar só, como capacidade, constitui um fenômeno altamente sofisticado, em que o indivíduo, gozando de saúde emocional, pode experimentar, com toda confiança em si e no ambiente em que está inserido, o estar consigo mesmo, tranquilamente, sendo capaz de descansar, relaxar sem perder o contato com a realidade compartilhada e, além disso, viver as suas relações interpessoais, seja de amizade ou amorosas, com sentido pessoal, experimentando-as como real e valorosas
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Cocco, Maria Regina. "O uso analítico do sonho: um recorte da contribuição winnicottiana." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20582.
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The presente research aimed to design a clipping of the Winnicottian contribution to the analytical use of the dream, along the initial stages of emotional development prior to the repressed unconscious. As specific objectives, it was studied: a) the dream as an experience of integration, constitution and communication of the individual with himself and with the other; b) the provision of this experience within the context of the analytical setting; and c) the analytical use of the dream inscribed in the process of maturation. In the methodology, it was used: 1) the bibliographical research to: a) contextualize the Winnicottian contribution on the analytical use of the dream in the psychoanalytic literature; b) revisit the Winnicottian theoretical foundation; and c) to select Winnicottian texts whose clinical accounts illustrate the use of the dream and allow a recognition of subsidies to the analytical clinic; 2) research-listening and research-investigative in the clinical fragments of a psychoanalytic case, with which reflected on the analytical use of the dream with the borderline patient. The project was based on the Winnicottian theoretical / clinical conception to support the proposal that, in the initial phases of maturation process, the dream and the experiences of to play have their roots in the imaginative elaboration of body functioning and are fundamentally in the integration and in story of the self and, besides the cultural experiences, open a space of intertwining and enrichment of the human being's life
A presente pesquisa buscou realizar o delineamento de um recorte da contribuição winnicottiana ao uso analítico do sonho junto às fases iniciais do desenvolvimento emocional anteriores ao inconsciente reprimido. Como objetivos específicos, estudou: a) o sonho enquanto uma experiência de integração, constituição e de comunicação do indivíduo consigo mesmo e com o outro; b) a provisão dessa experiência dentro do contexto do setting analítico e c) o uso analítico do sonho inscrito no processo do amadurecimento. Na metodologia, utilizou: 1) a pesquisa bibliográfica para: a) contextualizar a contribuição winnicottiana sobre o uso analítico do sonho na literatura psicanalítica; b) revisitar a fundamentação teórica winnicottiana; e c) selecionar textos winnicottianos cujos relatos clínicos ilustram o uso do sonho e permitem um reconhecimento de subsídios à clínica analítica; 2) a pesquisa-escuta e a investigativa nos fragmentos clínicos de um atendimento psicanalítico, com os quais refletiu sobre o uso analítico do sonho junto ao paciente borderline. O projeto apoiou-se na concepção teórica/clínica winnicottiana para fundamentar a proposta de que, nas fases iniciais do amadurecimento, o sonho e as experiências do brincar têm suas raízes na elaboração imaginativa das funções corporais e encontram-se fundamentalmente na integração e historiação do si-mesmo e, juntamente com as experiências culturais, abrem um espaço de entrelaçamento e enriquecimento do viver do ser humano
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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
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Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
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Brooks, Jonathan. "Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6132.
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Tin, Emerson. "Em busca do "Lobato das cartas" : a construção da imagem de Monteiro Lobato diante de seus destinatarios." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270302.
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Orientador: Marisa Philbert LajoloTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo desta tese é identificar e analisar o ¿Lobato das cartas¿, ou seja, o processo de construção da imagem de Monteiro Lobato em sua correspondência ativa. Há, assim, o Lobato familiar, o escritor e o editor, o dos Estados Unidos, o do ferro e do petróleo, o da prisão e o das crianças. Essa imagem, porém, varia não só segundo circunstâncias de tempo e de lugar mas também em função do destinatário. Palavras-chave: Lobato, Monteiro, 1882-1948 ¿ Correspondência ¿ Crítica e interpretação, Cartas brasileiras ¿ Séc. XX ¿ História e crítica
Abstract: The objective of this thesis is to identify and to analyze the ¿Lobato of the letters¿, that is, the process of construction of the Monteiro Lobato¿s image in his active correspondence. There are the familiar Lobato, the writer and the publisher, the Lobato of the United States, the Lobato of the iron and the oil, the Lobato of the prison and the Lobato of the children. This image, however, not only varies according to circumstances of time and place but also in function of the addressee. Keywords: Lobato, Monteiro, 1882-1948 ¿ Correspondence ¿ Criticism and interpretation, Brazilian letters ¿ 20th century ¿ History and criticism
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária
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Genova, Mariana Baldo de. "As terras novas do sitio : uma nova leitura da obra "O picapau amarelo" (1939)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270121.
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Orientador: Marisa Philbert LajoloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho é uma leitura da obra O Picapau Amarelo (1939), de Monteiro Lobato, baseada na mudança de personagens estrangeiros para o sítio de Dona Benta. Enquanto muitos estudos caracterizam O Picapau Amarelo como exemplo de narrativa baseada na fantasia, essa dissertação pretende apontar para a presença, na obra, de crítica social e da visão pessimista do autor diante da sociedade moderna e urbanizada. Este trabalho também insere O Picapau Amarelo em uma linha que inclui obras em que é possível reconhecer as diferentes opiniões de Lobato acerca da modernidade. Nesse sentido, sugere-se que as idéias de Lobato se apresentam em ¿fases¿ - de afirmação, dúvida e negação do progresso ¿ que talvez se relacionem à vida (sucessos e fracassos) e a atividades de Lobato, acrescidas da situação social e econômica do país
Abstract: This thesis is an analysis of the work O Picapau Amarelo (1939), of Monteiro Lobato, based on the moving of the foreign characters to Dona Benta¿s farm. While many scholars caracterize O Picapau Amarelo as a narrative example based on the fantasy, this study intends to point out the presence, in the work, of social criticism and the author¿s pessimistic view related to the modern and urbanized society. This thesis also inserts O Picapau Amarelo in a line that includes works in which is possible to recognize the different conceptions of Lobato concerning the modernity. This way it is suggested that the ideas of Lobato are shown in ¿phases¿ ¿ of statement, doubt and denial of the progress ¿ that maybe are associated with Lobato¿s life (success and failures) and activities, added to the social and economical situation of the country
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
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Kenderian, Nanor. "Prison to prison : the prison novels of Hagop Oshagan and Armenian penological literature." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:2352bc99-62be-4d32-8d44-f0453fb9ea48.
