Dissertations / Theses on the topic '1912-1955 Criticism and interpretation'
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1
Cowell, Lauren. "Against the monotonous surge : Patrick White's metafiction." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61949.
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Whaley, Susan Jane. "Still life : the life of things in the fiction of Patrick White." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27562.
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"Still Life" argues that Patrick White's fiction reveals objects in surprising, unexpected attitudes so as to challenge the process by which the mind usually connects with the world around it. In particular, White's novels disrupt readers' tacit assumptions about the lethargic nature of substance; this thesis traces how his fiction reaches beyond familiar linguistic and stylistic forms in order to reinvent humanity's generally passive perception of reality.
The first chapter outlines the historical context of ideas about the "object," tracing their development from the Bible through literary movements such as romanticism, symbolism, surrealism and modernism. Further, the chapter considers the nature of language and the relation of object to word in order to distinguish between the usual symbolic use made of objects in literature and White's treatment of things as discrete, palpable entities. The second chapter focuses on White's first three published novels—Happy Valley (1939), The Living and the Dead (1941) and The Aunt's Story (1948)--as steps in his novelistic growth. Chapters Three, Four and Five examine respectively The Tree of Man (1955), The Solid Mandala (1966) and The Eye of the Storm (1973); these novels represent successive stages of White's career and exemplify his different formal and stylistic techniques. White's innovations demand a new manner of reading; therefore, each novel is discussed in terms of objects which reflect the shapes of the works themselves: "tree" defines the structure and style of Tree of Man "house" inspires Solid Mandala and "body" shapes Eye of the Storm. Reading White's novels in terms of structural analogues not only illuminates his methodology, but also clarifies his distinction between objective and subjective ways of understanding the world. Further, these chapters also refute critics' arguments that White's objects are merely victims of his overambitious use of personification and pathetic fallacy, or that they are the result of his dabbling in mysticism.
"Still Life" concludes by showing how Patrick White's novels sequentially break down assumptions about reality and appearance until the reality of language itself falters. The author restores mystery to things by relocating the possibility of the extraordinary within the narrow, prescribed confines of the ordinary. White succeeds in changing readers' notions about the nature of reality by disrupting the habitual process by which they apprehend the world of things.Arts, Faculty of
English, Department of
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Papillon-Boisclair, Antoine. "L'école du regard : poésie et peinture chez Saint-Denys Garneau, Roland Giguère et Robert Melançon." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102821.
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From the artistic experience of Saint-Denys Garneau, who decided to devote himself to painting and writing at the beginning of the 1930's, to the poetry and essays on art of Claude Gauvreau, Roland Giguere, Jacques Brault or Robert Melancon, Quebec's poetry maintains a fertile dialogue with the art of painting. Whatever form it takes, discourse on art allows the poet to reinforce or refine aesthetic sensibilities, to question the links or the disparities between texts and images, but also to conceive a theory about visual perceptions. Despite all that separates these two expressive modes, literature and painting both produce "visibility": even if some pictures are not figurative or some poems do not contain imagery, visual arts, beyond the topics or themes they provide to writers (landscape, portrait, still life, etc.), contribute to the development of "ways of seeing", ways of perceiving sensitive reality and of inserting oneself as a subject in the world. This is particularly true in the works of the three poets around which the main parts of this study are centered: Saint-Denys Garneau, for whom painting is a way of "learning to see" (apprendre a voir), Roland Giguere, whose poetic and artistic works share a desire to "give to see" (donner a voir), and finally Robert Melancon, who borrows from painters ways to "make see" (faire voir). By using notions and concepts that come from disciplines close to Aesthetics, this work proposes to circumscribe those "ways of seeing" and to assess how painting acts as a "seeing school" (ecole du regard) for these three authors. More broadly, since discourse on painting can be found throughout Quebec's modern poetry, this study also constitutes a point of view on the history of poetry in Quebec since Saint-Denys Garneau.Keywords: Quebec poetry, painting, Aesthetics, visual perception, history of literature.
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Bosman, Brenda Evadne. "Alternative mythical structures in the fiction of Patrick White." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1001821.
