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1
Crew, Teresa Ammons. "A creative interpretation of the short stories of Kate Chopin through dramatic play-manuscripts." Thesis, University of Wales Trinity Saint David, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683263.
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Tracey, Linda. "Graham Greene : the link to fantasy." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61315.
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Graham Greene has stated that he believes there to be an undercurrent of fantasy running through all of his work that has largely gone unnoticed by his critics. Within the context of any discussion on Greene can be found a starting point for an evaluation of his work in terms of the fantastic and fantasy. Eric S. Rabkin defines fantasy as the inverse of reality. In a fantasy world, the ground rules, expectations, and perspectives of everyday experience are reversed, or diametrically opposed, and the effect is a sense of hesitation and wonder. All of Greene's fiction describes worlds divided. He constructs borders that continuously separate people, places, situations, motivations, perspectives, objectives, and states of mind. Each side of the border describes a world that is the opposite of the other. The reality of one side is turned over on the other side, and life on the border is unpredictable and uncertain. The concept of alternate realities and other worlds which characterize fantasies, can be applied to all of Greene's works in general, and more specifically to a particular group of the fiction which exhibits a much higher degree of fantastic content.
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Podlasli, Heidi M. "Freedom and existentialist choice in the fiction of Kate Chopin." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/774759.
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Kate Chopin, 1851-1904, gained national fame when her local color stories became published in acclaimed magazines such as Vogue and the Atlantic. Her novel, The Awakening (1899), however, criticized for its controversial content and its heroine, Edna Pontellier, whose ambiguous actions and final suicide were focus of the critical attention, received only negative reactions and silenced Chopin as a writer. Interpretations by feminists, realists, or culturalhistorians proved insufficient in their attempts to explain the dilemma of the heroine. Approached from an existentialist point of view, the novel seems to derive new meaning, but the few extant critical discussions remain either too superficial or too general in scope. A thorough explication of J.-P. Sartre's existentialism, in particular, however, would provide a fresh, insightful interpretation not only of The Awakening, but also of selected short stories that had critics equally torn when faced with the seemingly ambivalent decisions of their heroines.Following the literature review of Chapter I, Chapter II will provide background information on Sartrian existentialism while focusing on such terms as anguish, bad faith, and authenticity that are especially relevant for a better understanding of Chopin's works. How several of her short stories and The Awakening will derive new significance when approached from an existentialist perspective will be shown in Chapters III and IV, respectively, the interpretation mainly centering on the argument that the dilemmas of the heroines, formerly described as "female" or "romantic," are essentially "human" and derive universal, therefore existential significance. Finally, I will try to account for Kate Chopin's "existentialism" in Chapter V by not only taking a closer look at the social issues she was surrounded by, and also her personal life that was the foundation of her thinking, being expressed in ideas that would put her way beyond the "Zeitgeist" of her times.Department of English
4
Wakefield, Steve School of Modern Languages UNSW. "Returning Medusa's gaze : Baroque intertext in Alejo Carpentier." Awarded by:University of New South Wales. School of Modern Languages, 2003. http://handle.unsw.edu.au/1959.4/19141.
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This thesis studies the concept of the baroque as applied to the works of the Cuban novelist Alejo Carpentier (1904-1980). It revisits the original inspiration that the writer found in baroque architecture and sculpture, as expressed in the articles he wrote from Spain in the early 1930s, and follows his use of baroque culture in each of his novels. It is found that, through his attempt to create a period ambience for his historical fictions by incorporating into his novels descriptions of the art and architecture of the Baroque era, and by imitating the literary style of Spanish Golden Age writers, he ultimately produced a parodic and ironic style that was put to a highly original use even in those works set in the contemporary period. Finally, the mature works produced in the last decade of Carpentier's life are studied, and the continuities and discontinuities between these works and those of previous periods are examined, in order to arrive at a critical assessment of the potential to renovate the Latin American novel created by this writer's use of the baroque. Throughout this thesis the primary focus is placed upon the role played by the visual arts, including architecture, in Carpentier's development of baroque themes and style, a secondary focus being placed upon literary influences. Thus the importance for Carpentier of various writers and artists is examined, such as Cervantes, Quevedo, Piranesi, Vico, Goya, Barr????s and d'Ors. It is found that Carpentier's use of baroque themes, motifs and style enabled him to make a unique contribution to literature in a number of ways: by creating an original means of representing the position of the individual with regard to society and the historical process, by reevaluating Latin American culture and environment vis-????-vis is Europe, and by adopting a postcolonial perspective of cultural self-assertiveness that was to pave the way for the 'boom' in the Latin American novel.
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Stratford, Madeleine. "Entre les mots et les silences : la crise créative (et existentielle) dans la dernière phase de la poésie de Ingeborg Bachmann et de Alejandra Pizarnik." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19611.
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This master's thesis seeks to establish a comparison between the lyrical work of the Austrian Ingeborg Bachmann (1926-1973) and the Argentinean Alejandra Pizarnik (1936-1972). First, we draw from the similarities in the lives of both authors. Then, the survey of secondary literature shows that the two writers were the «black sheep» of their literary generation. Finally, our analysis focuses on the last phase of their lyrical production (1963-1966 for Bachmann; 1970-1972 for Pizarnik), most especially on two poems which are considered by the critics to be their «farewell» to poetry : «Keine Delikatessen» [No delicacies] by Bachmann (1963) and «En esta noche, en este mundo» [In this night, in this world] by Pizarnik (1971). We demonstrate that both poets show the same distrust of their medium, language, accompanied by a particular concern for silence, which appears in their respective poems both thematically and formally.
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Johnston, Kelly Scott. "R. Joseph della Reina and his damnation in the fiction of I. B. Singer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31115.
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The following thesis focuses on the medieval kabbalistic legend of R. Joseph della Reina who, using traditions of esoteric magic, conjured Satan in order to slaughter him in an unsuccessful bid to force the Redemption of Israel. A translation of a version from eighteenth century Amsterdam is presented. Influenced by the heretical ideas of Sabbatianism, this version carries two opposing significations: that of a cautionary tale on one hand, that of a tragic tale of mystical heroism on the other. Based on evidence from the fiction of Isaac Bashevis Singer, the case is made that the modern author, in line with his philosophy of political passivism and historical pessimism, makes full use of the Faustian fascination of R. Joseph della Reina's fearsome story while repeatedly presenting the legend in such a way as to purge it of traditional ambiguity, undermine its tragic character, and leave behind only the aspect of caution or warning.
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Laue, Ingrid Elizabeth. "Pictorialism in the fictional miniatures of Albert Paris Gütersloh." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27367.
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The purpose of this study has been to investigate and analyze the "fictional miniatures," i.e., the short prose works, of Albert Paris Gütersloh. The assumption was that a marked interrelationship exists between these and Gütersloh's painted miniatures. Given the fact that Gütersloh was both writer and painter, and since many of the questions which logically arise out of this duality either have not been addressed at all in the scholarly literature on Gütersloh, or dealt with only superficially, it was felt that the approach used in the present study had to focus, to some extent, on the artist's dual talent. The study attempts to illustrate Gütersloh's artistic nature in conjunction with an investigation of one area of artistic expression, namely the short fictional works.
The method was one of proceeding from the general to the particular, i.e., by first examining the complex phenomenon of the "painting writer," or "writing painter," as well as the widely discussed notion of "reciprocal illumination" of the arts. This, together with the detailed analysis of scholarly works on Gütersloh as well as his own theoretical writings on art was seen as part of the necessary "anatomy" of the study. Although the narrational quality of the painted miniatures has been alluded to by several other critics, the inherent similarity between Gütersloh's painted and "literary miniatures" (i.e., his short prose works) is being analyzed for the first time in this study. It aims at proving the claim that the former's overriding characteristic is their distinctly narrational quality. As such the paintings are permeated with a writer's imagination, a feature which makes their narrative component as important as the pictorial. Each of these small-scale paintings depicts some crucial point in a "story," thereby forcing the viewer to imagine a "before" as well as an "after" of each specific scene — in other words, to see these paintings in epic terms.
