Dissertations / Theses on the topic '1903-1966 Criticism and interpretation'
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1
Feenstra, Robin E. (Robin Edward) 1972. "Modern noise : Bowen, Waugh, Orwell." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115604.
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The modern soundscape buzzes with noise. In the 1930s, telephones, radios, and gramophones filled domestic spaces with technological noise, while crowds shouting in the streets created political clamour. During the war in the 1940s, bombs and sirens broke through buildings and burst through consciousness. This dissertation examines the response of three British modernist writers to the cultural shifts brought about by technology and politics, which altered everyday experience and social relations. Elizabeth Bowen, Evelyn Waugh, and George Orwell represent noise in their fiction and nonfiction as a trope of power. Noise, as a palpable emblem of discontent and the acoustic unconsciousness of the period, infiltrates sentences and rearranges syntax, as in the invention of Newspeak in Nineteen Eight-Four. Noise cannot leave listeners in a neutral position. The "culture racket" of the 1930s and 1940s required urgent new ways of listening and listening with ethical intent.Chapter One provides a reading of Elizabeth Bowen's audible terrains in her novels of the 1930s, where silences and sudden noises intrude on human lives. In Bowen's novels, technological noise has both comedic and tragic consequences. Chapter Two examines noise as a political signifier in The Heat of the Day, Bowen's novel of the blitz. Chapter Three takes up the significance of the culture racket to Evelyn Waugh's novels and travel writing of the 1930s; noise assumes a disruptive, if highly comedic, value in his works, an ambiguity that expresses what it means to be modern. Chapter Four examines Waugh's penchant for satirizing the phoneyness of contemporary culture---its political vacillations---especially in Put Out More Flags, set during the Second World War. Chapter Five considers Orwell's engagement with the emerging social and political formations amongst working, racial, and warring classes in the 1930s. Documenting noise in his reportage, Orwell sounds alarms to alert readers to the mounting social and political crises in his realist novels of the decade. Chapter Six argues that Orwell's final two novels of the 1940s, Animal Farm and Nineteen Eighty-Four, represent the politics of noise in as much as they announce the noise of politics in totalitarian futures. Noise demarcates the insidiousness of propaganda as it screeches from telescreens, the keynote in Big Brother's ideological symphony of domination. Noise, throughout Orwell's writing, signifies the struggle for power. In its widest ramifications, noise provides an interpretive paradigm through which to read Bowen's, Waugh's, and Orwell's fiction and non-fiction, as well as modernist texts generally.
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Kalant, Amelia. "The politics of dissonance : a criticism of Theodor Adorno's theory of music." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61828.
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Doerr, Karin. "Joseph Breitbachs frühe Prosa im Licht der neuen Sachlichkeit." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75836.
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Joseph Breitbach began publishing literature in the late twenties. He came to occupy a specific place in the literary period generally called New Objectivity. The goal of this thesis is to define that place more closely. The first chapter analyzes Breitbach's early stories, whose themes are based on the new social reality of his time. The focus is on the organized workers of the far left (the proletarians), as well as the growing class of small clerks known as the petite bourgeoisie. Breitbach, a department store manager, crafted his fictional characters from this milieu and portrayed both their social problems and everyday life from his observations.The second chapter illustrates a decisive change in Breitbach's emphasis. In the novel Die Wandlung der Susanne Dasseldorf, which unfolds during the Allied occupation following the First World War, he juxtaposes the two fundamental classes, proletariat and bourgeoisie. Breitbach maintains a place among the writers of the New Objectivity for his retrospective of the postwar period as well as his contemporary portrayal of the lower classes.
The thesis also discusses Breitbach's progressive thinking in his treatment of the female character in his novel and the now almost forgotten German-American relations in the occupied region of Coblenz.
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Epp, Michael Henry. "Saving Cruiskeen Lawn, satirical parody in the novels and journalism of Flann O'Brien, Myles na gCopaleen." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0023/MQ50512.pdf.
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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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Murray, Jessica. ""Notes for the Manual Assembly"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157616/.
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A collection of poems that seeks the balance between imagination and reality that Wallace Stevens calls for in art, with a preface exploring Elaine Scarry's On Beauty and Being Just through the work of two contemporary poets.
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Lozowy, Eric. "Le réseau intertextuel dans le poème Primorskij Park Pobedy d'Anna Axmatova /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60563.
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Axmatova wrote the poem Primorskij park Pobedy in 1950 for Slava miru, a collection of verses that glorified Stalin. This poem was included in all her books that were published before her death (1966), apparently to please her censors. A few specialists that are trying today to establish a canonical and definitive version of her poetical works believe that Primorskij park Pobedy cannot be treated as a real Axmatova poem. The exclusion of a "parasitical" element seems unjustified if we conceive Axmatova's poetical works not as a complete Book, that is a definite and homogenous whole, but as a variable unity with undetermined limits.When we read Primorskij park Pobedy through an intertextual network, the superficial meaning of the poem cracks and collapses. The text becomes open: under a trivial and official meaning is concealed an infinity of possible meanings. Our thesis explores this polysemy by showing how Axmatova's poem can generate a system of intertextual relations.
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Cobill, Brenda. "A study of the relationship between Paul Cézanne and Paul Gauguin." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22576.
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This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.
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Chandrasekaran, Ramya. "Hindutva Movement: Burkean Examination of Violence as Retributive Justice." Thesis, North Dakota State University, 2012. https://hdl.handle.net/10365/26670.
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The thesis examines the Hindutva movement as a rhetorical text to understand how it
contributes to the rhetorical study of social movements. The Hindutva movement is a mass
movement that has grown in influence and in number in the last thirty years and its final goal is
to wage a battle to create a Hindu rashtra (nation) in India with a monolithic Hindu culture. The
rhetorical texts of V.D. Savarkar and M.S. Golwalkar are analyzed with Burkean guiltredemption-purification cycle. These rhetorical tools provide an insight into the guiding question of this thesis: how Savarkar and Golwalkar use rhetoric in ways that justify and motivate audiences to accept violence in order to restore a Hindu Nation.
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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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Ceia, Vanessa Vitorino. "Amor, lesbianismo, niñas buenas, y putas : las protagonistas de Lucía Etxebarría." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99359.
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Lucia Etxebarria's first two novels, Amor, curiosidad, prozac y dudas and Beatriz y los cuerpos celestes, demonstrate just how the author affirms, questions and discredits the binary notions that are historically associated with gender. A critical approach to the social roles traditionally categorized as masculine and feminine and the literal and symbolic concepts of homo, hetero and bisexuality---all of which are personified by the varied protagonists of the two works---unveils the faulty foundation upon which the cultural, sexual and even biological dichotomies of male and female are constructed and perpetuated. These arbitrary ideals are patriarchal constructs that inherently marginalize, conceal and even eradicate the innumerable unclassifiable gender combinations that can be found along the sexual spectrum. Etxebarria uses her texts as a social weapon with which to rebel against the traditional myths of femininity and represent the socially problematic genders that are often silenced by the omnipresent power of the classical Spanish hegemony.
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Aecherli, Claire-Line. "L'opera di Vittorini : uno studio strutturale." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66020.
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Bélisle, Mathieu. "Le drôle de roman : rire et imaginaire dans les oeuvres de Marcel Aymé, Albert Cohen et Raymond Queneau." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115637.
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The drole de roman gathers works by Marcel Ayme, Albert Cohen and Raymond Queneau, French novelists who belong to the same generation, share common readers and inspiration and, most of all, a specific vision: the nonserious. Their novels draw from the most obvious manifestations of the comical tradition (farce, burlesque) to its most subtle (irony, parody). In their works, laughter does not occupy a secondary position nor does it simply provide some reading impressions. In fact, laughter is often expressed by the characters and narrators themselves, whose sense of mischeviousness demonstrates the Rabelaisian joy of body and soul.Besides, the drole is not restricted to its usual comical characteristics. In the prospect of literary history, it also refers to what stands apart from the realistic conventions inherited from Balzac and Zola. In other words, the drole is made of antirealism, merveilleux and fantasy. Thus, Ayme, Cohen and Queneau put forward their own response to the mimetic function of the 19th century realistic novel. Instead of renouncing the power of fiction, as Gide and Valery will often suggest, instead of denouncing its falseness, the three novelists give fiction even greater powers.