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The texts in this study interrogate the dominant myths which have affected the constructs of identity and history in the white Australian socio-historical context. These myths are exposed by White as ideologically determined and as operating by processes of exclusion, repression and marginalisation. White challenges the autonomy of both European and Australian cultures, reveals the ideological complicity between them and adopts a critical approach to all Western cultural assumptions. As a post-colonial writer, White shares the need of both post-colonising and post-colonised groups for an identity established not in terms of the colonial power but in terms of themselves. As a dissident white male, he is a privileged member of the post- colonising group but one who rejects the dominant discourses as illegitimate and unlegitimating. He offers a re-writing of the myths underpinning colonial and post-colonising discourses which privileges their suppressed and repressed elements. His re-writings affect aboriginal men and women, white women and the 'privileged' white male whose subjection to social control is masked as unproblematic freedom. White's re-writing of myth enbraces the post-modern as well as the post- colonial. He not only deconstructs and demystifies the phallogocentric/ethnocentric order of things; he also attempts to avoid totalization by privileging indeterminacy, fragmentation, hybridization and those liminary states which defy articulation: the ecstatic, the abject, the unspeakable. He himself is denied authority in that his re-writings are presented as mere acts in the always provisional process of making interpretations. White acknowledges the problematics of both presentation and re-presentation - an unresolved tension between the post-colonial desire for self-definition and the post-modern decentring of all meaning and interpretation permeates his discourse. The close readings of the texts attempt, accordingly, to reflect varying oppositional strategies: those which seek to overturn hierarchies and expose power-relations and those which seek an idiom in which contemporary Australia may find its least distorted reflexion. Within this ideological context, the Lacanian thematics of the subject, and their re-writing by Kristeva, are linked with dialectical criticism in an attempt to reflect a strictly provisional process of (re) construction
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Watts, Jacqueline Anne. "An explication of the dual nature of narcissism in Patrick White's novel The solid mandala." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1002072.
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The focus of this thesis has been to engage in a hermeneutic dialogue with Patrick White's novel The solid mandala, to provide an explication of the dual nature of narcissistic wounding. To this end a brief review of Patrick White's novels is given, which traces a thematic development of the hero's strivings to attain wholeness and merger with an idealized image. This struggle is understood to reflect man's strivings to return to a state of omnipotent fusion with the maternal image, be it God, nature, the idealized other, or the self. Literature which reflects the dual nature of narcissistic wounding is reviewed, and the concept of narcissism is traced from the historical roots of Freud, to current understandings of the function and experience of narcissism. Emphasis is given to understanding the experiential nature of narcissistic wounding. As such it is implied that narcissism is a normal developmental component which requires the facilitation of containment and reflection for its transformation into appropriate adult functioning. The importance of the maternal environment is discussed, together with the various theoretical conceptualizations of the consequences of failure of the environment. The hermeneutic dialogue with the novel's description of the experiences of the twins, Waldo and Arthur provides the basis for an amplification of the experience of narcissistic wounding. This amplification is used as clinical material from which a number of psychoanalytic formulations are drawn. These formulations are supported by a number of clinical examples from the researcher's own practice. There appears to be evidence for the value of focusing on the dual nature of the experience of narcissistic wounding. This focus reveals two aspects of experience, a damaged, positive, libidinal aspect and a defensive, pathological destructive aspect. Amplification of these two aspects of experience contribute to further the understanding of the conflictual experience of narcissistic wounding, and suggest the necessity for such an understanding for effective therapeutic intervention
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Johnson, Andrea C. (Andrea Carswell). "Garden imagery in the poetry of Wallace Stevens (1879-1955)." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72085.
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Creativity, for Wallace Stevens, depends on connections to the natural world which can be examined through garden imagery. Chapters one and two focus on Stevens' private writing, identifying the range of garden environments and natural expanses to which he responded and associating these responses with his aesthetic sensibilities. Continental and Adamic traditions in garden imagery are explored as are contemporary practices in conservation and horticulture. Chapter three concentrates on poems which treat the garden as a locus amoenus of repose and delight where a poet can engage his imaginative faculties with sensual reality. Chapter four analyzes poems whose garden imagery elucidates Stevens' attempts to confront social and political as well as aesthetic issues. Chapters five and six examine Stevens' consideration of the garden as a hortus mentis, emblematic of creative experience, where Stevens assesses the relation of expression to environment and celebrates life lived "in the word of it."
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Ungari, Elena. "Australian national identity/ies in transition in the fiction of Patrick White." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683214.
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Hobbs, Michael B. (Michael Boyd). "The Disfigured Muse : Supreme Readers in the Poetry of Wallace Stevens." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279030/.