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The prison novels (Haji Murat, Haji Abdullah and Süleyman Effendi) of Western Armenian writer Hagop Oshagan (1883-1948) articulate two unprecedented sociocultural critiques of Armenian experience. Like much of Oshagan's works, these novels, comprising the cycle Haryur Mék Tarvan [101 Years' Imprisonment] (1933), have scarcely been studied. The task of this study is to reveal the nature of Oshagan's critique, and to revise two chief Armenian literary critical trends: that of either de-contextualizing or instrumentalizing these novels' nationalist preoccupations; that is, either overlooking their contextual relevance as responses to contemporaneous nationalist dogmas, or distorting them to seem ideologically sympathetic. Oshagan's novels rather deploy the prison trope to foreground and question the aesthetic and ideological influence of late 19th century Armenian nationalist-revolutionary movements. They moreover undermine the persisting paradigm borne of nationalist-revolutionary rhetoric that collectively represents Armenians and Turks as victims and victimizers respectively. The present study reads Oshagan in the wider context of Armenian penological literature, and locates his engagement with nationalist-revolutionary ideology as an overtly critical, rather than sympathetic project. It provides an unprecedented appraisal of such political movements' primarily negative impact upon late 19th and early 20th century Western Armenian literature, a tradition that has presented 'Armenianness' through an almost exclusive narrative of subjection. This literary historical background allows Oshagan's singularity to appear. He is the first to recognize the prison trope as the preferred nationalist-revolutionary literary convention, a trope he then reconfigures in order to formulate an alternative, a literary mode of nationalism - namely, mystic nationalism - informed by his readings of Dostoevsky's novels. Oshagan imagines and articulates anew the Armenian-Turk relationship in terms that complicate, subvert and transcend the normative master/slave model instituted by nationalist-revolutionary rhetoric. In the process, he elaborates a conception of these movements as inadvertently complicit in the discursive - and, ultimately, also political - (self)-subjection of Armenians culminating as experiences of absolute subjection. After Oshagan, this study constitutes the first comprehensive analysis of literary renderings of both Armenian-Turk relations and nationalist-revolutionary ideology.
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Frias, Cassiane Tomilhero. "Um Artaud surrelealista e internado em Rodez = pontos de tensão entre teatro e poder." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283966.
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Orientador: Verônica Fabrini Machado de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa propõe uma investigação sobre os aspectos políticos presentes nas obras de Antonin Artaud e as implicações do trabalho deste autor na relação entre teatro e poder. Levando em consideração a extensa obra de Artaud e sua grande contribuição para o teatro e para a cultura, visando fazer um recorte para este trabalho, escolhemos dar maior ênfase em escritos produzidos em dois períodos da vida do autor: a participação no movimento surrealista e o período de internação em asilos da França, principalmente em Rodez. Com intuito de trazer um caráter híbrido à pesquisa teatral, procuramos analisar o estudo das obras de Artaud à luz de conceitos advindos da filosofia, principalmente às questões que se referem às relações de poder abordadas por Michel Foucault. No último capítulo, propomos uma aproximação entre as propostas artaudianas e sua contribuição para o teatro hoje através de autores como Antônio Negri e Hans-Thie Lehman, visando discutir qual é o espaço do teatro atual nas relações de poder contemporâneas
Abstract: This research proposes an investigation about the political aspects in the works of Antonin Artaud and its implications to the relation between theater and power. Due the extension of his entire work and the impact through theater and culture, we decided to focus in his writings done in two periods of his life: the participation in the surrealist movement and the period of hospitalization in French asylums, mainly Rodez. In order to bring a hybrid character to theater research, we analised the study of Artaud's works through filosofical concepts, especially issues related to power relations pointed by Michel Foulcault. In the last chapter, we approach Artaud's proposals and contributions for today theater through authors such as Antonio Negri and Hans-Thie Lehman, trying to discuss which space is left to theater in contemporary power relations
Mestrado
Artes
Mestre em Artes
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吳家聲. "從評論走進張承志的小說世界 = Study on Zhang Cheng Zhi's novels through comentaries." Thesis, University of Macau, 2004. http://umaclib3.umac.mo/record=b1636196.
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Zobaran, Felipe Teixeira. "Antropofagia no sítio : insólito ficcional e identidade cultural em Peter Pan, de Monteiro Lobato." reponame:Repositório Institucional da UCS, 2016. https://repositorio.ucs.br/handle/11338/1403.