Based on the conclusions of the history of the novel and on studies concerning various aspects of its construction (the relation between reality and fiction, the conception of character and of its place in the community, the forms of the plot), this thesis wishes to shed light on the role and value of laughter through the study of three major themes: comedy, community and enchantment.
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Grenier, Marie-Hélène. "Groupes et identité dans les romans autobiographiques de R. Queneau." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98925.
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This thesis looks at the textual representations of sociability problems in Raymond Queneau's autobiographical novels, which are also the first six novels of his career. Using an eclectic approach that combines elements of autobiographical analysis and social psychology with the numerous studies on the presence of philosophy in Queneau's work, we use the concept of identity to study social attitudes, first the author's own attitudes toward real groups, then the way the characters identify with groups, some having a tendency to share the groups identity, others choosing to distanciate themselves from the groups.Following this path, we try to demonstrate the assumption that the tendency to identify to groups, as well as the distanciation attitudes, are represented in both a positive and a negative way, thus creating, in the novels, an actual "argumentation" between two poles. This assumption runs counter to the preconception, often conveyed by the critics, that distanciation alone is valued in Queneau's writings.
Given the impossibility to develop, within this work, a complete collection of the ways our problematics, i.e. the relation between belonging to groups and the formation of identity, is reflected in Queneau's novels, we choose (after examining the author own's attitudes) to analyse, in a first step, the major lines of thought related to our subject in each novel, and then to highlight some "attitude types" that emerge from the novels as a whole. This approach, we believe, allows us to draw out the key issues arising from this reflection.
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Balland, Mireille J. "L'être et le Paraître à travers cinq romans de Raymond Queneau." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4220.
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The writings of Raymond Queneau span a period of more than forty years and reflect the multiplicity of his approaches: essays, songs, poems, scenarios for the cinema, translations (from English to French), journal, and novels.
My study focuses mainly on five novels: Le Chiendent (The Bark Tree), Les Fleurs bleues (Between Blue and Blue), Le Dimanche de la vie (The Sunday of Life), Pierrot mon ami (Pierrot) and Zazie dans le métro (Zazie in the Metro), the one that made him known to a wide reading audience. Queneau contributed to the very rich philosophical and literary scene in France sandwiched between twentieth century surrealism and existentialism, drawing much of his inspiration from the popular characters of the everyday Parisian life.
My thesis mainly focuses on Queneau's dichotomy between "what is" and "what appears to be". Because of Queneau's extreme versatility, I do not attempt to analyze every aspect of his writing but limit it to examining his concept of appearance and reality, an approach which cuts across various aspects of his writing.
The first chapter outlines the interplay between the sciences, literature and the concept of humor interpreted in the light of a notion of a participatory rather than a passive reading.
The second chapter, entitled "Le Défi du Langage" (The Challenge of Language), elaborates upon Queneau's "fantasy" world with a concentration on the linguistic elements and play-on-words.
The third chapter, entitled "La Valeur Structurelle" (The Structural Value), deals with the way in which Queneau structures his novels and the different forms taken by his fiction: examination of the symbolic aspect of numbers and forms; echos and symmetry; dream and reality; repetitions and play on the "I/ eye".
The fourth chapter, entitled "L'Etre et le Paraître" (Being and Appearing), answers the main question of appearance and reality while dealing with the philosophy of "being or not being" as well as the resulting corollary of realizing anguish and death. Queneau's characters answer to these eternal questions through a growing awareness and consciousness which drive them to espousing anonymity or popular wisdom. In so doing, Queneau's humor enlarges upon the parody of philosophers such as Parmenides, Plato, Descartes, Camus or Sartre.
In the conclusion, entitled "Au-delà de l'humour" (Beyond Humor), Queneau's laughter which is omnipresent, expresses the underlying condition through his observation of particular individuals in their very individualities. In the final analysis, Queneau's humanism shines forth with great empathy, comprehension, and humility.
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Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
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In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
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Coetsee, Yda Cornelia. "Figuring from within : a study in history, painting and the work of Moses Tladi." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96974.
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Thesis (MA)--Stellenbosch University, 2015.ENGLISH ABSTRACT: This study explores the significance of landscape painting in my own work and in the work of Moses Tladi, one of the lesser-known SA pioneer artists working in the oil painting convention. Through a Romantic lens, I argue that Tladi’s paintings exist as record of his experiences, thoughts and emotions, making use of a hermeneutics ‘from within’, rather than one aimed at Realist exposition. While employing such a hermeneutics in my own practice, I seek out points of connection between Tladi and myself, as well as explore if and to what degree our different socio-political circumstances shape our practices. In part one of the thesis I sketch a narrative backdrop to the era in which Tladi lived and of his relationship to his patrons, mentors and the establishment. I explore his work in relation to popular conventions at the time, matters of modernism and abstraction, as well as to some degree how the landscape genre functions in terms of class. The overall argument is divided in two parts, that of the metaphorical ‘Garden’ and that of the ‘Wilderness’. With this divide I aim to reveal how Tladi employs the transcendent both in the sublime expanse of Sekhukhuneland and in his domestic, everyday reality. The ideological relationship between the Garden and Wilderness is examined in terms of theories on landscape, imperialism and the Lutheran missionary project. In the second part I describe my own work and discuss the contribution it makes. While alluding to many of the devices already discussed in Tladi’s work, I sketch the context in which my own paintings were made and explain some of my stylistic and curatorial choices. In demonstrating how our techniques and methodologies overlap, I aim to cristallise some of the theoretical themes explored.
AFRIKAANSE OPSOMMING: Hierdie studie handel oor die belang van landskapskilder in my eie werk en in the werk van Moses Tladi, een van Suid-Afrika se minder bekende pionier-kunstenaars in die olieverftradisie. Ek argumenteer, deur ’n Romantiese blik, dat Tladi se werk as rekord verskyn van sy ervarings, gedagtes en emosies. In hierdie opsig is sy hermeneutiek ‘inwaarts’ gekeer, eerder as gefokus op die Realistiese ontbloting van sekere sosiale kwessies. Terwyl ek in my eie skilderpraktyk ook van so ’n hermeneutiek gebruik maak, soek ek raakpunte tussen my en Tladi se werk onderwyl ek ondersoek of, en tot watter mate, ons verskillende sosio-politiese omstandighede ons werk vorm. In Deel Een van die tesis skets ek ’n narratiewe agtergrond tot die era waarin Tladi geleef het en kyk na sy verhouding met sy beskermhere (“patrons”), sy mentors en die kunsstigting. Ek ondersoek Tladi se werk aan die hand van populêre konvensies van sy tyd sowel as kwessies van Modernisme en abstraksie. Ek kyk ook vlugtig na hoe die landskap-genre ten opsigte van sosiale stand funksioneer. My algehele argument het twee afdelings, die metafoor van die ‘Tuin’, en dié van die ‘Wildernis’. Met hierdie verdeling beoog ek om te wys hoe Tladi transendente aspekte voorstel in die uitgestrekte, ontsagwekkende landskappe van Sekhukhuneland, maar ook in sy alledaagse, sosiale realiteit. Die ideologiese verhouding tussen die Tuin en die Wildernis word verder ondersoek ten opsigte van teorieë oor landskap, imperialisme en die sendingpraktyke van die Lutherse Kerk. In Deel Twee beskryf ek my eie werk sowel as die bydrae wat dit maak. Ek beskryf die konteks waarin sommige van die skilderye gemaak is, bespreek hul inhoud, en kyk na spesifieke stilistiese en kuratoriale keuses. Deurentyd raak ek aan die tegnieke en temas wat alreeds bespreek is in die afdeling oor Tladi. Deur te demonstreer hoe my en Tladi se tegniek en metodologie oorvleuel, hoop ek om die teoretiese temas wat reeds ondersoek is, te kristalliseer.