By isolating such elements as delineation, framing, staging, setting, and colour (both descriptive and metaphorical) among others, it could be shown that the fictional miniatures give evidence of Gütersloh's persistent inclination to think, and write, in "pictures," hence to work from a largely pictorial conception: the story-line frequently is developed as a series of static "pictures" which are given as much compositional weight as the chronologically progressing plot. It could also be demonstrated that the general phenomenon of Fantastic Realism is a pronounced feature not only of the painted but also of the literary miniatures.
The conclusion the study reaches is that Gütersloh's artistic expression, whether as writer or painter, is of a much more unified nature than has previously been argued; that both forms of artistic expression are of a complementary
nature, and that this phenomenon is exemplified most succinctly in his fictional miniatures.Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Lemieux, Martha. "The evolution of irony in the short stories of Chekhov /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60576.
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In the corpus of Chekhov's prose there is a perceptible evolution in his use of irony. This study involves an examination of the use of irony in the initial, middle and final phases of his artistic career. It will demonstrate that in the initial phase, Chekhov's use of irony was direct and overt; in the middle phase, it was more deliberate and covert; and in the final phase, it was subdued, more transparent and transcendent. Selected stories taken from all three periods will illustrate this evolution.
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Ziskin, Gregory. "The main principles of Chekhov's dramatic technique /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61256.
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The purpose of the present study is to analyze the structural techniques and genre of Chekhov's plays.The many books and articles published on Chekhov's plays far exceeds his own works. Although there have been numerous studies analyzing the structural techniques of his play, considerable controversy still exists among literary and theatre scholars regarding the genre of his plays. Most of the studies simply avoid this complex and intricate problem.
In this study particular emphasis is also placed on the dramatic techniques used by Chekhov: the sequence of events, the nature of the roles and the so-called "unfinished" endings.
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Robb, Paul H. "Graham Greene's use of evil in selected novels." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/533881.
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Ledingham, Georgina May. "Chekhov's doctors : a prescription for a better life." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26864.
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Anton Chekhov pursued two careers simultaneously throughout his life—that of a doctor as well as a writer of prose and drama. It is not surprising, therefore, to discover many physicians amongst his characters but it is puzzling that the portrayal of doctors is frequently unflattering despite his admitted indebtedness to the profession. The thesis herein proposed is that the poor image Chekhov presents points to the necessity of self-determination in matters of emotional and spiritual health; if the doctors are incapable of healing themselves and those in their care, the patients might well take the biblical directive, "Arise! Take up thy bed and walk." In his stated desire to show people how bad and dreary their lives are, thereby assisting them in fashioning better lives, Chekhov's prescription is one of self-help. The short stories—Late-Blooming Flowers, Anyuta, Ward No. 6, The Head Gardener's Tale and The Doctor's Visit—and the plays— Platonov, Ivanov, The Seagull, The Wood-Demon, Uncle Vanya and Three Sisters—have been examined; beneath the incompetence and villainy of the doctors an affirming statement is discovered in the otherwise melancholy canon of Chekhov.Arts, Faculty of
Theatre and Film, Department of
Graduate
12
Skublics, Heather A. L. E. "Naming and vocation in the novels of J.R.R. Tolkien, Patricia Kennealy and Anne McCaffrey." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68137.
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"Naming and Vocation in the Novels of J. R. R. Tolkien, Patricia Kennealy and Anne McCaffrey" discovers in recent works of fantasy and science fiction a pattern of authority which is rooted in the existence of namers and characters who are called to specific tasks. Each of these authors portrays individuals who are called to their own particular and unique roles by other figures whose knowledge of them is deeper than their own. The Biblical account of Samuel's life provides a paradigm for both namer and named that is informative in recognising this pattern in each of the works studied. The virtues essential to living out the call of a namer are faith and obedience; and personal fulfilment as well as heroic feats can only be achieved if those virtues are cultivated.
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Green, Suzanne Disheroon 1963. "Knowing is Seaing: Conceptual Metaphor in the Fiction of Kate Chopin." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278960/.
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This paper examines the metaphoric structures that underlie Chopin's major novel, The Awakening, as well as those underlying selected short stories. Drawing on the modern theory of metaphor described by Mark Turner, George Lakoff, and Mark Johnson, the author argues that conceptual metaphors are the structural elements that underlie our experiences, thoughts, and words, and that their presence is revealed through our everyday language. Since these conceptual structures are representative of human thought and language, they are also present in literary texts, and specifically in Chopin's texts. Conceptual metaphors and the linguistic forms that result from them are so basic a part of our thinking that we automatically construct our utterances by means of them. Accordingly, conceptual metaphor mirrors human thought processes, as demonstrated by the way we describe our experiences.
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Adams, Melinda J. "Re-making the Auden canon : new readings and critical interpretations of W.H. Auden's 1930's poems based on revised texts." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833006.
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Much of W. H. Auden's most brilliantly evocative poetry was written during the 1930's. His skill in catching the tones, the topics of his time, and his ability to evoke its moods and its social turbulence are unequalled among those of his generation writing of political unrest, international crises and revolution. It is no surprise that the word "Audenesque" has become part of the language of literary criticism describing a particular poetic style. Yet it was his poetry of the '30's that Auden later in his life revised and/or repudiated, creating textual problems involving basic critical issues related to literary interpretation, readers'responses to much-revised poems, and to the way that textual scholars approach the determinate relations among poems as first printed and subsequent, altered versions that are also authoritative. Traditional textual criticism cannot address all of the problems caused by Auden's extensive overhauling, nor can it provide evidence that some of Auden's harshest critics--the British Scrutiny group headed by F. R. Leavis and American critics Joseph Warren Beach and Randall Jarrell--may have dismissed him as a major poet too soon. But a method of textual treatment called versioning--the presentation of the complete texts of two or more different stages of a literary work--may be the most useful and efficient method of textual treatment for authors like Auden, and for readers and critics who might wish to assess the significance of Auden's revised works by comparing them with original texts.Department of English
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Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.
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Prisco, Mario. "Journeys beyond binaries : storytelling and polyphony in the narratives of Gabriella Ghermandi, Igiaba Scego, Ubax Cristina Ali Farah and Amara Lakhous." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11947.
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In the last two decades, in media and political discourses, Italianness has been increasingly represented as a homogeneous and compact entity, which is intruded on and contaminated by immigrants. In this study, the binary opposition between Italians and migrants is investigated from the perspective of writers who inhabit a liminal space, between at least two cultures, with the main intent to problematize the binary itself and to show its nature of fabrication. On the basis of Said's contrapuntal method, the novels by Ghermandi, Scego, Ali Farah and Lakhous are thought to establish a counterpoint with dominant discourses about Italianness. With the firm belief that discourses about postcolonial Italy must address its colonial past, the works analysed are considered as in dialogue with both colonial and postcolonial discourses. A dialogical relation is established, within the study, between Ghermandi's Regina di fiori e di perle and Flaiano's Tempo di uccidere. Written from the perspectives of the colonized and the colonizers respectively, both novels unveil colonial crimes and faults in Ethiopia, thus being counter-narratives about official representations of Italian colonialism. In Scego's Rhoda and Oltre Babilonia and Ali Farah's Madre piccolo, like threads, the individual stories of Somali exiles intertwine to create a fabric, whose pattern reveals the importance of the legacy of colonialism within contemporary Italy. Mainly situated between Italian and Somali cultures, the protagonists experience traumas, suffering and loss but finally attain a contrapuntal awareness between the two cultural poles. They become conscious of how enriching their in-between position is; they affirm the value of their hybrid identity. With a further zoom into postcolonial Italy, Lakhous' Scontro di civiltà per un ascensore a piazza Vittorio and Divorzio all'islamica a viale Marconi analyse the binary ‘us-Italians' versus ‘thosemigrants' in two microcosms in Rome. General polarizations such as Islam and the West emerge as factors which are exploited in order to exacerbate tensions and divisions. In addition, Italianness appears to be an internally fragmented entity, which is imagined as compact and homogeneous, as a reaction to the influx of immigrants. Against any logic of binarism, the novels by Ghermandi, Scego, Ali Farah and Lakhous reveal the constant effort to create a passage between two poles and to uphold a dialogical relation between them; crossings over and hybridity are continuously affirmed. With their highly important affirmation of multiplicity, the works challenge any essentializing notion of identity and any narrow representation of Italianness, within multiethnic contemporary Italy.