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In "Discourse in the Novel," Mikhail Bakhtin tells us that "Every discourse presupposes a special conception of the listener, of his apperceptive background and the degree of his responsiveness." My study of Wallace Stevens's poetry examines Stevens's "conception of the listener"—in the form of his intratextual readers, their responsiveness, and the shapes that responsiveness takes—and attempts to formulate out of that examination Stevens's theory of reading embodied in his canon of poems.
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Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.
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The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
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Millett, John R. ""Like decorations in a nigger cemetery" : the poetic and political adjustments of Wallace Stevens /." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/MillettJR2004.pdf.
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胡雅坤. "跨文化背景下的衝突與融合 : 福克納對當代中國作家影響的倫理敍事研究." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2150847.
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Perry, Nicole. "Karl May's Winnetou : the image of the German Indian, the representation of North American First Nations from an Orientalist perspective." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99741.
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Karl May is considered Germany's most published author of popular literature. His influence on generations of German youth cannot be overlooked. Winnetou is one of his major works and depicts the adventures of Old Shatterhand, the German immigrant, and his Blood Brother, the Apache Winnetou. Generations of children grew up reading their adventures and escaping in their imaginations to battle unsavoury Yankees as well as hostile tribes.May's descriptions of the First Nations of North America have aided in skewing the perception of the North American First Nations in Germany. This thesis aims to work with some of these misperceptions and explain how they came to be. Through the use of Edward Said's theory, Orientalism, which will be applied to Winnetou I-III, this thesis attempts to interpret the role of the European and the non-European, or the Other, within the context of the story. The power structure between the European and the non-European will be one of the main focuses. May's use of the Bible as the perceived 'right' way of dealing with situations and people in comparison to the Apache or Yankee way is an obvious exertion of European thought and control over the non-European way of life.
Winnetou is situated in a unique role in the power struggle between the European and the non-European. He is often seen as having mentalities and beliefs that come across as more European than non-European, and therefore places him in a unique situation, that of a Noble Savage, not a 'red devil'. It is exactly this perception of North American First Nations, that has survived many generations and still lends credit to Winnetou being called an 'apple Indian', red on the outside, white on the inside.
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Hewitt, Avis Grey. ""Myn owene woman, wel at ese" : feminist facts in the fiction of Mary McCarthy." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/862262.
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This study examines Mary McCarthy's three major female-protagonist works of fiction--The Company She Keeps (1942), A Charmed Life (1955), and The Group (1963)--in terms of the author's attitude towards femaleness. It confronts Elizabeth Janeway's assessment in Harvard Guide to Contemporary American Writing (1979) that McCarthy's works need not be reviewed in a survey essay on "Women's Literature" because they are "essentially masculine even if not conventionally so" (345). The thesis is that McCarthy's fiction receives a pattern of criticism faulting its lack of imagination and its inability to create "living" characters precisely because she maintained a high degree of self-censorship and control over parts of her awareness that were not male-identified. She was not free to imagine in areas that might unleash the horrors beneath what Norman Mailer has called "the thin juiceless crust" upon which McCarthy's "nice girls" live their lives.Each novel finds the protagonist at a different stage of modern womanhood and using a variety of male-identified responses. Meg Sargent of Company is a young New York sophisticate dealing with divorce, employment, travel, social life, political activism, casual sexual encounters, and the resolution of childhood trauma through psychoanalysis. Martha Sinnott of Charmed is a married woman returning with her second husband to the bohemian artists' community of her first husband in order to resolve the conflict of literary mentorship and patriarchal dominance that had marked the old relationship. In The Group Kay Strong and eight other Vassar Class of '33 females serve as literary embodiments of the social ailment that Betty Friedan cited in her 1963 polemic, The Feminine Mystique.McCarthy's three autobiographies--Memories of a Catholic Girlhood (1957), How I Grew (1985), and Intellectual Memoirs (1992)--illuminate many reasons for and consequences of her male-identified approach to living and writing. Social context for such a fate stems in part from having come of age in the 1930s, being a member of what Elaine Showalter refers to as "The Other Lost Generation." McCarthy's texts provide literary illustration of a common response to patriarchy.Department of English
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Porcina, Mark. "I am not a ceramicist." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2012, 2012. http://hdl.handle.net/10133/3393.