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Goodman, Ralph. "The dialogics of satire : foci and faultlines in George Orwell's Animal Farm and Nineteen Eighty-Four." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51961.
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Dissertation (PhD)--Stellenbosch University, 2000.ENGLISH ABSTRACT: This thesis uses Mikhail Bakhtin's theory of dialogism, as well as postmodernism, to open up faultlines in satire, and to explore and challenge various perceptions and discourses surrounding and related to it. Both dialogism and postmodernism are used to suggest fresh approaches to satire, by repositioning it in relation to other discourses and reframing it as a complex dynamic, rather than a closed and inflexible system. Chapter 1 of the thesis opens with an historical survey of the beginnings and subsequent development of satire. It also contains a general discussion of the nature of satiric strategies and opens the door for the incorporation of postmodern perspectives into the argument. Chapter 2 contrasts the issues of morality and re-presentation in satire, arguing that satirists do not simply invite their audience to condemn, but offer them an opportunity to discover alternative worlds. The affinity between satire and postmodernism is emphasised by the postmodern predilection for modes highly favoured by satire: allegory, parody and fantasy. In Chapter 3 the issue of language and its referents is explored, starting with Saussure's theory of how the signifier and the signified function. It is argued that satire has never respected this fixed relationship, and that it is in this respect similar to deconstruction. The last part of the chapter is devoted to examining four key socio-political discourses - psychoanalysis, ideology, propaganda and political myth - in relation to satire. These four discourses are, like satire, intent on influencing the perceptions which people have of the world. The intention in juxtaposing these discourses is to create a dialogic process which will throw a fresh light on all of them, including satire itself. The four socio-political discourses named above play an important part in Animal Farm and Nineteen Eighty-Four, and are relevant to the subsequent discussion of these novels. Chapter 4 consists of a detailed discussion of Animal Farm, in which the various layers comprising the work are examined. The satirical aspects of the novel are closely related to the fabular and fairy tale elements which are an important part of its constitution. These elements or levels are juxtaposed with the historical details alluded to continuously in Animal Farm and indicate its close concern with the world outside the novel. Chapter 5 consists of a detailed exploration of Nineteen Eighty-Four, which is illuminated by a process of dialogism between the modernist ideology from which the novel springs and the postmodern perspective introduced into the thesis, as well as the four socio-political discourses mentioned earlier. The main postmodern theories used in this chapter are those of Foucault. The last section of the thesis demonstrates how Orwell's personal experience drives his satire, and relates this specifically to a discussion of utopia / dystopia in satire.
AFRIKAANSE OPSOMMING: Die Dialogiek van Satire: Fokuspunte en Breuke in Orwell se Animal Farm en Nineteen Eighty-Four: Hierdie proefskrif maak gebruik van Mikhail Bakhtin se teorie van dialogisme, sowel as die postmodernisme, om die breuke in satire bloot te le, en om die verskillende persepsies en diskoerse wat verband hou met die satire te ondersoek en te bevraagteken. Beide die dialogisme en die postmodernisme word gebruik om nuwe perspektiewe op satire te open, deur dit te herposisioneer in verhouding tot ander diskoerse en dit voor te stel in terme van 'n komplekse dinamika eerder as 'n geslote en onbuigsame sisteem. Die eerste hoofstuk van die proefskrif begin met 'n historiese oorsig van die oorspronge en daaropvolgende ontwikkeling van satire. Dit omvat ook 'n algemene bespreking van die aard van satiriese strateqiee en open die moontlikheid om postmodernistiese perspektiewe in die argument te integreer. Hoofstuk 2 kontrasteer die kwessies van moraliteit en representasie in satire met mekaar; daar word geargumenteer dat satirici nie net hulle gehore uitnooi om te veroordeel nie, maar hulle die geleentheid gee om alternatiewe werelde te ontdek. Die verwantskap tussen satire en postmodernisme word benadruk deur die postmodernisme se voorliefde vir die modi waaraan die satire so dikwels voorkeur gee: allegorie, parodie en fantasie. In hoofstuk 3 word die kwessie van taal en referensialiteit ondersoek, beginnende by Saussure se teorie oor die funksionering van die betekenaar en die betekende. Daar word geargumenteer dat satire nog nooit die vaste verhouding tussen betekenaar en betekende eerbiedig het nie, en dat dit in hierdie opsig verwant is aan die dekonstruksie. Die laaste gedeelte van die hoofstuk word gewy aan 'n ondersoek van vier sentrale sosio-politiese diskoerse - psigoanalise, ideologie, propaganda en politieke mitologie - in verhouding met satire. Hierdie vier diskoerse is, soos satire, daarop ingestel om mense se persepsies/opvattings van die. wereld te verander. Die doelstelling met die jukstaposisie van hierdie diskoerse is die skep van 'n dialogiese proses wat al vier hierdie diskoerse, insluitende satire, in 'n nuwe lig sal stel. Die genoemde sosio-politiese diskoerse speel 'n belangrike rol in Animal Farm en Nineteen Eighty-Four, en is relevant vir die daaropvolgende bespreking van die romans. Hoofstuk 4 bestaan uit 'n gedetailleerde bespreking van Animal Farm, waarin daar ondersoek ingestel word na die verskillende lae waaruit die roman bestaan. Die satiriese aspekte van die roman word in noue verband gebring met die fabulere en die feeverhaalelemente wat so 'n belangrike deel uitmaak van die roman se samestelling. Hierdie elemente of vlakke word gejukstaponeer met die historiese detail waarna daar deurlopend in Animal Farm verwys word en wat die noue bemoeienis met die wereld buite die roman aandui. Hoofstuk 5 bestaan uit 'n intensiewe ondersoek van Nineteen Eighty-Four, wat belig word deur 'n proses van dialogisme tussen die modernistiese ideologie waaruit die roman spruit en die postmodernistiese perspektiewe wat in die proefskrif ingevoer word. Die belangrikste postmodernistiese teoriee wat in hierdie hoofstuk gebruik word, is die van Foucault. Die laaste afdeling van die proefskrif demonstreer hoedat Orwell se persoonlike ervaring bepalend is vir sy satire en bring dit spesifiek in verband met 'n bespreking van utopie/distopie in satire.
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Marais, Lodewikus Stefanus. "Die huis as betekenisvolle ruimte in enkele Afrikaanse gedigte, met spesifieke verwysing na die bewoningsfilosofiee van Heidegger, Bolnow en Bachelard en Vierluik." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/86862.
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Thesis (MA)--Stellenbosch University, 2008.ENGLISH ABSTRACT: The first section of this thesis aims at creating a reading strategy for the analysis of poetry thematically concerned with habitation and the space of the house. Selected Afrikaans poems, forming part of a newer house-poetry that breaks away from the idyllic, genial representation of the house in earlier Afrikaans poetry, are examined. The theoretical equipment utilised in this examination is the habitation philosophies of Martin Heidegger, Otto Friedrich Bollnow and Gustav Bachelard. Various related insights in the work of these philosophers are developed into a three-tiered model for the interpretation of house poetry. Supplementing the abovementioned framework is the socio-historical work of Joseph Rykwert and Ton Lemaire. Both these theorists explore the close connection between the space of the house and the realisation of mortality and transience. The application of the philosophical model facilitates, on the micro level of image and word choice, a fresh understanding of the selected poems, as well as a wider philosophical contextualisation of their thematic content. The reading strategy and the application thereof could also provide the means with which a new philosophical scrutiny of Afrikaans house-poetry can be achieved. The abovementioned formal essay is presented as coupled with a collection of original Afrikaans poems, entitled Vierluik, the creative section of this thesis. Vierluik examines, among other things, aspects of habitation in city, town and countryside, and reflects on descent, rootedness, displacement and the interconnection of space and identity.
AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis het as doel die daarstelling van ’n leesstrategie waarmee poësie wat tematies oor die huisruimte en bewoning handel, ondersoek kan word. Geselekteerde Afrikaanse gedigte, wat deel vorm van ’n nuwer huispoësie wat sedert die sestigerjare wegbreek van die idilliese, gemoedelike uitbeelding van die huis in vroeër Afrikaanse gedigte, word ondersoek. Die teoretiese apparatuur wat in hierdie ondersoek aangewend word, is die bewoningsfilosofieë van Martin Heidegger, Otto Friedrich Bollnow en Gustav Bachelard. Verskeie verbandhoudende insigte in die werk van hierdie denkers word ontwikkel tot ’n drieledige interpretasiemodel vir huispoësie. Hierby dien as aanvulling die kultuur-historiese werk van Joseph Rykwert en Ton Lemaire, waarin die noue band tussen die huisruimte en die doods- of verganklikheidsbesef uitgewerk word. Die toepassing van hierdie filosofiese begripsapparatuur fasiliteer op die mikrovlak van beelde en woordkeuse ’n vars verstaan van die vyf geselekteerde gedigte, asook ’n breër filosofiese kontekstualisering van hulle tematiese inhoud. Die leesstrategie en toepassings sou ook ’n filosofiese oopdek van die huispoësie in Afrikaans kon bemiddel. Hierdie akademiese gedeelte dien verder as ’n verbandhoudende oefening by die kreatiewe gedeelte van die tesis, naamlik ’n digbundel, Vierluik. Die bundel ondersoek, onder andere, aspekte van bewoning in stad, dorp en platteland, en bied ’n besinning aan oor herkoms, geworteldheid, verplasing en die verweefdheid van ruimte en identiteit.
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Travis, Christopher Michael. "The dialectical voice of Enrique Lihn and the metapoetics of twentieth-century Latin American literature." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035990.
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Burton, Benjamin Robert. "The Revolution Will Not Be Politicized: Political Expression in the Manga Adaptations of Kanikōsen." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/4157.
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Kobayashi Takiji's (1903-1933) Kanikōsen (The Crab Cannery Ship, 1929), the outstanding work from the proletarian literary movement, experienced an influx of new adaptations into various mediums during the years that preceded and followed the "Kanikōsen boom" of 2008. This thesis focuses on two manga adaptations that provide readers with starkly different takes on the original story. Using theories by Scott McCloud and Azuma Hiroki, I first attempt to draw parallels between the form of manga and that of the novel. Then, I examine the manner in which the most explicitly political content of the novel is adapted into the manga versions. Through this examination of form and content, it becomes apparent that, despite their differences, both adaptations reinforce a vague, individualist-humanist ideology that undermines the notions of class consciousness and class struggle that are central to the narrative of Kanikōsen. This diminishing of the explicitly "Red" aspects of the original reflects the Japanese public's general aversion to politics that has persisted since the early 1970's until this day.
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Shin, Dong Jin. "Hugo Wolf's Interpretation of Paul Heyse's Texts: An Examination of Selected Songs from the Italienisches Liederbuch." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33202/.
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In a Romantic song cycle or songbook, songs tend to share many common ideas because they are used to set to the poems from one collection written or collected by one author. Many composers designed the same motivic or structural elements to a group of songs for unity, and sometimes they made chronological narratives for the series of poems. Music theorists have tried to find out a way of giving a sense of unity or narrative to the songs in a song cycle or songbook by analyzing its musical language and text setting. They have suggested plausible explanations for the relationships among the songs in a song cycle or songbook, and some theorists have traced the tonal movements and provided a visual explanation for them. Hugo Wolf's two volumes of the Italienisches Liederbuch (1890-91, 1896) were set to the forty-six poems from Paul Heyse's well-selected works. Wolf's way of selecting poems from Heyse's collection seems inconsistent, and his song ordering in the both volumes does not show evident rules. However, a closer study for relationships between the songs could widen our perspective to comprehend the whole songbook as a unified storyline. This study selected the first four songs from each volume of the Italienisches Liederbuch, and analyzed the eight songs in a traditional way, accounting for harmony, motivic feature, tonal movement, form, and text setting. The study finds that Wolf used the third relationships among the songs to convey a storyline in his order of the songs, and especially exploited the direction of thirds for his own narrative. While this may only be a pilot study with partial results, it can serve as a stimulus for a comprehensive study of factors that provide unity in the cycle as a whole.
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Vale, Julio. "O modernista no antiquário = Pedro Nava, as Memórias e o modernismo." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270231.
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Orientador: Antonio Arnoni PradoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este estudo pretende compreender as Memorias de Pedro Nava enquanto um produto tardio do movimento modernista. Para isto, investiga especialmente as relações desta obra com o modernismo de Mário de Andrade, de cujas ideias o memorialista julga-se devedor. Progressivamente, a análise encaminha-se de modo a demonstrar as peculiaridades da obra de Nava, notadamente a sua atração pela literatura fin de siècle e, sobretudo, a sua peculiar concepção de tempo - traço mais visível quando comparada à obra de outros colegas de movimento, como Carlos Drummond de Andrade e Murilo Mendes (outros memorialistas tardios) ou ainda Oswald de Andrade. Esta peculiar concepção de tempo colaborará para, na "Conclusão" do trabalho, compor a feição tardia do ciclo naviano, então entendido numa chave saidiana (isto é, de acordo com Edward Said em Estilo Tardio). Com isto, espera-se justificar, mais especificamente, a posição insular das Memórias no contexto do modernismo brasileiro
Abstract: This work examines the Pedro Nava's Memorias as a late product of the Modernist movement. In this sense, we study the relationship of this text with the Modernism conceived by Mario de Andrade (whose ideas have influenced a lot Nava in the 20s). Subsequently, the analysis aims to demonstrate the peculiarities of Nava's Memorias, highlighting the importance of Symbolist-Decadent movement and the peculiar concept of time proposed in this memorial narrative. In the latter case, the Memorias are compared with other modernist works: late memoirists as Carlos Drummond de Andrade and Murilo Mendes (besides, in another chapter, Oswald de Andrade's poems) illustrate this critical path. In the "Conclusion", this peculiar conception of time is important to understand this memories as late work (according to the ideas of Edward Said in his book On Late Style). This is intended to describe the insular position of Nava's Memorias in the context of Brazilian Modernism
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária
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Gutierrez, III Jose. "Investigating Kracauerian cinematic realism through film practice and criticism: Life-world series (2017) and selected films of Lino Brocka." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/525.
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This dissertation is an investigation on the realist film theory of Siegfried Kracauer. It was principally conducted through film practice as exemplified by the ten short films that compose the omnibus film project, Life-world Series (dir. Joni Gutierrez, 2017, 118 minutes). To supplement the study's examination of Kracauerian cinematic realism (KCR), film criticism of selected works of Lino Brocka was also accomplished. The methodology involved three components: (1) research-based production of Life-world Series; (2) textual analyses of the said film collection and selected Brocka films; and (3) meta-analysis of the scholarly criticism on the Brocka film. This dissertation is the first to use film-making practice which was a part of the research project and devised to investigate KCR, which avows that the cinematic experience of physical reality as an object of contemplation fosters an intuitive understanding of the Lebenswelt (life-world) and, in turn, brings about the redemptive potential of film vis-à-vis the modern condition. The emergent design of Life-world Series opened the study to a wide range of possibilities that it could not have encountered if it limited itself to applying a particular theory as a framework in doing film criticism of pre-existing works. This project - through both its film practice and criticism components - is an interweaving of key notions from Husserlian phenomenology and the seven KCR tropes identified in the study, namely: (1) the quotidian; (2) the transient; (3) the refuse; (4) the fortuitous; (5) the indeterminate; (6) the flow of life; and (7) the spiritual life itself. The phenomenological engagement of this investigation has provided opportunities for expanding the inventory of KCR tropes, to conceivably include characteristics of the Lebenswelt which form part of the project's overall findings; that is, the life-world as: (1) expansive; (2) multi-layered; (3) flowing; (4) in the process of becoming; (5) resonantly intersubjective; (6) a thing of beauty; (7) relating to essences; (8) cyclical; (9) transcendent; (10) meaning-laden; (11) fragmented; and (12) malleable. The dissertation explicates how its phenomenological approach in inspecting KCR led to the construction of a prospective model of cinematic realism - the integrated quadrant model of Kracauerian cinematic realism (IQMKCR) - and finally, determines the implications and prospects of using film practice as an instrument in interrogating KCR.