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Este trabalho busca analisar como Monteiro Lobato concretiza seu projeto de construção de uma literatura infantil brasileira, em obras constituintes da coleção do Sítio do Picapau Amarelo, especialmente através do livro Peter Pan, de 1930. A personagem homônima original do escocês James Matthew Barrie apareceu pela primeira vez em uma peça de teatro em 1910, em Londres, e tornou-se um clássico contemporâneo, largamente adaptado e traduzido, inclusive pelos estúdios de animação de Walt Disney. Lobato, que era tradutor, escolheu não apenas traduzir a obra de Barrie, mas apropriar-se dela no universo do Sítio; nos livros do brasileiro, a história do menino que não quer crescer é contada pela personagem Dona Benta a seus netos; a partir daí, diversas propriedades ficcionais do original britânico se manifestam em muitos momentos na obra infantil do paulista. Esse recurso é consoante com uma prática defendida pela geração de escritores do modernismo brasileiro de 1922: a antropofagia. Embora Lobato fosse dissidente do grupo, e apesar de sua prosa para adultos ter sido pouco modernista, sua literatura infantil se mostra extremamente similar àquilo que o grupo de Oswald de Andrade e Mário de Andrade defendia. Com base em Lajolo e Ceccantini (2008), Zilberman (1982), Vieira (2008) e White (2011), este trabalho busca mostrar como se dá o entrecruzamento antropofágico da obra de Barrie com a de Lobato, e como o paulista construiu sua literatura nacionalista para crianças. Em Peter Pan de Lobato, há dois universos mágicos e sobrenaturais que se sobrepõem: o Sítio e a Terra do Nunca; o escopo analítico deste trabalho passa, então, por teóricos do modo literário insólito / fantástico, como Todorov (2007), Roas (2014), García et al. (2007), e outros. Além disso, busca-se analisar a visão do Brasil que o escritor paulista conseguia vincular à sua literatura infantil, pensando em identidade regional, nacional e no contexto de globalização, com base em Hall (2005), Said (2011), e em considerações sobre região e nação. A conclusão é que Lobato era um tradutor cultural que conseguia trazer aos leitores do país, pioneiramente, histórias antigas e novas que eram produzidas no exterior, vestindo-as à brasileira, digerindo-as de maneira antropofágica, e que sua influência ficcional é visível até os dias de hoje, no que diz respeito à formação de uma identidade brasileira moderna.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-11-30T15:13:28Z No. of bitstreams: 1 Dissertacao Felipe Teixeira Zobaran.pdf: 2350229 bytes, checksum: e21ade58b573958d1a70ac720aabfacf (MD5)
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Conselho Nacional de Desenvolvimento Científico e Tecnológico, CNPq
This thesis aims at examining to what extend Brazilian writer Monteiro Lobato brings out his children's literature project in the books of the Sítio do Picapau Amarelo series, focusing especially on the novel Peter Pan, released in 1930. The original story by Scottish playwright James Matthew Barrie first appeared in a play in London in 1910, and became a contemporary classic, widely adapted and translated, including film versions by Walt Disney studios. Lobato, who was a famous translator, chose not only to translate the work of Barrie, but to absorb it into his own fiction; in the Brazilian books, the story of the boy who does not grow up is told by the character Dona Benta to her grandchildren; from there on, several fictional properties of the original British story manifest in many instances to the children of São Paulo. This feature is in line with Brazilian modernism writers of 1922, who defended Antropofagia (literary cannibalism), that is, a sharp reinforcement of the Brazilian identity in literature, by absorbing foreign aesthetics and transforming them into something original. Although Lobato was a dissident of that group, and even though his prose for adults was not very modernistic, his books for children are similar, in some ways, to what Oswald de Andrade and Mario de Andrade were producing in the early 1920’s. Based on Lajolo and Ceccantini (2008), Zilberman (1982), Vieira (2008) and White (2011), this paper shows the intertwining fiction of Barrie and Lobato, and how the Brazilian books get to defend a sort of nationalism. In Lobato’s Peter Pan, two supernatural worlds converge: Sítio do Picapau Amarelo and Neverland; thus, this paper analyses both fictional worlds based on fantasy literature theories, such as the works of Todorov (2007), Roas (2014) and García et al. (2007). Moreover, this analysis seeks to define Lobato’s view of Brazilian identity, based on Hall (2005), Said (2011) and theories of nationalism. The conclusion is that Lobato was a cultural translator, who could bring to the country's readers old and new stories that were produced abroad, making them very Brazilian, by digesting them in a cannibalistic way. His fictional influence is, actually, visible until today, as it helped in the formation of a modern Brazilian identity.
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Schincariol, Marcelo Tadeu. "A arte complexa de ser infeliz = a ficção de Cornelio Penna." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269950.
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Orientador: Enid Yatsuda FredericoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Neste trabalho, apresenta-se uma leitura da ficção de Cornélio Penna que privilegia a articulação entre as dimensões religiosa e social, aproximando assim os dois extremos em que grande parte da crítica tem localizado a obra do autor. Trata-se de um percurso de análise em que a noção de Itabirismo, conforme a concebe Cornélio Penna, ilumina o mergulho do romancista no universo de nossa formação social e cultural, como também o diálogo entre sua ficção e o grande romance católico do início do século XX.
Abstract: The present study consists of an analysis of Cornélio Penna's fiction focusing on the intersection between both religious and social dimensions in his work. In its analytical path, the notion of Itabirismo, conceived by the novelist, highlights his journey into the Brazilian cultural background, as well as the dialogue between his fiction and the Catholic novel from the beginning of the 20th century.
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária
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Winter, Ligia Maria 1981. "Escritas do suporte." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269969.