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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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Jones, Chris. "A deeper "Well of English undefyled" : the role and influence of Anglo-Saxon in nineteenth- and twentieth-century poetry : with particular reference to Hopkins, Pound and Auden." Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/14708.
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This thesis challenges the assumption that Chaucer is the father of the living English poetic tradition. Nobody would deny that poetry existed in a form of English before the fourteenth century, but it is commonly assumed that linguistic and cultural changes have made Anglo-Saxon poetry a specialist area of concern, of no use or interest to modern poets. It is demonstrated that during the nineteenth century, advances in linguistic and textual scholarship made Anglo-Saxon poetry more widely available than had been the case, probably since the Anglo-Norman period. Knowledge of Anglo-Saxon literature is subsequently communicated to poets, particularly after the subject is institutionalized in English departments at British and American universities. Chapter One charts this rise in awareness of Anglo-Saxon poetry and considers its effects on several nineteenth-century poets (William Barnes, Henry Longfellow, Alfred Tennyson and William Morris). Major studies then follow of Gerard Hopkins, Ezra Pound and W. H. Auden and the uses that they make of Anglo-Saxon in their own poetry. It is argued that through these writers Anglo-Saxon has had a more important impact on modern poetry than has been thought previously. Moreover, Anglo-Saxon is often included as part of a poetics that might be called 'modernist'. For each of the three poets under study, the nature of their contact with Anglo-Saxon poetry is determined from documentary evidence (whether at university, or via secondary literature), and different stylistic debts are examined by close readings of a number of poems. No previous work has attempted a detailed analysis of the uses to which these three writers put Anglo-Saxon poetry. This thesis offers such an analysis and synthesizes the different approaches to Anglo-Saxon in order to provide an overview of this phenomenon in nineteenth- and twentieth-century poetry.
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Slater, Jennifer. "Direct experience of God in contemporary theology." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1016265.
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'Direct experience of God' is a term frequently used by theologians without adequate clarification regarding its meaning. The understanding thereof has become increasingly complicated by the process of secularization. In the 1960's, it was repeatedly asserted that modern people could not have direct experiences of God, albeit that one could still live by faith and by commitment to the way of Jesus in a world in which, it was asserted, "God is dead". This claim, although long predominant, has been challenged by the upsurge of interest in mysticism, both Eastern and Western, and the burgeoning of Pentecostalism and the Charismatic movement, in which circles direct experience of God was frequently claimed. If direct experience of God is something natural to humanity, interpretation of it will vary in exactly the same way as interpretation of all other human experiences. This could be a possible reason for it being so very poorly integrated into everyday life, resulting in the loss of meaning and value.
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Hopkins-Utter, Shane. ""An echo of an echo" : J.R.R. Tolkien's Middle-earth as elegiac romance." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79947.
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Tolkien's aesthetic enjoyment of distance and antiquity in literature, his interest in the power of imagination, and his use of medieval romances and ancient fairy-tales as a means of rediscovering an enchanted vision of the world are analogous to the literary endeavours of the Romantics. Like them, he perceives that the real world is inherently different from how he imagines an ideal world. This thesis discovers that Tolkien's writings correspond in numerous ways to the modern form of elegiac romance, most notably because of their positive portrayals of mortality, and their depictions of intense yearning. The moral imperative to accept death, exemplified by the heroic ethos of Old English literature, clarifies why the effect of historicity is often noted in Tolkien's fictions: time is mimetic rather than mythological. Tolkien demonstrates that Fantasy is capable of reflecting the most sombre issues of the real world, particularly the inevitability of death.
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McAlonan, Pauline. "Wrestling with angels : T. S. Eliot, W. H. Auden, and the idea of a Christian poetics." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100653.
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This thesis addresses the impact of religious conversion on the later works of Eliot and Auden, and the manner in which they responded to each other as they developed a Christian poetics. Following an introduction which discusses the nature of their relationship as well as their basic theological positions, Chapter One examines their postconversion criticism, and particularly their stance on what is typically formulated as "the problem of belief in poetry," which focuses on how ideology influences a work's creation and reception. Chapter Two considers their transitional poetry, wherein their new religious beliefs figure prominently and their anxiety over the potential conflict between artistic and spiritual values is most acute. Chapter Three looks at their major postconversion poems and specifically at how Eliot's and Auden's understanding of the Incarnation informs their views on time, history, language, and literature, as embodied by these works. Chapter Four centers on their drama, initially comparing their early plays---written when Eliot was a Christian but Auden was not---to show how they employed similar techniques to further different ends, before turning to an examination of Eliot's later verse plays and Auden's libretti. I investigate the ideological motivation behind the adoption of these different dramatic forms, as well as the specific ways in which they affect how belief is conveyed. Throughout the dissertation, the effects of Eliot's and Auden's conversion upon their reputations and the difficulties facing modern Christian artists in general are given particular consideration.
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Duce, Cristy Lee. "In love and war : the politics of romance in four 21st-century Pakistani novels." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, 2011, 2011. http://hdl.handle.net/10133/3127.
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Writers of fiction have long since relied on love, romance, and desire to drive the
plots of their work, yet some postcolonial authors use romance and interpersonal
relationships to illustrate the larger political and social forces that affect their relatively
marginalized experiences in a global context. To illustrate this literary strategy, I have
chosen to discuss four novels written in the twenty-first century by Pakistani authors: Tbe
Reluctant Fundamentalist by Mohsin Hamid, Trespassing by Uzma Aslam Khan, The
Wasted Vigil by Nadeem Aslam, and Burnt Shadows by Kamila Shamsie. With the
geographical origin of these writers as a common starting place from which to compare
and contrast their perspectives on global politics, their understandings of gender, and
their perceptions of how the public and the private constitute and intersect each other, I
will use postcolonial theory to dissect the treatment of romance in their respective novels.v, 85 leaves ; 29 cm
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Rech, Moisés João. "As raízes da crise ambiental : uma leitura a partir da dialética do esclarecimento." reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/2366.
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A crise ambiental é um dos fenômenos de maior impacto social da contemporaneidade, e diante de sua dimensão emergiram diversas instituições políticas e sociais com o objetivo de contornar e superar as dificuldades impostas pela problemática ambiental. Em virtude desse quadro a presente dissertação busca investigar as origens da crise ambiental a partir da matriz teórica da primeira geração da Escola de Frankfurt – especificamente a partir da obra Dialética do esclarecimento de Theodor W. Adorno e Max Horkheimer. A escolha da perspectiva da Teoria Crítica leva em consideração uma posição holista e interdisciplinar que busca, em última instância, transcender a estreita visão dos institutos do Direito Ambiental como sendo os únicos instrumentos – para além do mercado verde – de mediação da relação entre homem e natureza. Destarte, o desenvolvimento de uma perspectiva filosófica a respeito das origens da crise ambiental contribui para se tomar consciência dos reais agentes causadores da crise e, por consequência, desenvolver instrumentos mais efetivos no seu controle. Para tanto, a metodologia adotada elegeu a pesquisa qualitativa, e como procedimento a revisão bibliográfica da obra Dialética do esclarecimento; além de uma ampla gama de comentadores e pesquisadores da área ambiental e jurídica. A pesquisa confirmou a hipótese de que a origem da crise ambiental repousa em uma crise epistemológica – originária do próprio medo do homem por toda alteridade e pelo princípio da identidade, que se cristaliza como razão instrumental. É em vista disso que o Direito Ambiental é redimensionado como um instrumento que, embora tenha vital importância para a regulação ambiental, não é em si suficiente para controlar a crise nem mesmo eliminá-la; o que necessitaria de uma revisão das próprias bases do pensamento esclarecido.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2017-04-25T13:07:35Z No. of bitstreams: 1 Dissertacao Moises Joao Rech.pdf: 2714546 bytes, checksum: 7166fcbe236375f1672ef8dc8e9fb2ae (MD5)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES.