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Crous, Emile David. "Romantik in der Postmoderne : Christian Krachts Faserland." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86419.
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Thesis (MA)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates Romantic motifs in Postmodernism, especially Romantic motifs in Christian Kracht’s postmodern pop novel Faserland. Although in many aspects the era of German Romanticism (ca. 1798 – 1835) in literary history is seen as completed, Romanticism, as demonstrated in this thesis, still plays a significant role in today's postmodern literature. Even though discussions on this subject already exist, by theorists such as Blanning, Safranski and Lüthe, whose views provide the theoretical foundations for this hypothesis, concrete text investigations were yet still absent until now. Based on a comparison between themes and motifs of well-known Romantic texts, such as Heinrich von Ofterdingen (Novalis) , Aus dem Leben eines Taugenichts (Joseph von Eichendorff) as well as Der Sandmann (E.T.A. Hoffmann), and Christian Kracht’s postmodern Faserland, the continuity of Romanticism is illustrated in this study. The study not only provides an in depth analysis of the mentioned texts, but also, by means of comparison, clearly illustrates and evaluates to which extent Romantic thought has altered in a postmodern context.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek Romantiese motiewe in Postmodernisme, veral Romantiese motiewe in Christian Kracht se postmoderne poproman Faserland. Alhoewel in baie aspekte die tydperk van die Duitse Romantiek (ongeveer 1798 – 1835) in die literêre geskiedenis as afgehandel beskou word, speel die Romantiek, soos gedemonstreer in hierdie tesis, steeds 'n belangrike rol in vandag se postmoderne literatuur. Hoewel daar reeds besprekings oor hierdie onderwerp bestaan, deur teoretici soos Blanning, Safranski en Lüthe, wie se sienings die teoretiese basis vir hierdie hiptese bied, was konkrete teksondersoeke egter tot nou toe afwesig. Gebaseer op 'n vergelyking tussen die temas en motiewe van bekende Romantiese tekste, soos Heinrich von Ofterdingen (Novalis), Aus dem Leben eines Taugenichts (Joseph von Eichendorff) sowel as Der Sandmann (E.T.A. Hoffmann), en Christian Kracht se postmoderne Faserland, word die kontinuïteit van die Romantiek in hierdie studie geïllustreer. Die tesis bied nie net 'n in diepte ontleding van die genoemde tekste nie, maar illustreer en evalueer ook duidelik, deur middel van vergelyking, tot watter mate Romantiese motiewe in 'n postmoderne konteks verander het.
GERMAN ABSTRACT: Zusammenfassung: In dieser Arbeit wird auf romantische Motive in der Postmoderne, im Besonderen aber auf romantische Motive in dem postmodernen popliterarischen Roman Christian Krachts Faserland eingegangen. Obwohl in der Literaturgeschichte die Epoche der deutschen Romantik (ca. 1798 – 1835) als abgeschlossen gesehen wird, spielt die Romantik, wie in dieser Arbeit gezeigt wird, eine bedeutende Rolle in der heutigen postmodernen Literatur. Auch wenn es bereits Diskussionen zu diesem Thema gibt, von Theoretikern wie Blanning, Safranski und Lüthe, deren Ansichten die theoretischen Grundlagen für diese Hypothese liefern, sind konkrete Textuntersuchungen bisweilen dennoch ausgeblieben. Anhand eines Vergleichs zwischen Themen und Motiven von bekannten romantischen Texten, wie Heinrich von Ofterdingen (Novalis), Aus dem Leben eines Taugenichts (Joseph von Eichendorff) sowie auch Der Sandmann (E.T.A. Hoffmann), und Christian Krachts postmodernen Faserland , wird die Kontinuität der Romantik in dieser Arbeit dargestellt. Die These liefert nicht nur eine eingehende Analyse der genannten Texte, sondern illustriert und bewertet auch deutlich, mit Hilfe von einem Vergleich, inwiefern sich der romantischen Geist sich in einem postmodernen Kontext verändert hat.
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Santiago, Ana Luisa de Miranda. "Adorno: o ensino e a atualidade da filosofia." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21420.
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This dissertation aims at the work of Teodor W. Adorno, with a focus on theoretical and bibliographic research, in order to better understand the practice of Philosophy teaching, what its objectives should be, as well as the issues that should in any way be misunderstood. Think through the practice based on reflection rather than just a specific methodology. Also work towards the proposed curriculum for the State of São Paulo and performing a critical analysis of part of this curriculum. In addition to that, the reflection exercise proposed from the teacher's point of view is considered vital
A presente dissertação pretende direcionar o olhar para a obra de Teodor W. Adorno, com esteio em pesquisa teórica e bibliográfica, com intuito de compreender melhor a prática do ensino de filosofia, quais deveriam ser seus objetivos, a quais questões não deveria esquivar-se. Pensar a prática a partir da reflexão e não de uma metodologia específica. Bem como voltar-se para o currículo proposto para o Estado de São Paulo e efetuar a análise crítica de parte desse currículo. Considera-se vital o exercício de reflexão proposto do ponto de vista do professor
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Jalabert, Adeline Marie. "Zazie dans le métro = violência na escrita de Raymond Queneau e nas traduções para o português do Brasil." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269766.
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Orientador: Maria José Rodrigues Faria CoraciniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: No romance Zazie dans le métro (1959), Raymond Queneau explora a linguagem coloquial, valendo-se da língua que chamou de neo-francês. O autor faz um verdadeiro "exercício de estilo" oral popular, em que mistura registros e faz paródias, imprimindo ao romance, além de um ritmo rápido, redundâncias, ortografia fonética, ausência de concordâncias gramaticais, arcaísmos etc. em franca oposição aos preconceitos em relação à língua oral. O oulipiano questiona a língua, provocando o leitor e obrigando-o a se distanciar da linguagem a que está habituado. Este trabalho propõe uma reflexão sobre a violência observada tanto no texto dito 'original' de Queneau, quanto na tradução e, em particular, na passagem do neo-francês à língua portuguesa do Brasil. Se a própria escrita de Zazie na língua original (o neo-francês) já é um exercício, da tradução espera-se um trabalho que podemos chamar de "trabalho dobrado". Para tanto, admite-se a violência na tradução, o que permite levantar várias questões relativas à língua, à cultura, à identidade, à dicotomia entre língua oral e língua escrita, entre obra original e obra traduzida, além de questionar os limites e as proibições, a criação literária, o trabalho do tradutor, as normas acadêmicas, o desafio da escrita e favorece a divulgação de obras literárias importantes
Abstract: In the novel Zazie dans le métro (1959), Raymond Queneau explores colloquial language, making use of what he called neo-French. The author makes a real popular and oral "exercise in style", mixing registers and parodies, making the novel fast paced and using redundancy, phonetic spelling, grammatically incorrect expressions, archaisms etc. in clear opposition to the prejudices about oral language. The oulipian questions language and culture provoking the reader and forcing him to distance himself from the language he is accustomed to. This work proposes a reflection on violence observed both in Queneau's 'original' text and in its translations, particularly between neo-French and Brazilian Portuguese. If the actual writing of Zazie in the original language (neo-French) was already an exercise, in translation, a kind of "double work" is expected. Admitting violence in translation allows us to raise several issues relating to language, culture, identity, the dichotomy between oral and written language, and between original work and translated work, to limits and prohibitions, literary creation, the work of the translator, academic standards, the challenge of writing and dissemination of important literary works
Mestrado
Teoria, Pratica e Ensino da Tradução
Mestre em Linguística Aplicada
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Vicari, Eliana. "C'est en traduisant qu'on devient traduiseron." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100210.