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Orientador: Fabio Akcelrud DurãoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A proposta deste trabalho é pensar o estatuto literário e político de uma escrita, que nomeio Escrita do Suporte, partindo da imagem habitual de um suporte lido como sustentáculo ou mediador neutro, terreno sobre o qual edificar instituições, a que nomear "pátria" ou em que fundar um Estado. Esse terreno neutralizado funciona como lugar de arquivamento e violência, que representa, para as Escritas do Suporte, uma impostura que se deve expor, publicar em seu centro regulador, para que se possa repensar a História. Essa impostura do suporte neutro, que se pretende exposta pelas Escritas do Suporte, mobiliza questões políticas e jurídicas, filosóficas, psicanalíticas e autobiográficas. O trabalho parte de textos de Jacques Derrida e Antonin Artaud, em especial compreendendo a Escrita do Suporte compartilhada entre uma carta de Artaud a André Rolland de Rénéville, escrita em 1932, o ensaio Enlouquecer o subjétil (1998b), no original Forcener le subjectile (1986a), em que Derrida retoma essa carta de Artaud, e a pictografia de Lena Bergstein, no ensaio em português, que se inscreve no lugar da ausência dos desenhos de Artaud, retirados pela artista brasileira do ensaio original, que fazia parte do livro Antonin Artaud: dessins et portraits, de Derrida e Paule Thévenin (1986a). Pela leitura desses textos, trazemos ao questionamento khôra, que Derrida faz intercambiar com o subjétil. Khôra é o suporte metafísico de Platão que excede a dialética. Na leitura do Timeu, de Platão (2011), pensamos tanto esse excesso, como o problema do estrangeiro e da política externa de guerras para a validação da técnica interna grega, a partir de um elemento aparentemente acessório e "pouco sério", a introdução de Sócrates. O problema dessa relação com o estrangeiro, todavia, é destinado ao rodapé por Derrida em Khôra, livro escrito sete anos após o ensaio sobre Artaud (1995b), bem como por Rousseau, como retoma Derrida em nota. Para nossa Escrita do Suporte, trazemos ao centro essa questão, da mesma maneira como a Escrita do Suporte traz ao centro da cena os elementos que nela pareciam acessórios, reservados à margem. Nesse deslocamento, pensamos o problema da língua e da pátria, que Derrida traz a Enlouquecer o subjétil, e, em especial, a questão de um "habitar a casa na apatridade", que lemos com Vilém Flusser (2007). Juntamente com khôra, pensamos outro excesso que Derrida faz intercambiar com o subjétil: cruauté, e com ela relemos os textos de Antonin Artaud. Por fim, compreendemos as estratégias de antecipação, justaposição/sobreposição (l'air surajoutée) e encenação de um arrancamento de cena como técnicas compartilhadas por Artaud, Derrida e Bergstein nessa Escrita do Suporte, em seus quatro movimentos: uma primeira neutralização do suporte, seguida pelo desarquivamento de suas variantes, passando para uma denúncia ou publicação da violência dessa neutralidade e, por fim, pela antecipação epistolar do teatro, que compreenderemos como uma dimensão "missiva", referente às cartas que pedem o compartilhamento entre desencontros, recuando as remissões. Esses quatro movimentos são também lidos por um questionamento das políticas do presente, pois é justamente essa a necessidade que se impõe para tais escritas
Abstract: This paper presents the political and literary status of a different kind of writing, called here as Support Writings. This concept comes from the habitual image of a support read as the basis or mediator for institutions to be built upon, as somewhere to be called homeland or as somewhere to found a State. This neutral foundation site works as a place of an "archive of violence", that represents, for the Support Writings, an imposture that needs to be exposed, published, in order for History to be thought differently. The neutral foundation imposture involves political, juridical, philosophical, psychoanalytical and autobiographical issues. The paper starts by reading Jacques Derrida and Antonin Artaud, specially understanding the Support Writings shared by a letter from Artaud to André Rolland de Rénéville, written in 1932, and an essay by Jacques Derrida, Maddening the subjectile, in Portuguese Enlouquecer o subjétil (1998b), from the original Forcener le subjectile (1986a), in which Derrida brings this letter by Artaud. The Support Writings is also shared by the graphic work of a Brazilian artist, Lena Bergstein, who removes the drawings by Artaud, included as part of the book Antonin Artaud: dessins et portraits, by Derrida and Paule Thévenin (1986a), and inserts her own, in the Portuguese version. From these texts, we bring the image of khôra, which Derrida thinks as part of the image of his subjectile. In Plato's text Timeu (2011), khôra is the metaphysical support that exceeds dialectics. Reading Timeu, we considered this excess also in relation to the question of the "foreigner" and the external politics of war as a validation of the internal Greek technique, by reading the apparently "accessory" and "less serious" introduction by Socrates. These questions are destined to footnotes by Derrida in Khôra, written seven years after the essay about Artaud (1995b), as well as by Rousseau, who Derrida talks about in the footnote. To our Support Writings, we bring this problem back to the center or the argument, the same way as the Support Writings bring back to the center its elements destined to the margins, considered accessories. With this displacement, we think about language and homeland, together with Derrida in Maddening the subjectile, specially through the topic of an "habitar a casa na apatridade", read with the Czech- Brazilian critic Vilém Flusser (2007). Together with khôra, we consider another "excess" that Derrida thinks as the subjectile: cruauté, and with it we read Antonin Artaud's texts. At last, we present the strategies of anticipation, juxtaposition (l'air surajoutée) and the scene of a scene displacement as shared techniques by Artaud, Derrida and Bergstein in these Support Writings, with its four movements: a first support neutralization, followed by a disorganization of the archive and its variants, then an exposure or publication of its "neutral violence", and, at last, an epistolary anticipation of the Theater, which we understand as a "missive" dimension, referring to the letters, asking for the displacement to be shared, retreating language's remissions. These four movements are also read by a questioning of the politics of the present, because that is the first necessity imposed by these writings
Doutorado
Teoria e Critica Literaria
Doutor em Teoria e História Literária
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Regoczy, Lucia Graciela, and n/a. "Espiritu de subversion : la construccion del discurso de la mujer en la narrativa posmoderna hispanoamericana." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070927.141659.
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This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse.
Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment.
Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque.
Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing.
Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse.
Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society.
Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women.
Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.
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Li, Jing. "Problematics of self in moral space : a study of Willa Cather, Susan Glaspell and H.D." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1177.
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Soppelsa, Fernanda Bondam. "Regionalidade e tradução em Aventuras de Tom Sawyer, de Monteiro Lobato." reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1075.