The environmental crisis is one of the phenomena with the greatest social impact of contemporary times, and in view of its dimension, several political and social institutions have emerged with the objective of getting around and overcoming the difficulties imposed by the environmental problem. With this view, the present essay seeks to investigate the origins of the environmental crisis from the theoretical matrix of the first generation of the Frankfurt School - specifically from the work Dialectic of enlightenment by Theodor W. Adorno and Max Horkheimer. The choice of the perspective of Critical Theory takes into account a holistic and interdisciplinary position that seeks, ultimately, to transcend the narrow views of the institutes of Environmental Law as the only instruments - in addition to the green market - to mediate the relationship between man and nature. Thus, the development of a philosophical perspective on the origins of the environmental crisis contributes to becoming aware of the real agents causing the crisis and, consequently, to develop more effective instruments in its control. For that, the adopted methodology chose the qualitative research, and as a procedure the bibliographical review of the work Dialectic of enlightenment; as well as a wide range of environmental and legal commentators and researchers. The research confirmed the hypothesis that the origin of the environmental crisis rests on an epistemological crisis - originated from man’s own fear for all otherness and the principle of identity, which crystallizes as an instrumental reason. It is in view of this that Environmental Law is re-dimensioned as an instrument that, while vital to environmental regulation, is not in itself enough to control or even eliminate the crisis; which would require a review of the very foundations of enlightened thinking.
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Menzies, Erica L. "The portrayal and function of relationships between women in selected Erzählungen by Ingeborg Bachmann /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81505.
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This thesis provides an analysis of the portrayal and function of relationships between women in the following Erzahlungen by Ingeborg Bachmann: "Ein Schritt nach Gomorrha," "Das Gebell," and "Drei Wege zum See." The major research questions include whether there is a similar representation of female-female interactions and a common conception of gender and identity construction arising from these interactions. In addition to offering a unique perspective on relationships between women, this analysis presents "Das Gebell" as the story of two women, rather than one that focuses on the relationship between a mother and her son, which has predominately been the interpretation in the previous literature. Findings indicate that parallels exist in the way women are portrayed in the above three Erzahlungen and that the female-female interactions serve certain common narrative functions in each of these texts.
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Syme, Margaret Ruth. "Tolkien as gospel writer." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=43459.
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To the extent that Tolkien's fantasy meets his own criteria for faL. ie as the "eucatastrophic " tale which points toward "Evangelium," the eschaton when God's plan in creation will be fulfilled and the effects of the fall overcome, Tolkien may be described as a gospel writer. That he intended his work to be read as "gospel," "the good news of the Kingdom of God," is suggested by its allusions to biblical and classical mythology, its linear view of history, its presentation as a compilation of received tradition. collected and translated by many hands from a wide variety of sources, by the location of Middle Earth in the distant past of our own world and by the author's attempt to create a world which comforms to familiar patterns of evolution. Less successful is his effort to provide his tale with a consistent Christian point of view.Dans la mesure, cette oeuvre d'imagination repond aux crit6res de f6erie de Tolkien en tant que conte "eucatastrophic" qui montre le chemin vers "I'Evangelium", cette eschatalogie qui se situe au moment o0 la volontê de Dieu est accomplie et les effets de la chute sont surmontes, Tolkien peut etre. considers comme un auteur biblique. Le fait qu'il est voulu que son oeuvre soit lue en tant qu'"&angile", "la bonne nouvelle du Royaunie de Dieu" est suggêre par diffèrentes choses: les allusions faites a la mythologie biblique et classique, la vision linêaire de l'histoire, la presentation du texte en tant que compilation d'une tradition provenant de sources diverses, transmise, recueillie et traduite par diffèrentes personnes, la situation geographique dans "Middle earth"(l'empire du Milieu) dans un passé lointain, le fait que l'auteur ait essay6 de crêer un monde conforme au processus connu de l'êvolution. 10anmoins l'auteur n'a pas rêussi dans ce conte a maintenir un point de vue chrêtien. fr
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Arima, Hiroko 1959. "The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278060/.
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"The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty" examines certain prototypical natures of isolation as recurrent and underlying themes in selected short fiction of Chopin, Porter, and Welty. Despite the differing backgrounds of the three Southern women writers, and despite the variety of issues they treat, the theme of isolation permeates most of their short fiction. I categorize and analyze their short stories by the nature and the treatment of the varieties of isolation. The analysis and comparison of their short stories from this particular perspective enables readers to link the three writers and to acknowledge their artistic talent and grasp of human psychology and situations.
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Gernhardt, Phyllis J. "Prentiss Ingraham and the dime novel." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834145.
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This study examines the ideas and values of late nineteenth century American society through the popular art form of dime novel literature. The works of Prentiss Ingraham, one of the most prolific dime novel authors, with over 600 novels to his credit, and one of the most popular, with-at least one reprint of each title, served as the focus of this study. A reading and analysis of 75 of his novels provided insight into the social ideas of his time.The results of this study show nineteenth century America's perceptions of the ideal society and the romanticization of nineteenth century American beliefs. This ideal society was based on a democratic foundation and thrived on a balance between the ruggedness of the frontier and the refinement of Eastern civilization. Likewise, the ideal American hero possessed the same blending of these characteristics.Department of History
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Sneddon, Andrew John. "Discourses of race, place and nationalism in the writing of Neil M. Gunn." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/367.
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My thesis examines the early and middle periods of Neil M. Gunn’s writing career in the context of contemporaneous debates and discourses emergent in Scottish political and cultural nationalism. I locate my thesis within a new, broad development in Scottish Studies which is adopting more rigorously analytical, interdisciplinary and theorised models of interpretation. The first chapter examines Gunn’s own nationalism in the light of other contemporaneous Scottish nationalisms and assert that it is moderate in tone but radical, being based on a model of cultural repression / resistance. I examine current theoretical approaches to the study of nationalism and adopt the analytical methods of Anthony D. Smith’s ethno-symbolism. The second chapter examines Gunn’s used of racial figures of speech and concludes that he carefully constructs a politicised account of Scotland’s early history. This account is predicated on a theory of racial essentialism communicated through the visual clue of race. The third chapter examines Gunn’s racial tropes alongside those of D. H. Lawrence and fellow Scottish novelist James Leslie Mitchell (Lewis Grassic Gibbon). I demonstrate how they share an interest in aesthetic primitivism. All three writers adopt radical political positions based on the rejection of ‘whiteness’ and modernity. The last chapter examines Gunn from the perspective of current landscape theory, and analyses how his use of what Denis E, Cosgrove calls ‘inside’ and ‘outside’ positions is figured in his novels, and in his contribution to the Highland Hydro-Electric debates of the 1930s and 1940s. I conclude that Gunn is a profoundly political writer and urge a reassessment of his oeuvre in this light.
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Lazzari, Letícia. "Marcas da cultura local em tradução do conto "No baile acadiano", de Kate Chopin." reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1058.
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A autora norte-americana Kate Chopin (1850-1904) é conhecida por sua vasta produção de contos ambientados no estado de Louisiana, os quais exibem uma representação das peculiaridades locais. Em vários dos contos, Chopin focaliza a cultura Cajun e propõe uma representação ficcional da língua daquela comunidade (língua crioula Cajun) através da fala dos personagens, como ocorre em "No baile acadiano". Dividida em três capítulos, a presente dissertação almeja investigar se a questão da regionalidade, representada por marcas da cultura local e de identidade cultural dos personagens, influencia na permanência de expressões em língua francesa e língua Cajun no processo tradutório do conto At the ‘Cadian Ball para a língua portuguesa: "No baile acadiano". A pesquisa permitiu constatar que houve influência das questões culturais e de regionalidades na tradução do conto, uma vez que o uso da língua transmite informação social, aspecto exemplificado durante a alternância de códigos entre os personagens dependendo do interlocutor. Logo, verifica-se que a atitude da tradutora Denise Mariné pode ser considerada como respeitosa à autora e aos aspectos linguísticos que seriam prejudicados caso tais frases e/ou expressões/unidades fraseológicas fossem traduzidas para a língua portuguesa.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-11-12T15:41:03Z No. of bitstreams: 1 Dissertacao Leticia Lazzari.pdf: 5432776 bytes, checksum: efe4218f45e70344c52057a7f211abc5 (MD5)
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American author Kate Chopin (1850-1904) is known for writing many short stories located in the state of Louisiana, which display a representation of local particularities. In several of her stories, Chopin focuses on Cajun culture and proposes a fictional representation of the language of that community (Cajun language) through the speech of the characters, as in "No baile Acadiano". Divided into three chapters, this dissertation aims to investigate whether the issue of regionality, represented by marks of local culture and cultural identity of the characters, influences in the maintenance of expressions in French and Cajun language in the translation process of the short story "At the 'Cadian Ball" into Portuguese: "No baile Acadiano". The research showed that there was influence of cultural issues and regionalities on the translation of the story because the use of language conveys social information, aspect that was exemplified during the code-switching process among characters, depending on the interlocutor. So, it is noticeable that the translator's attitude (Denise Mariné) can be considered as respectful in relation to the author and to linguistic aspects that would be lost if such sentences and/or expressions/phraseologisms were translated into Portuguese.