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Articulée en trois chapitres, cette thèse qui vise à endiguer la toute-puissance de la traductologie porte, d’abord, sur l’analyse d’un extrait de Simenon inséré dans La belle Hortense, puis sur l’examen des erreurs relevées dans 40 versions d’étudiants de l’université de Venise confrontés avec un passage d’Agnès Desarthe et, enfin, sur la traduction du « Maladroit » de Raymond Queneau par Umberto Eco. Comme le titre l’indique, cette thèse revendique l’importance de la pratique. Ce n’est pas à force d’étudier des grammaires qu’un jour on se réveille écrivain, une plume ou un clavier à la main. De même, c’est une évidence, on ne devient pas traducteur sans traduire, bien que l’exercice ne puisse garantir l’excellence du résultat. C’est un truisme, une lapalissade dont il n’est pas inutile de rappeler la vérité, à un moment où la traductologie devient de plus en plus envahissante. Comme toute théorie, elle tend à l’abstraction et à la généralisation, tandis que la pratique, elle, se confronte au hic et nunc. C’est pour cela même qu’elle risque de se révéler non seulement inadéquate, mais aussi dangereuse. Car la littérature, loin d’être l’application de la norme, est le lieu de l’écart. Or, il est difficile de résister à l’autorité d’un dictionnaire, d’un traductologue ou d’un critique, plus difficile encore s’ils sont auréolés de prestige. Toute traduction comporte deux phases. La première est axée sur une analyse stylistique du texte-source et implique une excellente maîtrise de la langue et de la culture de son monde d’origine. C’est le moment de l’esclavage où le traducteur est complètement au service de l’auteur, où il cherche à comprendre sans juger, où – tel un amoureux – il écoute sa voix pour pouvoir l’interpréter. Mais le moment de l’esclavage qui enchaîne au texte originel est aussi le moment de l’apprentissage, le moment où le traducteur peut pénétrer les secrets d’une écriture d’auteur. Sans cette phase préalable, on ne devrait même pas parler de traduction. Si on ne lit pas attentivement – à la loupe – l’œuvre qu’on doit transplanter ou si on ne connaît pas assez la matière dont elle est faite, on finit par se fier aux dictionnaires, par appliquer des recettes toutes faites. C’est une autre voix que celle de l’auteur que l’on entendra, alors, au-delà des frontières. C’est dans cette phase que des préjugés ou des brouillages théoriques assez enracinés ou assez puissants sont intervenus, d’après mon analyse, dans les extraits examinés. Ils ont entraîné la banalisation de Simenon (mais non de Roubaud qui emprunte ses mots) aussi bien que la plupart des incorrections des étudiants (souvent induites paradoxalement par l’usage du dictionnaire). Ils ont poussé également Umberto Eco à remanier radicalement un texte de Raymond Queneau qu’il avait considéré comme l’un des moins réussis, alors qu’il est sans aucun doute l’un des plus importants – et peut-être le plus important - des Exercices de style. Dans la deuxième phase, le traducteur qui accepte d’écrire sous contrainte – sous les contraintes que lui impose le texte-source – connaît aussi la joie de la liberté. Car la contrainte le libérera et le poussera à exploiter toutes les potentialités insoupçonnées, toutes les ressources de la langue et de la culture d’arrivée pour rendre le plus fidèlement la voix de l’auteur, auquel l’analyse et la compréhension l’ont enchaîné. C’est un effort de Sisyphe, mais qui peut rendre heureux. Car c’est aussi en traduisant qu’on devient écriveronSet out in three chapters, this thesis which has the aim of investigating the omniscience of translation, starts out by analyzing an extract from Simenon in La Belle Hortense then moves to a study of the mistakes made in 40 translations by students at the University of Venice from a text by Agnès Desarthe and, finally, looks at the translation by Umberto Eco of Raymond Queneau's "Maladroit".As its title suggests, this thesis underlines the importance of practice. One does not suddenly wake up a writer one morning, a pen at the ready simply because one has studied grammar.At the same time one obviously does not become a translator without translating, although practice in itself does not guarantee the excellence of the outcome. This is a truism worth remembering at a moment when translation studies are becoming more and more invasive. Like every theory it tends towards abstraction and generalization while practice concerns itself with the here and now. But it is exactly for this that it risks revealing itself not only as inadequate but also dangerous. For literature, far from being the application of the norm, is where the gap exists. However it is difficult to resist the authority of a dictionary, of a translation expert or of a critic, even more so if they are surrounded by a halo of prestige.Every translation consists of two phases. The first is based on a stylistic analysis of the source text and implies an excellent mastery of the language and of the culture from where it originates. This is the moment of enslavement when the translator is at the complete service of the author, where he tries to understand without judging, like a lover, he listens to his voice so that he can interpret it. But the stage of enslavement which chains one to the original text is also the moment of apprenticeship, the moment when the translator can enter into the secrets of an author's writing. Without this initial phase, one should not even speak of translation. If one does not read carefully, as under a magnifying glass, the work that one must transplant and where one does not know sufficiently what makes it up, one ends up by relying too much on dictionaries, to apply ready-made solutions. There is another voice apart from the author's that one must hear, beyond the normal boundaries.It is in this phase that well-rooted and strong prejudices or theoretical garble, according to my analysis, have intervened in the extracts examined. They have caused a banalisation of Simenon (but not of Roubaud who borrowed his words) as well as most of the errors of the students (and often brought about, paradoxically, the use of dictionaries). In the same way they pushed Umberto Eco to meddle radically with a text of Raymond Queneau that he considered one of the latter's less successful ones, even though it is one of the most important, and perhaps the most important, in Exercices de style.In the second phase, the translator who accepts to write under constraint, under the constraints imposed by the source text, also knows the joy of liberty. Because the constraint will free him and push him to take full advantage of unexpected potentiality, of all the resources of the language and culture and to render the voice of the author in the most faithful way, and to whom the analysis and comprehension chained him. It is the work of Sisyphus but which can create contentment. Because it is also by translating that one becomes a writer
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Dixon, Frances. "Circling the terrain : the pattern of Seamus Heaney's poetic discovery, 1966-1987." Phd thesis, 1991. http://hdl.handle.net/1885/139120.
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Larkin, Owen James. "The horror and the glory : transformation of satire to mature faith in the writing of T.S Eliot and Evelyn Waugh." Phd thesis, 2004. http://hdl.handle.net/1885/151310.
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Adler, Michelle. "The literary, personal, and scio-political background of William Plomer's Turbott Wolfe." Thesis, 2014. http://hdl.handle.net/10539/15252.
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This dissertation examines William Plomer's first novel,
Turbott Wolfe (1925), within its socio-political and
literary context, and also explores the crucial relationship
between the author's life and his work. Turbott Wolfe
at one level represents Plomer's complex responses to and
interpretation of the South African milieu during the
early 1920s. During this decade, the foundations of modem
Apartheid were being consolidated, and African Nationalism
emerged as a powerful challenge to the South African
state. Turbott Wolfe is informed by these political
developments, and the milieu and events portrayed in the
novel vividly express the author's feelings about and attitudes
towards the society he finds himself in.
Since its publication, ZiZ&stsJBal&a has suffered considerable
critical neglect The superficiality of much of
the existing criticism about the novel must be challenged,
since Turbott Wolfe is not only of tremendous intrinsic
literary merit, but also provides valuable insights into
the socio-political environment and historical moment in
which Plotter wrote. Thus one of the novel's main concerns
is the all informing "colour question", which dominated
political debate in the 1920s.
Plomer's appr< -• "colour question" is
unorthodox,« rajor question confronting the reader is
how this unusual novel cane to be written. An examination
of earlier fiction reveals that Turbott Wolfe is both influenced
b; and a reaction against existing literary
traditions, while the major themes show in what way and to
what extent the novel is engaged with contemporary sociopolitical
issues. The key to this crucial question,
however, lies in a detailed exploration of the author's
personal history.