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Mark Twain, renomado autor realista e local colorist, é conhecido pelo seu estilo coloquial de escrever. A modalidade oral regional da língua inglesa é representada na fala dos personagens do romance The Adventures of Tom Sawyer (Aventuras de Tom Sawyer). Nesta dissertação, é feita uma análise comparativa entre alguns trechos da obra original de Mark Twain, publicada em 1876, e da tradução feita por Monteiro Lobato, em 1934. A partir dos conceitos de regionalidade apresentados por Arendt (2012) e Stüben (2013), o objetivo desta pesquisa é analisar as especificidades culturais da obra original e verificar de que forma o tradutor, Lobato, as transpõe para o texto da língua-meta, o português brasileiro. Além disso, a partir da análise dos trechos selecionados, são identificadas as técnicas tradutórias utilizadas por Monteiro Lobato, com base nas propostas de Vinay e Dalbernet (1971), Barbosa (1990) e Hurtado Albir (2001). Duas línguas nunca serão suficientemente iguais para serem consideradas representativas de uma mesma realidade cultural, sendo possível analisar se há perdas e ganhos na tradução, como corrobora Bassnett (2005). Nos moldes de Venuti (1995), verifica-se se a tradução é sobretudo domesticadora ou estrangeirizadora.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-11-27T17:11:31Z No. of bitstreams: 1 Dissertacao Fernanda Bondam Soppelsa.pdf: 1404862 bytes, checksum: c9db702a15ee99a35256e0741dba0f7c (MD5)
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Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul, FAPERGS.
Mark Twain was a prominent realistic author and local colorist, known by his colloquial style of writing. He represents the regional oral modality of the English language in the speech of the characters in the novel The Adventures of Tom Sawyer (Aventuras de Tom Sawyer). This master’s thesis aims at comparatively analyzing parts of the original work by Mark Twain, published in 1876, and the translation made by Monteiro Lobato, from 1934. Using the concepts of regionality from Arendt (2012) and Stüben (2013), the objective of this research is to analyze the cultural characteristics of the original novel and verify how the translator, Lobato, transposes the text to the target language, Brazilian Portuguese. In addition, the translational techniques used by Monteiro Lobato are identified, based on the proposals by Vinay and Dalbernet (1971), Barbosa (1990) and Hurtado Albir (2001). Two languages are never enough alike to be considered representative of the same cultural reality, so it is possible to analyze whether there are losses and gains in translation, as confirmed by Bassnett (2005). Following the ideas systematized by Venuti (1995), this work analyzes to what extend the selected translation is a domestication or keeps the cultural elements from the original novel.
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Phiri, Aretha Myrah Muterakuvanthu. "Toni Morrison and the literary canon whiteness, blackness, and the construction of racial identity." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002255.
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Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African-American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race. In Chapter Four I focus on Tar Baby and argue that this novel reveals Morrison’s somewhat essentialist position on blackness and racial, cultural, and gendered identity, particularly as this pertains to responsibilities she places on the black woman as culture-bearer. In Chapter Five I argue that Paradise, while taking a particularly challenging position on blackness, reveals Morrison’s evolving position on race, particularly her concern with the destructive nature of internalized racism. This thesis concludes that while racial identities have very real material consequences, whiteness and blackness are ideological and social constructs which, because of their constructedness, are fallible and perpetually under revision.
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Bongiorno, Giorgia. "La Loi d'éclipse : la figure de la "fille du coeur à naître" dans l'oeuvre d'Antonin Artaud." Paris 8, 1999. http://www.theses.fr/1999PA081553.
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Notre travail se propose d'etudier l'oeuvre d'antonin artaud a partir du moment singulier de rodez. La demarche suivie a ete celle d'une lecture se constituant dans le croisement de differentes disciplines comme la critique litteraire, la philosophie, la psychanalyse. Seul un regard multiple est en effet susceptible de rendre compte de la pluralite qui compose cette uvre particuliere. Toujours dans cette perspective, nous avons donne une place importante a une reflexion methodologique autour des lectures critiques artaldiennes, afin de mieux cerner ce qui fait probleme dans l'experience artaldienne. Qu'il s'agisse d'un lecteur specialiste ou d'un lecteur ordinaire, c'est la question meme du litteraire que ce lecteur affronte face a l'etre-uvre d'antonin artaud. Les textes-pivot de notreanalyse sont constitues par les cahiers de rodez, les cahiers du retour a paris et les dernieres uvres publiees. A l'interieur de cette zone encore assez inconnue par la critique nous avons choisi une figure, celle de la "fille du cur a naitre", comme point de depart pour une traversee du processus de formation de la langue poetique qui se met en place a l'epoque de rodez 11 s'agit d'une languemultiforme, fonctionnant dans un va-et-vient entre plus d'une langue et participant de plus d'un registre; une langue a jamais ambigue, moins poetique que poietique, exactement comme le mecanisme d'une creation originelle, mais non originaire, qu'artaud etablit a meme le corps de l'ecriture. La nature provisoire et visionnaire de cette figure mineure de la fille nous a semble l'angle le plus efficace afin de saisir le geste particulier qui instaure, entre corps et langue, le corpus artaldien car c'est precisement une strategie oblique de la creation qui donne lieu a une parole poetique nouvelle, reglee par une "loi d'eclipse" qui est celle meme de la fille et qui expose l'enigme d'une uvre donnant naissance a son propre auteur, grace a un mouvement de renversement.
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"基督敎與二十世紀中國小說---郁達夫、茅盾、許地山的小說." 2001. http://library.cuhk.edu.hk/record=b5890933.
Full textAbstract:
陳志傑."2001年6月"
論文 (哲學碩士)--香港中文大學, 2001.
參考文獻 (leaves 117-123)
附中英文摘要.
"2001 nian 6 yue"
Chen Zhijie.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001.
Can kao wen xian (leaves 117-123)
Fu Zhong Ying wen zhai yao.