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Wilkins, Peter Duncan. "The transformation of the circle : an exploration of the post-encyclopaedic text." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26939.
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Any text which criticizes, undermines and/or transforms the encyclopaedic ideal of ordering and textualizing the world in a closed, linear fashion can be defined as a post-encyclopaedic text. This thesis explores both theoretical and artistic texts which inhabit the realm of post-encyclopaedism.
In the past, critical speculation on encyclopaedism in literature has been concerned with the ways in which artistic texts attempt to live up to the encyclopaedic ideal. In some cases, this effort to establish an identity between the artistic text and the encyclopaedia has led to an ignorance of the disruptive or even deconstructive effects of so-called fictional encyclopaedias. Once we recognize the existence of such effects, we must begin to examine the techniques and possibilities of post-encyclopaedism.
Hence we can see post-encyclopaedic qualities in the condensed meta-encyclopaedism of Jorge Luis Borges' "Tlön, Uqbar, Orbis Tertius", the disrupted quests for encyclopaedic revelation in Herman Melville's Moby Dick and Thomas Pynchon's Gravity's Rainbow, and the principle of textualized world as fugue in Louis Zukofsky's "A"-12.
In addition, we can create a theoretical space for the post-encyclopaedic text by weaving together Mikhail Bakhtin'sideas on the novel as opposed to the epic, Michel Foucault's notion of restructuring the closed circle of the text through mirrored writing, Jurij Lotman's theory of internal and external recoding in texts, and Umberto Eco's concept of the open text.
By combining an investigation of theoretical and artistic texts which lend themselves to post-encyclopaedism, we can create a generic distinction between texts which attempt to be encyclopaedic in themselves: and texts which disrupt and/or transform the encyclopaedic idealArts, Faculty of
English, Department of
Graduate
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Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.
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ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature
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Rodrigues, Neto João Manoel. "Pressupostos científicos e propostas sociais em B. F. Skinner entre 1953 e 1960: uma continuação de Andery (1990)." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21496.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The present research had as an objective analyzing the development of epistemological, ontological and methodological assumptions defended by B. F. Skinner and his proposi-tions to intervene in social questions, between 1953 and 1960. To a certain extent, we sought to continue the research of Andery (1990), in which all of the publications of Skin-ner between 1931 and 1953 were analyzed, with Science and Human Behavior as the last analyzed work. We investigated how Skinner advanced in the definition of the assump-tions of his science and the proposition of social analyzes and interventions in the first years after the publication of Science and Human Behavior. Therefore, considering the assumption of inseparability between the science of behavior proposed by Skinner and his approach to social issues, all of Skinner’s available texts, published between 1953 and 1960 after Science and Human Behavior, were identified and collected, in order to classify how much of it was changed/maintained when compared with the previous development of the skinnerian explanatory system. We analyzed the selected texts based on two groups of categories: 1. Excerpts related to the constitution of ontological, epistemological and methodological assumptions of behavioral science; and 2. Excerpts related to the consti-tution of social propositions. There were additions, but no rupture, in all categories ana-lyzed when we compared our data with those of the period analyzed by Andery (1990). The results obtained in the present research allow us to sustain that Skinner improved the assumptions of his science and his social proposals, introducing new conceptual discus-sions and new data from relevant basic and applied research
A presente pesquisa teve como objetivo analisar o desenvolvimento de pressupostos epistemológicos, ontológicos e metodológicos defendidos por B. F. Skinner e suas proposições para intervir em questões sociais, entre 1953 e 1960. Em certa medida, buscou-se dar continuidade à pesquisa de Andery (1990), na qual foram analisadas todas as publicações de Skinner entre 1931 e 1953, com Science and Human Behavior como última obra analisada. Investigou-se de que maneira Skinner avançou na definição dos pressupostos de sua ciência e na proposição de análises e intervenções sociais nos primeiros anos após a publicação de Science and Human Behavior. Para isso, considerando-se a suposição de indissociabilidade entre a ciência do comportamento proposta por Skinner e sua abordagem de questões sociais, foram identificados e coletados todos os textos disponíveis de Skinner publicados entre 1953 e 1960 após Science and Human Behavior, visando identificar o que houve de mudança/continuidade em relação ao desenvolvimento anterior do sistema explicativo skinneriano. Os textos selecionados foram analisados com base em dois grupos de categorias de análise: 1. Trechos relativos à constituição de pressupostos ontológicos, epistemológicos e metodológicos da ciência do comportamento; e 2. Trechos relativos à constituição de propostas sociais. Foram encontrados acréscimos, mas nenhuma ruptura, em relação ao período analisado por Andery (1990) em todas as categorias analisadas. Os resultados obtidos na presente pesquisa permitem afirmar que Skinner aprimorou os pressupostos de sua ciência e suas propostas sociais, introduzindo novas discussões conceituais e novos dados de pesquisa básica e aplicada relevantes para a temática
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Gao, Xiongya. "Images of Chinese women in Pearl S. Buck's novels : a study of characterization in East wind, west wind, Pavilion of woman, Peony, The good earth, and The mother." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/862280.
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This study is an analysis of images of Chinese women in five of Pearl S. Buck's novels: East Wind: West Wind, The Good Earth, The Mother, Pavilion of Women, and Peony. Buck's female characters, with their different degrees of individuality and typicality, form a realistic picture of Chinese women.In terms of thematic content, the study shows that all Buck's female characters use their limited power within the constraints of their society to achieve what they deserve, often employing different, covert ways, some manipulation, and even a little deception.The significance of this is that it reveals, in an artistic way, the social conditions under which Chinese women at Buck's times lived. Chinese women had been very much oppressed. In order to survive, they had to act in ways acceptable by their society. However, they had, just as their male counterparts, the desire to love, to be happy, to maintain dignity, and to be free. What is more important, they were intelligent, courageous, and capable of fighting to achieve their goals for themselves.Buck portrays her female characters both as typical of Chinese women in general and as strong individual figures, each facing different conflicts, in a variety of social, familial situations, with unique characteristics. In order for the Western readers to understand the cultural content in which the individuals function, Buck gives her Chinese characters enough typicality as a solid foundation for the Westerners to interpret their behaviors.It is not difficult for the reader to see how the Confucian doctrines and the social conditions concerning Chinese women are truthfully reflected in the novels herein analyzed. Therefore, different degrees of individualization of these characters result from differing themes of the novels in which they appear.Department of English
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Langwith, Mark J. "'A far green country' : an analysis of the presentation of nature in works of early mythopoeic fantasy fiction." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/313.
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This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.
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Dudley, Cynthia. "Christian heroism in J.R.R. Tolkien's The Lord of the Rings." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61875.