Turbott Wolfe emerges as an important work within the
development of South African literature, a novel which encapsulates
some of the complexity and diversity of contemporary
South Africa, as perceived by its youthful author.
32
"謝章鋌詞學研究." 2005. http://library.cuhk.edu.hk/record=b5892734.
Full textAbstract:
曾智聰."2005年6月"
論文(哲學碩士)--香港中文大學, 2005.
參考文獻(leaves 167-185).
"2005 nian 6 yue"
Abstracts also in English.
Zeng Zhicong.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005.
Can kao wen xian (leaves 167-185).
中文提要 --- p.i
英文提要 --- p.ii
目錄 --- p.iii-vi
Chapter 第一章 --- 緒論
Chapter 第一節 --- 硏究目的及方法 --- p.1-2
Chapter 第二節 --- 前人硏究成果述評 --- p.2-12
Chapter 第三節 --- 小結 --- p.12
Chapter 第二章 --- 謝章鋋生平考略
Chapter 第一節 --- 傳略
Chapter 1. --- 家世、經歷 --- p.13-21
Chapter 2. --- 性格爲人 --- p.21-22
Chapter 3. --- 政治思想 --- p.22-27
Chapter 4. --- 文學觀念 --- p.27-28
Chapter 第二節 --- 著述
Chapter 1. --- 《賭棋山莊詩集》 --- p.29-30
Chapter 2. --- 《酒邊詞》 --- p.30-33
Chapter 3. --- 《說文閩音通》 --- p.33-34
Chapter 4. --- 《賭棋山莊詞話》、《賭棋山莊詞話續篇》 --- p.35-35
Chapter 5. --- 《稗販雜錄》 --- p.35-36
Chapter 6. --- 《詞學纂說》 --- p.36-36
Chapter 7. --- 《我見錄》 --- p.36-37
Chapter 8. --- 《聚紅榭雅集》 --- p.37-40
Chapter 第三節 --- 交遊
Chapter 1. --- 劉家謀 --- p.41-43
Chapter 2. --- 黃宗彝 --- p.43-44
Chapter 3. --- 林壽圖 --- p.45-47
Chapter 4. --- 譚獻 --- p.47-48
Chapter 5. --- 林紓 --- p.48-52
Chapter 第四節 --- 小結 --- p.52-52
Chapter 第三章 --- 謝章鋋詞學背景探析
Chapter 第一節 --- 學術思潮
Chapter 1. --- 經世致用 --- p.54-60
Chapter 2. --- 漢宋兼採 --- p.60-62
Chapter 第二節 --- 政治環境 --- p.62-64
Chapter 第三節 --- 詞學理論
Chapter 1. --- 浙西詞派 --- p.65-68
Chapter 2. --- 常州詞派 --- p.68-72
Chapter 第四節 --- 詩學批評
Chapter 1. --- 袁枚「性靈說」 --- p.73-77
Chapter 2. --- 潘德輿《養一齋詩話》 --- p.77-82
Chapter 第五節 --- 小結 --- p.82-83
Chapter 第四章 --- 謝章鋋詞學管窺
Chapter 第一節 --- 起源說
Chapter 1. --- 詩詞同源 --- p.84-90
Chapter 2. --- 詩詞異同 --- p.90-91
Chapter 第二節 --- 性情說
Chapter 1. --- 釋性情 --- p.92-103
Chapter 2. --- 性情說主張之一批評準則 --- p.103-107
Chapter 3. --- 性情說主張之二 性情與詞人性格、品德之關係 --- p.107-111
Chapter 4. --- 性情說主張之三 對豔詞的新看法 --- p.111-113
Chapter 第三節 --- 寄託說 --- p.114-118
Chapter 第四節 --- 流派說
Chapter 1. --- 浙西詞派 --- p.119-129
Chapter 2. --- 常州詞派 --- p.129-134
Chapter 第五節 --- 閩詞說 --- p.134-142
Chapter 第六節 --- 詞律說 --- p.142-148
Chapter 第七節 --- 詞量說 --- p.149-151
Chapter 第八節 --- 小結 --- p.151-153
Chapter 第五章 --- 謝章鋋詞學評價
Chapter 第一節 --- 以情論詞，深得詞中三昧 --- p.154-156
Chapter 第二節 --- 確立理論與推動創作，促進閩詞發展 --- p.156-158
Chapter 第三節 --- 論浙、常二派不囿門戶之見 --- p.158-160
Chapter 第四節 --- 寄託說著重讀者 --- p.160-164
Chapter 第六章 --- 結論 --- p.165-166
參考書目舉要 --- p.167-185
附錄1：《賭棋山莊詞話》以外所見謝章鋋詞論彙編 --- p.186-195
附錄2：謝章铤年譜簡編 --- p.196-233
附錄3：《賭棋山莊詞話》論閩詞資料簡編 --- p.234-269
33
Maclean, Lisa Anne. "Henry James and James McNeill Whistler : representing modernity." Thesis, 1997. http://hdl.handle.net/2429/6754.
Full textAbstract:
This thesis is an examination of Henry James and James McNeill Whistler as
cultural analysts of modernity. Using the theoretical work of Peter Burger, Jurgen
Habermas and Theodor Adorno as a frame, I analyse James's and Whistler's theoretical
and artistic responses to modernity and the problematic status of autonomous art and the
modernist artist in late nineteenth century industrial capitalism. In so doing, I place both
figures in their social and historical context and show how their work not only reflects but
itself participates in the complex social and cultural transformations of late nineteenth
century society.
While Henry James has continued to attract critical attention from many quarters,
those who have studied him in the larger context of nineteenth-century avant-garde culture
are still relatively few. Of those contextual studies, none has examined James's career and
work in the light of parallel developments in avant-garde visual art during this important
and complex period. James McNeill Whistler, like Henry James an American expatriate
working in late nineteenth century London, has been the subject of many studies
describing his formal achievement; however, he has not yet attracted the attention of
critics interested in theories of modernist representation, gender and sexuality. Because
modernisation was a phenomenon which had an impact on all aspects of late nineteenth
century culture, as both James and Whistler themselves acknowledge, my interdisciplinary,
contextualist approach to cultural production can illuminate aspects of cultural theory and
practice which might remain hidden in analyses contained within disciplinary boundaries.
The present thesis is not primarily a work of art-historical scholarship nor is it an in-depth
textual analysis of the Jamesian canon; it is an analysis of the ways in which two
individuals deal with the conditions of their artistic practice. My thesis is original in its
bringing together of two important figures - a writer and a visual artist - whose theory and
practice reveals the complexity of early modern art's dialectical relationship with
modernity. In so doing, I offer a critical reevaluation of the work of Henry James and
James McNeill Whistler in light of its engagement with the discourses of modernity and
modernism.
34
Motsa, Ntombizodwa Thembelihle Gertrude. "A tiger in the court: the nature and implications of Wole Soyinka's interactions at the Royal Court Theatre: 1956-1966." Thesis, 2012. http://hdl.handle.net/10539/11144.
Full text
35
"Die vroulike beginsel in die kuns van Irma Stern." Thesis, 2015. http://hdl.handle.net/10210/14123.