Chapter 第一章 --- 導言 --- p.1
Chapter 1.1 --- 基督教與中國現代小說的研究
Chapter 1.2 --- 郁達夫、茅盾、許地山的獨特之處
Chapter 1.3 --- 郁達夫、茅盾、許地山三人的硏究檢討
Chapter 1.4 --- 硏究構想與槪念簡釋
Chapter 1.5 --- 材料與方法
Chapter 1.6 --- 史料搜集與論證過程
Chapter 1.7 --- 各章簡介
Chapter 第二章 --- 時代巨變中的中國：「啓蒙與救亡」 --- p.25
Chapter 2.1 --- 吾人覺悟與啓蒙
Chapter 2.2 --- 「啓蒙與救亡」的一脈相承
Chapter 2.3 --- 救亡壓倒啓蒙
Chapter 2.4 --- 小結
Chapter 第三章 --- 普遍皇權崩潰：「以耶補儒」 --- p.34
Chapter 3.1 --- 皇權崩潰下的真空
Chapter 3.2 --- 陳獨秀對基督教的理解與認同
Chapter 3.3 --- 小結
Chapter 第四章 --- 由傳統轉向現代的「文以載道」與郁達夫的啓蒙 --- p.40
Chapter 4.1 --- 文學革命
Chapter 4.2 --- 沉淪與重新
Chapter 4.3 --- 《南遷》的諷刺與肯定
Chapter 4.4 --- 小結
Chapter 第五章 --- 茅盾的政治寓言小說 --- p.54
Chapter 5.1 --- 審查下的創作
Chapter 5.2 --- 在桂林的《新舊約全書》
Chapter 5.3 --- 《耶稣之死》的政治暗喻
Chapter 5.4 --- 小結
Chapter 第六章 --- 我們要甚麼樣的宗敎：許地山 --- p.76
Chapter 6.1 --- 許地山與宗教
Chapter 6.2 --- 我們要甚麼樣的宗教
Chapter 6.3 --- 基督教「人格救國」
Chapter 6.4 --- 聖賢基督徒《商婦人》、《缀網勞蛛》
Chapter 6.5 --- 處於民族主義與基督教的《玉官》
Chapter 6.6 --- 小結
Chapter 第七章 --- 郁達夫、茅盾、許地山與基督敎 --- p.107
Chapter 7.1 --- 郁達夫：向基督的懺悔
Chapter 7.2 --- 茅盾：耶稣的犧牲精神
Chapter 7.3 --- 許地山：耶穌之再現
Chapter 7.4 --- 小結
Chapter 第八章 --- 結論 --- p.115
參考書目 --- p.117
44
"論朱自淸作品中的「時代」與「個人」." 2000. http://library.cuhk.edu.hk/record=b5890516.
Full textAbstract:
郭詩詠."2000年8月"
論文 (哲學碩士)--香港中文大學, 2000.
參考文獻 (leaves 155-162)
附中英文摘要.
"2000 nian 8 yue"
Guo Shiyong.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (leaves 155-162)
Fu Zhong Ying wen zhai yao.
Chapter 第一章 --- 引言 --- p.1-6
Chapter 第二章 --- 硏究目的及方法 --- p.7-25
Chapter 第一節 --- 硏究背景 --- p.7-12
Chapter 第二節 --- 硏究目的 --- p.12-14
Chapter 第三節 --- 硏究方法 --- p.14
Chapter 一、 --- 錢理群「典型現象」理論簡介 --- p.15-18
Chapter 二、 --- 硏究方法的適用性 --- p.18-22
Chapter 三、 --- 本文的硏究架構與分期方法 --- p.22-23
Chapter 四、 --- 硏究方法的特點及限制 --- p.23-25
Chapter 第三章 --- 1919-1928 ：從啓蒙者到尋路人 --- p.26-73
Chapter 第一節 --- 引言 --- p.26-30
Chapter 第二節 --- 早期作品中的五個單位意象 --- p.30
Chapter 一、 --- 「踪跡」 --- p.31-36
Chapter 二、 --- 「腳步」 --- p.36-40
Chapter 三、 --- 「尋路人」 --- p.40-45
Chapter 四、 --- 「自然」 --- p.45-50
Chapter 五、 --- 「薔藏色的歷史」 --- p.50-55
Chapter 第三節 --- 朱自淸早期作品中個人與時代的關係 --- p.55
Chapter 一、 --- 〈槳聲燈影裡的秦淮河〉 --- p.56-61
Chapter 二、 --- 〈毀滅〉 --- p.61-66
Chapter 三、 --- 〈那裡走〉 --- p.66-71
Chapter 第四節 --- 總結 --- p.71-73
Chapter 第四章 --- 1928-1945 ：十字街頭外的象牙塔 --- p.74-110
Chapter 第一節 --- 引言 --- p.74-78
Chapter 第二節 --- 「無話可說」的「平凡人」 --- p.78
Chapter 一、 --- 小引 --- p.78-79
Chapter 二、 --- 人到「中年」的「無話可說」 --- p.80
Chapter 1. --- 所謂「無話可說」的涵義 --- p.80-81
Chapter 2. --- 〈論無話可說〉與朱自淸個人定位的關係 --- p.81-84
Chapter 3. --- 在「無話可說」中寫作 --- p.85-89
Chapter a. --- 「憶的路」
Chapter b. --- 「我」的消失
Chapter 三、 --- 朱自淸的「無話可說」與時代的關係 --- p.89-94
Chapter 四、 --- 小結 --- p.95
Chapter 第三節 --- 「求是」與「致用」的學術硏究 --- p.95
Chapter 一、 --- 小引 --- p.95-96
Chapter 二、 --- 「求是」、「致用」的學術硏究 --- p.96
Chapter 1. --- 「求是」與「歷史的觀點」 --- p.97-99
Chapter 2. --- 「致用」與「現實的觀點」 --- p.99-102
Chapter 三、 --- 「求是」與「致用」的學術硏究之積極意義 --- p.102-108
Chapter 四、 --- 小結 --- p.108
Chapter 第四節 --- 總結 --- p.109-110
Chapter 第五章 --- 1945-1948 ：民眾的步伐 --- p.111-151
Chapter 第一節 --- 引言 --- p.111-115
Chapter 第二節 --- 「動亂時代」的「標準與尺度」 --- p.116
Chapter 一、 --- 小引 --- p.116-117
Chapter 二、 --- 朱自淸筆下的「標準與尺度」 --- p.117
Chapter 1. --- 「標準與尺度」的定義 --- p.118-119
Chapter 2. --- 朱自淸討論「標準與尺度」的方法 --- p.119-127
Chapter a. --- 客觀敘述的語調與「歷史化」的處理手法
Chapter b. --- 以「動亂時代」與「平民的興起」解釋歷史的變化
Chapter c. --- 以上兩點所呈現的不協調
Chapter 三、 --- 「動亂時代」中的朱自淸 --- p.127-134
Chapter 四、 --- 小結 --- p.134-135
Chapter 第三節 --- 現代的立場：論雅俗共賞 --- p.135
Chapter 一、 --- 小引 --- p.135-136
Chapter 二、 --- 「現代」、「雅俗共賞」、「人民」 --- p.137-140
Chapter 三、 --- 「近於人民的立場」與「自己的立場」 --- p.140
Chapter 1. --- 常識的標準 --- p.142-144
Chapter 2. --- 雜感 --- p.144-145
Chapter 3. --- 百讀不厭 --- p.145-147
Chapter 四、 --- 小結 --- p.147-148
Chapter 第四節 --- 總結 --- p.148-151
Chapter 第六章 --- 總結 --- p.152-154
參考書目 --- p.155-162
附錄一：朱自淸著譯繫年目錄 --- p.1-73
附錄二 ：朱自淸硏究知見書目 --- p.74-89
45
"論茅盾翻譯、評論和小說中的婦女解放論述(1919 -1930)." 2013. http://library.cuhk.edu.hk/record=b5884264.