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Malavazzi, Dante Marino. "Interpretação: objetivo e método da ciência de B. F. Skinner." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21194.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
A literature review showed divergences regarding the goals and methods of B. F. Skinner’s science. In particular, interpretation was sometimes framed as a goal, and other times referred to as a method. In any case, it is an activity to which Skinner devotes much of his work, although less explored by behavior analysts. Considering the relevance of the theme and the gaps in the field, this research had the general purpose of presenting Skinner’s vision of interpretation, both as goal and method. At the same time, it had as specific purposes (a) to define interpretation, according to Skinner; (b) to point out when and how the author defends its accomplishment; (c) to relate interpretation with other goals and methods proposed by Skinner; (d) to indicate the contributions and limits of interpretation, according to the author. In this regard, I examined 50 texts of Skinner related to the subject, published between 1931 and 1990. First, I read the selected texts, in chronological order and in full, highlighting the excerpts related to the research problem. Then, I reread only the excerpts and made a file for each text, in which I synthesized Skinner's position on the research problem. Lastly, I read the files in chronological order and grouped the data by decades, assigning a subtitle to each period. As much as for goal as it is for method, I argue that interpretation offers theoretical, methodological and technological contributions to Skinner’s science, although it presents limits as an inferential and speculative nature, as well as the plausible and sometimes temporary format. In my view, it is a goal equivalent to the others and a method comparable to the experimental analysis
Uma revisão da literatura mostrou divergências quanto aos objetivos e aos métodos da ciência de B. F. Skinner. Em particular, a interpretação ora foi apontada como objetivo, ora foi indicada como método. De qualquer forma, trata-se de uma atividade a que Skinner dedicou boa parte de sua obra, embora seja menos explorada pelos analistas do comportamento. Considerando a relevância do tema e as lacunas na área, esta pesquisa teve por finalidade geral apresentar a visão de Skinner sobre a interpretação, tanto como objetivo quanto como método. Ao mesmo tempo, teve como propósitos específicos (a) definir a interpretação, conforme Skinner; (b) apontar quando e como o autor defende a sua realização; (c) relacionar a interpretação aos outros objetivos e métodos propostos por Skinner; (d) indicar as contribuições e os limites da interpretação, segundo o autor. Para isso, examinei 50 textos de Skinner ligados ao assunto, publicados entre 1931 e 1990. Primeiro, li os textos selecionados, em ordem cronológica e na íntegra, destacando os trechos relacionados ao problema de pesquisa. Depois, reli apenas os trechos destacados e elaborei um fichamento para cada texto, no qual sintetizei a posição de Skinner sobre o problema de pesquisa. Por fim, li os fichamentos em ordem cronológica e agrupei os dados por décadas, atribuindo um subtítulo a cada período. Seja como objetivo ou como método, defendo que a interpretação oferece contribuições teóricas, metodológicas e tecnológicas à ciência de Skinner, ainda que ela apresente limites como a natureza inferencial e especulativa, bem como o caráter plausível e às vezes temporário. A meu ver, trata-se de um objetivo equivalente aos demais e de um método equiparável à análise experimental
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Oliveira, Samanta Barreto Matos. "Aleijão: a desconstrução na poesia do tempo presente." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20544.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present dissertation proposes to analyze the book Aleijão (2009), by the Brazilian poet Eduardo Sterzi (Porto Alegre, 1973). This analysis of the poems and the structure of Aleijão aims to identify and discuss the elements that constitute the poetry that can, from the structural and thematic elements, lead to represent the condition of a fragmented contemporary man. It is assumed that this work exemplifies contemporary issues, bringing its vision of a world that is not welcoming, violent, and offers only the disturbing vision of chaos. There are in the verses expressions of aggressiveness, presented explicitly or in ironic suggestions ("This corpse is ours / lunch / What will be the dessert?"), bringing metaphors of passivity and accommodation in the face of violence and death dealt with by the poetic self with naturalness in front of grotesque images. And, parallel to the images, fragmentary syntactic procedures emphasize, in the language itself, the fragmentation condition of contemporary man. As the dissertation sought to discuss, such aspects focus on Sterzi's poetry revealing the deconstruction of the poetic making of the present time
A presente dissertação propõe-se a analisar o livro Aleijão (2009), do poeta brasileiro Eduardo Sterzi (Porto legre, 1973). Tal análise dos poemas e da estrutura de Aleijão tem como objetivo identificar e discutir os elementos que constituem a poesia que pode, a partir dos elementos estruturais e temáticos, levar a representar a condição de um homem contemporâneo fragmentado. Parte-se do pressuposto de que essa obra problematiza exemplarmente questões contemporâneas, trazendo sua visão de um mundo pouco acolhedor, violento, que oferece apenas a perturbadora visão do caos. Há nos versos expressões de agressividade, apresentadas de modo explícito ou em sugestões irônicas (“Este cadáver é nosso/ almoço/ Qual será a sobremesa? ”), trazendo metáforas da passividade e acomodação diante da violência e da morte tratada pelo eu-poético com naturalidade diante de imagens grotescas. E, paralelamente às imagens, procedimentos sintáticos fragmentários enfatizam, na própria linguagem, a condição de fragmentação do homem contemporâneo. Como a dissertação procurou debater, tais aspectos incidem na poesia de Sterzi revelando a desconstrução do fazer poético do tempo presente
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Pea, John B. "Black Elk, Neihardt, and the defeated hero." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/834124.
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I am attempting to honestly share Black Elk's vision and story, John G. Neihardt modifies that story in order to embody Black Elk as the classical defeated hero. In transfiguring Black Elk into this image, Neihardt could not avoid the cultural "cues" which forced him to model Black Elk in the conventional image of the defeated hero as described in Bruce Rosenberg's Custer and the Epic of Defeat. By modifying the beginning and ending to Black Elk's story, Neihardt prepares and reinforces the reader's expectations of Black Elk's image as the classical defeated hero. Also, because Neihardt understands the central theme of Black Elk Speaks to be that of Black Elk's failure, it provides him with the incentive to modify Black Elk's vision to depict Black Elk as a classical hero. Finally, Neihardt transfigures Black Elk in order to reflect the contradictory paradigm of the Greek, Ranan, and Christian defeated hero.Department of English
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Masutti, Fernanda Alliatti. "Charque e cacau : um estudo sociorregional do coronelismo em Pedro Wayne e Jorge Amado." reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1062.
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Este trabalho realiza um estudo da representação do coronelismo nas narrativas de ficção Xarqueada, de Pedro Wayne, publicada em 1937, e Gabriela, cravo e canela, de Jorge Amado, de 1958, ambientadas, respectivamente, no Sul e Nordeste do Brasil. Entendendo que os aspectos culturais e socioeconômicos são partes integrantes de uma configuração histórica regional, a pesquisa busca discutir a forma com que espaços distintos contribuem para a construção ficcional dos coronéis nas regiões de produção do charque e do cacau. Além disso, o estudo analisa como as atividades charqueadora e cacaueira estão relacionadas com as disputas de poder e como a modernidade, tanto em âmbito econômico quanto cultural, consiste em um fator importante na reorganização dos jogos de forças das oligarquias no cenário político regional e nacional. Dessa forma, visa-se contribuir com os estudos sociorregionais que tratam do coronelismo e de suas relações de poder nas áreas da literatura e da história.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-11-17T15:53:27Z No. of bitstreams: 1 Dissertacao Fernanda Alliatti Masutti.pdf: 1138045 bytes, checksum: 4dcecfbc0bf20e216b7215965dee1ace (MD5)
Made available in DSpace on 2015-11-17T15:53:27Z (GMT). No. of bitstreams: 1 Dissertacao Fernanda Alliatti Masutti.pdf: 1138045 bytes, checksum: 4dcecfbc0bf20e216b7215965dee1ace (MD5)
This work performs a study of the coronelismo representation on the narratives of the Pedro Wayne’s fiction Xarqueada, published in 1937, and Jorge Amado’s Gabriela, cravo e canela, from 1958, settled, respectively, in the south and northeast regions of Brazil. Understanding that the cultural and socioeconomic aspects are inherit parts of a regional historical configuration, the research aims at discussing the way that distinct areas contribute to the coronels fictional construction in the cocoa and charque (jerked meat) production regions. Furthermore, the study proposes to analyze how charque and cocoa activities are related to power disputes and also how the modernity, in both economical and cultural levels, consists in an important factor in the reorganization of the oligarchies game of power in the regional and national scenario. As a result, the present study intends to contribute with the socioregional studies which deal with the coronelismo and its relations of power under the literature and history scope.
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Yoder, Rachel M. "Performance Practice of Interactive Music for Clarinet and Computer with an Examination of Five Works by American Composers." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33219/.
Full textAbstract:
Since the development of interactive music software in the 1980s, a new genre of works for clarinet and computer has emerged. The rapid proliferation of interactive music resulted in a great deal of experimentation, creating a lack of standardization in both the composition and performance of this repertoire. In addition, many performers are reluctant to approach these works due to unfamiliarity with the genre and its technical and musical considerations. Performance practice commonly refers to interpretation of a written score, but the technology involved in interactive music requires a broader definition of performance practice; one that also addresses computer software, coordination between the performer and computer system, and technology such as microphones and pedals. The problems and potential solutions of interactive music performance practice are explored in this paper through review of the relevant published literature, interviews with experts in the field, and examination of musical examples from works for clarinet and computer by Lippe, May, Pinkston, Rowe, and Welch. Performance practice considerations of interactive music fall into the categories of notation, technology, collaboration, interpretation, and rehearsal. From the interviews and the literature, it is clear that the performance of interactive music requires specific knowledge and skills that performers may not encounter in other genres of contemporary music, including microphone technique, spatialization, sound processing, and improvisation. Performance practice issues are often mediated by close collaboration between performers and composers, but they can inhibit the accessibility of these works to new performers, and may be detrimental to the long-term viability of interactive music. Recommendations for resolving these issues are directed at both composers and performers of interactive music. A listing of over one hundred interactive works for clarinet and computer is also included.