Full textAbstract:
M.A. (Fine Arts)The predominant artistic motif in the art of Irma Stern is the fecale figure. Stern prefers certain "types" of females in her art - that of young girls, of adolescents, of female workers, of nudes, of brides, of mature women and of mothers. This dissertation aims to show that these different motifs are not isolated, but rather interrelated to elicit a holistic symbolic syntax in the art of Stern. The symbolic relevance is extended with regard to her personalized world and with regard to the world around her. In Chapter 1 the female figure is analysed in terms of its forma7 qualities and the types of motifs in the art of Stern are juxtaposed with the characteristic types of motif preferred by the German Expressionists. It is noted that the female figure in the art of Stern is closely associated with the cultivation of the land - so much so that a cycle emerges which includes such activities as planting, bearing fruit and harvestirg. Other motifs such as young girls, adolescents and mature women indicate a cycle in the physiological as well as psychic development of the female. In Chapter 2 the symbolic meaning of the motifs is discussed in terms of the cultivation cycle of the land and the cycle tracing the deveThpment of the female. A corollary is also established between the female's role in the cultivation of the land and the female's own development. Chapter 3 examines the symbolic relevance of the art of Stern in terms of her ontogenetic development as human being in relation to society and in terms of the phylogenetic development of society itself. The relevance of the female principle in the art of Stern is evauated in terms of the above approach in the final chapter.
36
Davis, Victoria Ann. "Restating a parochial vision: a reconsideration of Patrick Kavanagh, Flann O'Brien, and Brendan Behan." Thesis, 2005. http://hdl.handle.net/2152/1532.
Full text
37
"詩學、意識形態及贊助人與翻譯: 梁實秋翻譯研究." 2005. http://library.cuhk.edu.hk/record=b6073899.
Full textAbstract:
白立平.呈交日期: 2004年10月.
論文(哲學博士)--香港中文大學, 2005.
參考文獻 (p. 219-238).
Cheng jiao ri qi: 2004 nian 10 yue.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts also in English.
Bai Liping.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005.
Can kao wen xian (p. 219-238).
38
"台灣鄉土文學的變異: 袁哲生、童偉格、甘耀明小說研究 = Variation of Taiwanese nativist literature : a study of Yuan Zhesheng's, Tong Weiger's, Gan Yaoming's novels." 2014. http://library.cuhk.edu.hk/record=b6116457.
Full textAbstract:
鄉土文學是台灣文學的重要文學傳統，其發展始於1930年代，於1960、70年代走進巔峰時期，並在1980年代一度趨於沉寂。直至近年台灣文壇出現一批以鄉土為創作為重心的新世代作家，鄉土書寫漸漸重新成為一股潮流，論者更相繼提出「新鄉土」或「後鄉土」等的概念，用以概括上世紀九十年代以後台灣鄉土文學發展的整體現象，鄉土文學遂再次成為一個重要的研究課題。本文嘗試以回溯台灣鄉土文學發展史的方式切入上述研究課題，並透過深入考察三個新世代代表作家──袁哲生、童偉格、甘耀明──的鄉土寫作，藉以探究台灣鄉土文學從「鄉土」過度「新／後鄉土」的變異情況。本文共分五章。第一章緒論，說明本文的研究動機、範圍、方法和前人研究綜述，並概述台灣鄉土文學的發展狀況，勾勒重要概念，作為後文討論「新／後鄉土」的參照。第二章探討袁哲生如何結合抒情傳統，背離台灣鄉土文學的批判與憂患傳統。第三章探討童偉格如何打破城鄉二元對立格局，揭露台灣當代的城鄉處境；第四章配合甘耀明的「新尋根」理念，探討作家如何在鄉土書寫中重現台灣的歷史記憶與本土文化。第五章結語，總結新世代作家運用當代意識，反思並超越台灣鄉土文學傳統，藉以回應文學潮流的更替以及社會的變遷，為台灣鄉土文學開拓新的發展方向。
Nativist literature has been an important literary tradition in Taiwan. It gained momentum since the 1930s and reached its pinnacle in the 1960s and 1970s, but fell into decline in the 1980s. However, the trend of nativist literature has revived since the 1990s as a number of young writers chose to focus their creative writing on nativism. Since then the concept of "new nativist literature" and "post nativist literature" appeared in academic discourse to describe this literary phenomenon. This thesis attempts to examine this phenomenon and to explore how "nativist" literature has morphed into "new/post nativist literature" by observing works of fiction by Yuan Zhesheng, Tong Weiger and Gan Yaoming.
This thesis is divided into five chapters. The first chapter introduces the goal, scope and methodology of this thesis and gives a succinct account of the significance of the previous researches; it also summarizes the development of Taiwan Nativist literature and outlines the important concepts to serve as the reference for the later discussion about "new nativist" or "post nativist" literature. Chapter two examines how Yuan Zhesheng re-evaluated the tradition of Taiwanese nativist literature and established a new point of view towards nativist writing with the aid of lyricism. Chapter three investigates how Tong Weiger re-examined the dichotomy of rural and urban Taiwan and how he exposed aspects of contemporary urban and rural Taiwan. Chapter four explores how Gan Yaoming represented Taiwan history in the Japanese colonial period and the Hakka and aboriginal culture in his writing. Chapter five gives a conclusion on how the new generation of contemporary Taiwan novelists added new dimensions to the tradition of Taiwanese Nativist Literature as they re-examine and surpassed it.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
黃納禧.
"2013年12月"--Title page.
"2013 nian12 yue"--Title page.
Parallel title from added title page.
Thesis (M.Phil.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 111-118).
Abstracts also in Chinese.
Huang Naxi.
39
Hoyne, Hanna. "Commitment, devotion and belonging in the world with particular reference to the work of two Indian contemporary artists." Phd thesis, 2009. http://hdl.handle.net/1885/150148.
Full textAbstract:
Commitment, Devotion and Belonging in the World with Reference to Indian Contemporary Art: Research into the ethical and political concerns in the work of two urban contemporary artists from Bombay/ Mumbai, Shilpa Gupta and Tushar Joag. The descriptive analysis of artworks explores the motivations evidenced in their strategic uses of audience interactivity, masquerade and social activism. The artists' quest for an ethical identity is framed in the greater theoretical context of Indian and global contemporary art. A study taking the form of an exhibition of sculpture exhibited at the ANU Bergman College Multidenominational Prayer space from August 24 to 29, 2009 which comprises the outcome of the Studio Practice component, together with the Exegesis which documents the nature of the course of study undertaken, and the Dissertation, which comprises 33% (or 66%) of the Thesis.v.1 Text -- v.2. Exegesis
40
Smith, Stephen. "Restoring the imprisoned community : a study of selected works of H. I. E. and R. R. R. Dhlomo and their role in constructing a sense of African modernity." Thesis, 2004. http://hdl.handle.net/10413/2559.
Full textAbstract:
This is a comparative study of a selection of the works of H.I.E. and R.R.R. Dhlomo in an attempt to specify the ways in which both writers contributed to constructing a sense of African modernity. While the focus will be on the content of the writing, it will include an analysis of the form and style of the literature, as well as the historical and political setting of the work, and of the authors. By employing the theoretical work of Alain Locke, David Attwell and Tim Couzens, I will address the issue of how Herbert and Rolfes Dhlomo negotiate the issue of a Christian modernity, as well as the ambiguous relationship between tradition and modernity. Another matter that I will focus on is that of the differences and similarities of their writing, in terms of aesthetics and their positions vis-a-vis tradition, modernity and the role of the Black subject, among other topics. Some questions that I will address are whether they are both contributing to an African modernity, and in what sense, and whether Rolfes' work complements that of Herbert, and vice versa. This will be done through a close reading of selected works across a
range of mediums, from literary texts such as plays, poems and short stories to the print media. In the Introduction I will outline the key theoretical work and definitions that I will make use of in my research, as well as give brief biographies of the two writers under examination. In Chapter One I will make a close reading of selected works of Herbert Dhlomo, and will attempt to show his changing role in the establishment of a sense of an African modernity.
In Chapter Two the focus of my work will be selected prose fiction of Rolfes Dhlomo. I will examine the major themes of these works, and show how they pertain to a sense of an African modernity. In Chapter Three I will examine Rolfes Dhlomo's "R. Roamer Esq." column from the Bantu World. I have selected in particular the year 1941, and I will show how Rolfes Dhlomo used satire and topical issues to help in the creation of a sense of African modernity. The Conclusion deals with the findings of my research on the role that Herbert and Rolfes Dhlomo played in the creation of an African modernity in South Africa.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.