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Ceramics has always existed on the fringes of craft and high art. The purpose of this
thesis project is to elevate clay beyond the traditions of craft by examining the historical use of
clay and the everyday object. My research looks specifically at works by Marcel Duchamp, Andy
Warhol, Jeff Koons and Jasper Johns in order to examine the origin of displaying the massproduced
object and reflecting upon it’s validity as high status art object. In this project I am also
interested in infrastructural systems within modern architecture-- plumbing, wiring, heat ducts
vents-- with a specific focus on systems lurking inside walls and how these function to influence
architectural space. With the advent of modern plumbing, concealing these elements was
adopted as the new standard and still exists today. Through the presentation of defamiliarized
handmade objects, my exhibition presents the appearance of manufactured material through the
serial manipulation of scale, surface and quantity. The result reveals a clay piece that renders the
material unrecognizable providing the viewer with a new view on the object's tradition.v, 47 leaves : ill. ; 29 cm
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He, Donghui. "Reconstructions of the rural homeland in novels by Thomas Hardy, Shen Congwen and Mo Yan." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48645.pdf.
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Du, Plessis W. I. "Die diskoers van kerst en andere liefdesverhalen deur Kristien Hemmerechts." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002185.
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Die doel van hierdie studie was om aan te toon hoe 'n linguistiese beskouing van 'n literere teks kan meehelp om tot gefundeerde insigte in 'n teks te kom en om langs hierdie weg die beskuldiging dat literatuurstudie grotendeels 'n 'anything-goes-dissipline' is, te omseil. Om hierdie rede is daar van die standpunt uitgegaan dat kennis oor die presiese aard van die tekslinguistiek kan meehelp in die toepassing daarvan. Dit dien as motivering vir die uitgebreide diachroniese situering van die tekslinguistiek van die eerste hoofstuk. Hier word geredeneer dat die tekslinguistiek iets soos 'n pseudo-literatuurteorie is wat kan meehelp in die lees en interpretasie van en kommentaar oor 'n literere teks. Daar is grotendeels gefokus op die literere benaderings wat die ontwikkeling van die tekslinguistiek voorafgegaan en be'invloed het. Daar was drie hoofstrominge t.o.v. tekstuele benadering, nl. (i) tekssentriese (outonomistiese), (ii) linguistiese (taalsentriese), en (iii) lesersentriese benaderings. Die vemaamste tekssentriese (outonomistiese) benaderings is die Russiese Formalisme, New Criticism en Stilistiek op taalkundige grondslag. In die bespreking van hierdie benaderings is dit tel kens in verband gebring met die bestaande teorie oor die tekslinguistiek ten einde die diachroniese aard van die ontwikkelingsgang daarvan, te karteer. Die vernaan1ste eksponente van die linguistiese (taalsentriese) benaderings is die Strukteralisme, Poststrukturalisme en die Semiotiek. Daar is in hierdie afdeling duidelik aangestip hoe die standaarde van tekstualiteit (De Beaugrande en Dressler, 1981), en spesifiek die standaard kohesie, terug te vind is in hierdie benadering tot teksstudie. Die Resepsie-estetika en Referensiele benadering is bespreek as eksponente van die sg. lesersentriese benadering. Die doel hiervan was om aan te dui hoe intertekstualiteit, kontekstualiteit en informatiwiteit as standaarde van tekstualiteit, in hierdie benadering terug te vind is. Met die diachroniese situering in gedagte, is daar in die tweede deel van Hoofstuk Een oorgegaan tot 'n sinchroniese karakterisering van wat die tekslinguistiek behels. In hierdie hoofstuk is daar voortgegaan met die beredenering dat die term diskoerslinguisliek • n meer akkurate benaming is vir 'n dissipline wat meer as net ' teks' in ag neem. Diskoers kan beskou word as 'n reeks taaluitinge wat 'n taalhandeling vorm. Hoewel diskoerslinguisliek die term tekslinguistiek in hierdie studie vervang, is daar duidelik aangetoon dat dit nie die doel het om aardskuddend veranderend te wees nie. Die werkswyse wat in hierdie studie gevolg is, is steeds die van die tekslinguistiek. Om hierdie rede is hierdie gedeelte van die studie grootliks teoreties, dit bespreek die interdissiplinere aard van tekslinguistiekldiskoerslinguistiek, definieer dit, en identifiseer die studieveld van 'teks'. Hierdie identifisering (sintaktiese eenheid, semantiese eenheid en pragmatiese eenheid) funksioneer breedweg as die hoofuiteensetting van hierdie studie. Tog word daar in hierdie studie aangetoon dat daar verskil word van die De Beaugrande en Dressler-aanname dat daar sewe standaarde van tekstualiteit bestaan, en word dit hier gereduseer tot twee superstandaarde, nl. kohesie en koherensie. Koherensie beskik oor sg. 