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Lynch, Éadaoín. "'This may be my war after all' : the non-combatant poetry of W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16566.
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This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.
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Lauro, Reno E. "Beyond the colonization of human imagining and everyday life : crafting mythopoeic lifeworlds as a theological response to hyperreality." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3207.
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This work takes up urban historian Lewis Mumford's concern for the phenomena of planned and imposed ordering of human life and societies. Mumford (and others) suggests the problem consists in the use of external plans, technologies (and media) to manipulate, dominate, and even coerce forms of life. It is seen at its worst in war, and even forced systems like Nazism and Stalinism. But these phenomena also take more attractive and seemingly enriching forms. We will focus (along with Daniel Boorstin and Umberto Eco in their own way) on forms which have massively developed in 20th and 21st century society: market and consumer saturation, shaped by dominating mass electronic media. This situation is developed imaginatively, and inventively, yet problematically, in Jean Baudrillard's theory of Hyperreality –a critique of the Western hyper-consumer and media saturated world. But his methods and pictures are not followed here. We take up a very different approach and diagnosis; This approach has become increasingly multidisciplinary: phenomenological, praxeological, anthropological, and philological. We build it up in a reading of human lifeworlds in philosophers Martin Heidegger and Ludwig Wittgenstein, and anthropologist Tim Ingold. This work does not go in for a picture of language (and cinema) as a system of signification, but as Ludwig Wittgenstein describes it, as tools always already involved in forms of life. We also offer a unique characterization of corporeal imagining and the imaginative creation of lifeworlds, paving the way for what is described as philological resistance: this resistance is seen in the development of a certain praxeological philology and fully realized in the 20th century author J. R. R. Tolkien's mythopoeic concerns. We focus particularly on what we call the double- transfer: the cyclic structure between human artistry and life-world building, each shaped by the other. We endeavor, along with Mumford and others, to counter colonization and find various less manipulated and un-coerced forms of life, and their informal organizing structures. We examine in detail Tolkien's literary and philological project; and the 20th and 21st century's first art form –cinema. Through the philosophical exploration of cinematic craft in Gilles Deleuze, and in the craft of Terrence Malick we see, and are taken up in, the inextricable relationship between how we make, what we make and how we live everyday life.
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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.
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"王鵬運詞及其詞論研究." 2006. http://library.cuhk.edu.hk/record=b5896700.
Full textAbstract:
胡麗華."2006年12月"
論文(哲學碩士)--香港中文大學, 2006.
參考文獻(leaves 133-139).
"2006 nian 12 yue"
Abstracts in Chinese and English.
Hu Lihua.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (leaves 133-139).
Chapter 第一章 --- 緒言 --- p.1
Chapter 第一節： --- 硏究緣起 --- p.1
Chapter 第二節： --- 前人研究述評 --- p.2
Chapter 第三節： --- 硏究目標及方法 --- p.8
Chapter 第二章 --- 王鵬運生平及治詞歷程 --- p.10
Chapter 第一節： --- 生平槪述 --- p.10
Chapter 第二節： --- 治詞歷程 --- p.17
Chapter 第三章 --- 王鵬運詞之題材內容 --- p.36
Chapter 第一節： --- 半塘詞各集名命意義及主題簡介 --- p.36
Chapter ´ؤ、 --- 各集命名意義 --- p.36
Chapter 二、 --- 各集主題簡介 --- p.38
小結 --- p.46
Chapter 第二節： --- 半塘詞分期 --- p.47
Chapter 一、 --- 初期-個人情志之作 --- p.47
Chapter 二、 --- 中期-憂時念亂、忠憤之志 --- p.50
Chapter 三、 --- 後期-南潛歸隱之作 --- p.58
小結 --- p.59
Chapter 第三節： --- 題材內容 --- p.60
Chapter 一、 --- 懷人之作 --- p.61
Chapter 二、 --- 贈別之作 --- p.67
Chapter 三、 --- 思鄉之作 --- p.72
Chapter 四、 --- 詠物之作 --- p.76
Chapter 五、 --- 國是之作 --- p.80
小結 --- p.87
Chapter 第四章 --- 王鵬運詞之藝術采光 --- p.89
Chapter 第一節： --- 「芒角撐腸」、「獨來獨往」一一王鵬運詞之愁苦主調及其意象運用 --- p.89
Chapter ´ؤ、 --- 歌哭無端、墨痕和淚´ؤ煙 、塵´Ø淚之意象 --- p.89
Chapter 二、 --- 醉夢之間、尋找依歸-夢、醉之意象 --- p.92
Chapter 三、 --- 王氏詞悲苦主調的形成原因 --- p.96
小結 --- p.97
Chapter 第二節： --- 「流轉任風光」、「一笑襟塵灑」一一王鵬運詞別調之風格 --- p.98
Chapter 一、 --- 輕鬆歡愉之情 --- p.98
Chapter 二、 --- 開豁振作之意 --- p.99
小結 --- p.100
Chapter 第五章 --- 王鵬運詞論 --- p.101
Chapter 第一節： --- 詞學觀念 --- p.101
Chapter 一、 --- 「重」、「拙」、「大」之說 --- p.102
Chapter 二、 --- 體格 --- p.105
Chapter 三、 --- 詞體發展論 --- p.109
Chapter 四、 --- 聲律之說 --- p.111
小結 --- p.113
Chapter 第二節： --- 校讎詞籍體例 --- p.113
Chapter 一、 --- 版本考訂 --- p.114
Chapter 二、 --- 建立體例 --- p.117
小結 --- p.119
Chapter 第六章 --- 王鵬運於「臨桂詞派」創派之說 --- p.121
Chapter 第一節： --- 「臨桂派」之說起源 --- p.121
Chapter 第二節： --- 「臨桂詞派」及王鵬運創派之說 --- p.122
Chapter 一、 --- 臨桂詞人的活動聯繫 --- p.122
Chapter 二、 --- 創作取向 --- p.124
Chapter 三、 --- 理論建立 --- p.126
小結 --- p.128
Chapter 第三節： --- 臨桂詞人群與浙、常二派之分野 --- p.128
小結 --- p.130
Chapter 第七章 --- 總結 --- p.131
參考書目 --- p.133
附錄 --- p.140
附錄一：〈王鵬運生平簡表〉 --- p.140
附錄二：〈王鵬運交游詞作一覽表〉 --- p.154
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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.
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Yu, Pok Hon Wally. "Schoenberg's transition to atonality (1904-1908): the use of intervallic symmetry and the tonal-atonal relationship in Schoenberg's pre-atonal compositions." Thesis, 2005. http://hdl.handle.net/2152/2376.
Full text
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Rossmann, Jean. "A study of intertextuality, intimacy and place in Barbara Adair's In Tangier we killed the blue parrot." Thesis, 2005. http://hdl.handle.net/10413/1286.
Full textAbstract:
In my thesis, I argue that Barbara Adair's In Tangier We Killed the Blue Parrot can be viewed as a palimpsest. In this sense her re-inscription of the lives and fictions of lane and Paul Bowles in the International Zone of Tangier, Morocco, in the 1940s reflects on and is implicated in the contemporary South African Zeitgeist. Through illuminating the spatial and temporal connections between the literary text and the social text, I suggest that Adair's novel creates a space for the expression of new patterns of intimacy. The Bowleses' open marriage and their same-sex relationships with local Moroccans are complicated by hegemonies of race, class and gender. To illustrate the nature of these vexed intimacies I explore Paul's sadomasochistic relationship with the young hustler, Belquassim, revealing the emancipatory nature of the expatriate's erotic and violent encounter with the Other. Conversely, I suggest the shades of Orientalism and exoticism in this relationship. While Adair is innovative in her representation of the male characters, I argue that she perpetuates racial and gendered stereotypes in her representation of the female characters in the novel. lane is re-inscribed in myths of madness and selfdestruction, while her lover, Cherifa, vilified and unknowable, is depicted as a wicked witch. This study interrogates the process of selection and representation chosen by Adair, which proceeds from her own intentionality and positionality, as a South African, as a human rights law lecturer, as a (white) woman and as a woman writer. These explorations reveal the liberatory re-imagining of new patterns of intimacy, as well as the limitations of being bound by the implicit racial and gendered divisions of contemporary South African society.http://hdl.handle.net/10413/1286
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.