Full textAbstract:
李凱琳."2013年9月".
"2013 nian 9 yue".
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 138-146).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Li Kailin.
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Mitchell, Rachel Elice 1976. "An examination of the integration of serial procedures and folkloric elements in the music of Roberto Gerhard (1896-1970)." 2009. http://hdl.handle.net/2152/18458.
Full textAbstract:
Roberto Gerhard was a twentieth-century Spanish composer known for his unique treatment of the twelve-tone system. A student of the Spanish nationalist composer, Felipe Pedrell in Barcelona and also a pupil of Arnold Schoenberg in both Vienna and in Berlin, Gerhard's musical trajectory led to a synthesis of these disparate compositional traditions. In this dissertation I will explore the development of Gerhard's compositional procedures. Here, his first string quartet, composed between 1950 and 1955, becomes a useful tool to illustrate how he made the transition from one musical style to another. Gerhard's first string quartet, composed between 1950 and 1955 exhibits various experimental formal procedures but is governed by a single twelve-tone row. The work is composed in the twelve-tone idiom, but nationalist elements decorate the musical surface. The first movement follows the classical model of sonata-allegro form, while mathematical proportions govern durations and formal elements in later movements. I will first investigate Gerhard's musical language and pitch material and then consider the challenges raised by implementing sonata form outside of a tonal idiom. I will then examine his unique mathematical approach to formal design in the third movement. In addition to the string quartet, I will explore Gerhard's treatment of form in such works as his Wind Quintet (1928) and Metamorphoses--Symphony no. 2 (1957-59).text
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Foley, Andrew John. "Liberalism in South African English literature 1948-1990 : a reassessment of the work of Alan Paton and Athol Fugard." Thesis, 1996. http://hdl.handle.net/10413/8563.
Full textAbstract:
This thesis examines the concept of liberalism as it informs, and
is expressed in, the work of two of the most prominent South
African writers during the apartheid era of 1948-1990: Alan Paton and Athol Fugard. The aim of this study is to come to a precise and objective understanding of liberalism during this time, and to demonstrate how the nature and worth of the literary achievements of these writers can be properly ascertained only through a thorough grasp of their liberal outlook. A dual focus is thus pursued. From one perspective, a fuller understanding is facilitated of the work of two major South African writers in the light of a lucid and coherent comprehension of their liberalism. Obversely, an accurate understanding of their work - as perceptive, sensitive and informed writers, addressing problems of their social and political milieu - in turn serves to illuminate some of the most important dilemmas and responses of liberals in recent South African history. The rationale for this study arises from the fact that much confusion, imprecision and misunderstanding continues to surround the notion of liberalism in South African literary critical, political and historiographical thinking. Such imprecision, moreover, is not limited to the opponents of liberalism, but also characterises the thinking of many liberal-minded scholars in this country. In consequence, the liberal basis of a good deal of South African literature remains either unacknowledged or misconceived, and, accordingly, the actual meaning and significance of a large proportion of literary work in this country, including that of Paton and Fugard, has not been
adequately apprehended or appreciated. Given this critical imprecision, it is necessary as a preliminary measure to provide an introduction to the notion of liberalism in general theoretical terms before proceeding to a specific exploration of how the values, principles and beliefs which constitute liberal political philosophy present themselves in the literary work under consideration. The opening chapter explicates such fundamental liberal concepts as individualism, autonomy, liberty and equality, as well as some of the differences in emphasis between the leading liberal political theorists. This chapter also considers the nature of the contemporary liberal democratic state, the development of liberalism within the South African context, and some of the key linkages between liberal political philosophy and liberal literary critical practice. Following this theoretical introduction, the greater part of the thesis involves a detailed critical scrutiny of the creative writing, in turn, of Alan Paton and Athol Fugard. These writers have been chosen, firstly, because they stand out as indisputably the most eminent liberal authors in recent South African literature, indeed, as two of the most acclaimed writers in the contemporary English-speaking world. But their selection also derives from the fact that their writing, taken together effectively spans the entire period of apartheid. Alan Paton's famous first novel, Cry, the Beloved Country, was written immediately prior to the Nationalist Party election victory in 1948, and his writing extends into the 1980s. Athol Fugard's career commences in the 1950s and has continued up to and beyond the ending of apartheid in 1990. In fact, his most recent work to be considered in this study, Playland, is set on the last day of 1989, on the very brink of apartheid's demise. As the critical study of each writer's primary literary texts follows a chronological sequence, their work collectively provides a comprehensive view of the developing conflicts and challenges which confronted liberals throughout the time of apartheid. This is not to suggest that Paton and Fugard were the only liberal writers active against apartheid, and attention is paid to the achievements of other liberal authors during this time. Concomitantly, cognizance is taken of the range of differences between Paton and Fugard, including age, temperament, background, religious convictions, and involvement in formal politics. An advantage of a study dealing with both men is the ability not only to suggest the essential characteristics of liberalism which underlie individual distinctions, but also to reveal how a general liberal orientation manifests itself in particular instances. A study of both Paton and Fugard has benefits also in a generic sense, in that it allows a perspective on the expression of liberal ideas in both a fictive and a dramaturgical mode. For the most part, this thesis concentrates on each writer's favoured genre (Paton's fiction and Fugard's drama), though consideration is given to their other creative work, such as Paton's poetry and drama, and Fugard's fiction and film work. Moreover, both men's
non-creative writing (autobiographical, biographical, notebooks,
speeches, articles) is taken into account as a potentially
valuable source of insight into the evolution of their liberal
understanding. The most provocative factor motivating the selection of Paton and Fugard for study remains, however, the fact that neither writer's liberal standpoint has to date received full or proper appraisal. It is the contention of this thesis that each writer's liberalism, far from being a subordinate feature of his work, forms the very core of his political morality and aesthetic and demands a precise understanding. The chief objective of this study, then, is to conduct a reassessment of the work of Paton and Fugard through the filter of a rigorous account of their understanding and expression of the fundamental values and principles of liberalism.Thesis (Ph.D.)-University of Natal, Durban, 1996.