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Moser, Joseph Paul. "Patriarchs, pugilists, and peacemakers : interrogating masculinity in Irish film." 2008. http://hdl.handle.net/2152/17943.
Full textAbstract:
Examining representations of gender from a postcolonial feminist perspective, Patriarchs, Pugilists, and Peacemakers: Masculinity in Irish Film analyzes select works of three popular filmmakers whose careers, taken together, span the period from 1939 to the present.1 I argue that these three artists--John Ford, Jim Sheridan, and Paul Greengrass--explore fundamental questions about patriarchy and violence within Irish and Irish-American contexts, and that, in the process, they upset conventional notions of masculine authority. Investigating alternative conceptions of manhood presented in these films, as well as these filmmakers’ complex engagement with Hollywood film genres, I offer a fuller understanding of their subtle critiques of patriarchy. I contend that their illustrations of socially sanctioned male dominance in the lives of women, as well as their portrayals of male and female resistance to patriarchy, constitute a subversive challenge to traditional order. In the process, I address gendered archetypes that are prevalent in Irish and American cinemas and analyze the ways in which Ford, Sheridan, and Greengrass employ and critique these masculine types through their portrayals of fathers, sons, boxers and pacifists. Ultimately, I argue that the recent Irish films of Sheridan and Greengrass gesture toward future modes of manhood that completely disavow patriarchy and violence. In sum, this project plots a trajectory of Irish cinema during the twentieth and early twenty-first centuries, charting a progression from ambivalent critique of patriarchy (in the films of John Ford) to outright rejection of patriarchal masculinity (in Jim Sheridan’s work) to reconceptualization of manhood and the family (in the Irish films of Sheridan and Paul Greengrass).text
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Babatunde, Samuel Olufemi. "Engagement et militantisme dans le Docker Noir (1956), les Bouts de bois de Dieu (1960) et Xala (1973) de Sembène Ousmane." Thesis, 2015. http://hdl.handle.net/10500/19617.
Full textAbstract:
Text in FrenchMember of the union of black workers in the port of Marseille, in France, and an eyewitness to the misery of black workers in the European environment, Sembène Ousmane, in 1956, wrote, using his personal experiences, his first book entitled The Black Docker. In this novel, he describes the sufferings of the working class, the struggle between colonisers and colonised. In 1960, he uses as a pretext the strike of the Senegalese railway workers in 1937 to write a book entitled God's Bits of Wood. In this story where two forces clashed, on one hand, the colonised struggling against the colonial system and want, at all costs, to improve their living conditions, and on the other hand, the colonisers that are in support of their colonialist ideals and refuse the changes, the author tells the epic story of strikers in Senegal and their relentless struggles against the colonisers to change their living conditions for better. In 1973, an eyewitness of the daily realities of his native country, Senegal, after gaining national sovereignty, Sembène Ousmane wrote and published a book entitled Xala. In this book, he describes the evils of neo-colonialism and criticises the new African middle class, born after independence. After reading these novels, one notes that Sembène Ousmane, a defender of freedom, denounces the injustices done to the blacks, both in the colonial era as well as in the post colonial period. This is why from a book to another, he continues tirelessly his struggle against colonialism and neo-colonialism, evoking the sufferings and tragedies endured by the Africans. It occurs constantly in his imaginary creations, a theme, or better still a dialectical; commitment and militancy. What does he mean by « commitment » and « militancy » ? How do these two concepts manifest themselves in the works of the Senegalese writer? What strategy does he propose to the oppressed in the struggle against the oppressors? What means has he put at the disposal of the disinherited struggling to break the yoke of oppression and exploitation in order to achieve freedom and equality?
Membre du syndicat des travailleurs noirs, au port de Marseille, en France, et témoin oculaire de la misère vécue par les ouvriers noirs dans ce milieu européen, Sembène Ousmane, en 1956, écrit, en se servant de ses expériences personnelles, son premier ouvrage intitulé Le Docker noir. Dans ce roman, il décrit la souffrance de la classe ouvrière, la lutte entre colonisateurs et colonisés. En 1960, il se sert d’un prétexte, la grève des ouvriers sénégalais en 1937, pour écrire un ouvrage intitulé Les Bouts de bois de Dieu. Dans ce récit, où s’affrontent deux forces, d’une part les colonisés qui luttent contre le système colonial et veulent, à tout prix, l’amélioration de leurs conditions de vie, et d’autre part, les colonisateurs qui soutiennent les idéaux colonialistes et refusent le changement, l’auteur relate l’histoire épique des grévistes au Sénégal, et la lutte implacable qu’ils mènent contre les colonisateurs pour le changement de leurs conditions de vie. En 1973, témoin oculaire des réalités quotidiennes de son pays natal, le Sénégal, après son accession à la souveraineté nationale, Sembène Ousmane écrit et publie, un ouvrage intitulé Xala. Dans ce livre, il décrit les méfaits du néocolonialisme et critique la nouvelle classe bourgeoise africaine, née après l’indépendance. Après lecture des trois romans, on constate que Sembène Ousmane, défenseur de la liberté, dénonce les injustices faites aux Noirs, aussi bien à l’époque coloniale qu’à la période postcoloniale. C’est pourquoi, d’un ouvrage à l’autre, il continue, inlassablement, sa lutte contre le colonialisme et le néocolonialisme, en évoquant les souffrances et les drames endurés par les Africains. Il revient, constamment, dans ses créations imaginaires, à une thématique, ou mieux une dialectique, l’engagement et le militantisme. Qu’entend-il par « engagement » et « militantisme »? Comment ces deux lexèmes se manifestent-ils dans les écrits de cet écrivain sénégalais? Quelles stratégies propose-t-il aux opprimés dans la lutte qui les oppose aux oppresseurs? Quels moyens met-il a la disposition des déshérités en lutte pour briser le joug de l’oppression et celui de l’exploitation afin d’obtenir la liberté et l’égalité?
Linguistics and Modern Languages
D. Litt. et Phil. (French)
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Potter, Mary-Anne. "Arboreal thresholds - the liminal function of trees in twentieth-century fantasy narratives." Thesis, 2018. http://hdl.handle.net/10500/25341.
Full textAbstract:
Trees, as threshold beings, effectively blur the line between the real world and fantastical alternate worlds, and destabilise traditional binary classification systems that distinguish humanity, and Culture, from Nature. Though the presence of trees is often peripheral to the main narrative action, their representation is necessary within the fantasy trope. Their consistent inclusion within fantasy texts of the twentieth century demonstrates an enduring arboreal legacy that cannot be disregarded in its contemporary relevance, whether they are represented individually or in collective forests. The purpose of my dissertation is to conduct a study of various prominent fantasy texts of the twentieth century, including the fantasy works of J.R.R. Tolkien, C.S. Lewis, Robert Holdstock, Diana Wynne Jones, Natalie Babbitt, and J.K. Rowling. In scrutinising these texts, and drawing on insights offered by liminal, ecocritical, ecofeminist, mythological and psychological theorists, I identify the primary function of trees within fantasy narratives as liminal: what Victor Turner identifies as a ‘betwixt and between’ state (1991:95) where binaries are suspended in favour of embracing potentiality. This liminality is constituted by three central dimensions: the ecological, the mythological, and the psychological. Each dimension informs the relationship between the arboreal as grounded in reality, and represented in fantasy. Trees, as literary and cinematic arboreal totems are positioned within fantasy narratives in such a way as to emphasise an underlying call to bio-conservatorship, to enable a connection to a larger scope of cultural expectation, and to act as a means through which human self-awareness is developed.English Studies
D. Litt. et Phil. (English)