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Chester, Blanca Schorcht. "Storied voices in Native American texts : Harry Robinson, Thomas King, James Welch and Leslie Marmon Silko." Thesis, 2000. http://hdl.handle.net/2429/11396.
Full textAbstract:
"Storied Voices in Native American Texts: Harry Robinson, Thomas King, James
Welch and Leslie Marmon Silko" approaches Native American literatures from within an
interdisciplinary framework that complicates traditional notions o f literary "origins" and
canon. It situates the discussion of Native literatures in a Native American context,
suggesting that contemporary Native American writing has its roots in Native oral
storytelling traditions. Each of these authors draws on specific stories and histories from
his or her Native culture. They also draw on European elements and contexts because
these are now part o f Native American experience. I suggest that Native oral tradition is
already inherently novelistic, and the stories that lie behind contemporary Native American
writing explicitly connect past and present as aspects o f current Native reality.
Contemporary Native American writers are continuing an on-going and vital storytelling
tradition through written forms.
A comparison of the texts o f a traditional Native storyteller, Robinson, with the
highly literate novels of King, Welch and Silko, shows how orally told stories connect
with the process o f writing. Robinson's storytelling suggests how these stories "theorize"
the world as he experiences it; the Native American novel continues to theorize Native
experience in contemporary times. Native writers use culturally specific stories to express
an on-going Native history. Their novels require readers to examine their assumptions
about who is telling whose story, and the traditional distinctions made between fact and
fiction, history and story. King's Green Grass. Running Water takes stories from Western
European literary traditions and Judeao-Christian mythology and presents them as part of
a Native creation story. Welch's novel Fools Crow re-writes a particular episode from
history, the Marias River Massacre, from a Blackfeet perspective. Silko's Almanac of the
Dead recreates the Mayan creation story o f the Popol Vuh in the context o f twentiethcentury
American culture. Each of these authors maintains the dialogic fluidity of oral
storytelling performance in written forms and suggests that stories not only reflect the
world, but that they create it in the way that Robinson understands storytelling as a form
of theory.
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Lockard, Douglas Todd 1965. "A stylistic and analytical discussion of Jean Rivier's Concerto for saxophone and trumpet and Concerto for trumpet." 2001. http://hdl.handle.net/2152/11341.
Full text
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Okungu, Anne Anyango Ajulu. "Reading Abdulrazak Gurnah: narrating power and human relationships." Thesis, 2016. http://hdl.handle.net/10539/22241.
Full textAbstract:
A thesis submitted to the Faculty of Humanities and Social Sciences, University of the Witwatersrand, Johannesburg, in the fulfilment of the requirements for the degree of Doctor of PhilosophyThis thesis is interested in the fiction of Abdulrazak Gurnah, bringing into consideration all the eight novels he has published to date. It explores the representation of human relations, focussing on the theme of power and how it is attained, consolidated, used and contested in the human relations depicted in the novels. A close reading of pre to postcolonial East Africa as well as the regions outside of East Africa in which Gurnah’s novels are also set, through quotidian interactions in micro-spaces, this thesis argues, presents power dealings alternative to one that emphasizes the effect of colonial domination and the failed project of decolonization. The thesis further suggests that inherent in everyday human interactions – whether at home in East Africa or in migrant spaces – are power dealings far removed from macro-political power plays. The interactions to be brought under scrutiny here are those occurring between children and adults, family members, as they interact not only with each other but also with the various environments they occupy. Through a skilful narrative strategy that employs complex narrative perspectives, vivid descriptions, imagery, symbolism and credible characterization, Gurnah affords the reader an opportunity to read East Africa through the basic units of the community, focussing on ordinary everyday lives and interactions. This thesis therefore investigates the different ways in which Gurnah employs narrative strategy in order to depict the various avenues through which power comes into play in diverse areas of human interactions. The focus is on his application of implied authors in the form of multiple narrators and how this technique helps to draw readers in to his texts. It is important to also examine symbolism used especially in the relationship between characters and (mis)use of the spaces they occupy, the significance of rot, filth and squalor in the said spaces as well as the use of irony, coincidences, silences and suppressions. To be specifically interrogated is relations between individuals and the society, parents and children, lovers, employers and employees among others. Even though the dominant theme in Gurnah’s the entire oeuvre is that of migrancy, of characters attempting to construct ideas of home away from home, his treatment of the varied power relationships inherent in the texts warrants investigation.
MT2017