'voorwilardes', nl. intensionaliteit, aanvaarbaarheid, informatiwiteit, kontekstualiteit en intertekstualiteit. Op hierdie wyse word die meganistiese indeling van die oorspronklike sewe standaarde oorkom. In Hoofstuk Twee word die teorie rondom die superstandaard kohesie toegepas op die Nederlandse teks deur Kristien Hemmerechts, Kerst en andere liefdesverhalen. Hierdie hoofstuk het die implisiete doel om aan te toon hoe 'n suiwer strukturalistiese ondersoek na 'n tekstuele gegewe kan meehelp in die identifisering van bepaalde linguistiese patrone wat, indien gesitueer in 'n pragmatiese milieu, bepaalde betekeniswaarde verkry. Verskeie aspekte rondom die konsep 'kohesie' word hier bespreek, o.a. 'n by trek van sg. storiegrammatika van die liefdesverhaal en sprokie ten einde bepaalde taalpatrone te identifiser wat pragmatiese betekenislading het. Hierbenewens word daar suiwer struktureel met die teks omgegaan met 'n identifisering van bepaalde patrone in die adjektief-aanwending, die gebruik van saakname, verwysing, polisemie, sinonimie, teenoorgesteldheid, antonimie, komplementeerbaarheid, ruimtelike opposisie en hiponimie. 'Hierbenewens word kohesiewe-bindingspatronesoos ellips, semantiese rolle en sg. tematiese kontinuHeit bespreek. Die daaropvolgende hoofstuk is 'n bye en bring van die ge"identi±iseerde talige patrone van Hoofstuk Twee en 'n situering daarvan in 'n pragmatiese raamwerk. Koherensie is die somtotaal van eenheid en betekenis soos wat dit in diskoers ervaar word. Dit het betrekking op dit wat bydra dat 'n teks vir taalgebruikers sin maak en samehang vertoon. Aangesien koherensie grootliks steun op die pragmatiek, is die fokus van hierdie afdeling van die studie grootliks pragmaties en word daar aangedui hoe die bestaan van bepaalde koordinate, 'n beginsel van samewerking en 'n spraakhandelingsteorie kan bydra tot gefundeerde insigte in die onderhawige teks.
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Bernier, Frédérique 1973 Apr 11. "La voix et l'os : poétiques du dépouillement chez Saint-Denys Garneau et Samuel Beckett." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115636.
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This thesis is concerned with the poetics of impoverishment as found in the works of Saint-Denys Garneau and Samuel Beckett. It seeks to shed light on the reactivation of a Christian ascetic heritage within modern writing forms (poetic and narrative) and also, more specifically, to develop a novel analysis of these works from the perspective of their points of overlap. This thesis presents analysis of the relationships between voice and body (part I), of the doppelganger and self-generation figures (part II), of prayer, desert and image motifs (part III) throughout the totality of both corpuses. The comparative reading of the works of Beckett and Garneau highlights the complex relationship they entertain with certain Christian schemes (incarnation, sin, asceticism, kenosis) which they put into play on a properly literary level. This investigation also reveals that, within both works, these Christian schemes echo the aesthetic concerns of modernity (auto-foundation of the subject, authenticity, autonomy and purification of forms).Key terms: Saint-Denys Garneau, Samuel Beckett, literary modernity, asceticism, poverty, doppelganger, Christianism, French-Canadian literature, French literature, Irish literature
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Suzuki-Martinez, Sharon S. 1963. "Tribal Selves: Subversive Identity in Asian American and Native American Literature." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/565575.
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Caron, Katerine. "La lumière dans la poésie de Saint-Denys Garneau." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23325.
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Light in the poetry by Saint-Denys Garneau appears in touches. At first imperceptible, it is soon revealed through the movement of wind or water. If the light in movement gives form to the landscape by outlining the contour of things, the fixed light, on the other hand, hollows out large holes of darkness which engulf the landscape. The space thus displayed reduces the poet to anonymity and silence. The conflict pulling the poet between these two forms of light, which refers to the problematics of Orpheus' song and sight, as defined by Blanchot, constitutes the drama of Saint-Denys Garneau. The poet thus seems to rest only in the midst of the transparence, this excess of clarity which transfigures things without however destroying their unchanging appearance.Light thus determines the poet's attitude facing the world. Each day is lived out according to the ascent or decline of light. One can thus observe how the morning, afternoon and night inspire in Saint-Denys Garneau particular states of mind and songs. Light is indissociable from Saint-Denys Garneau's poetic process. This study should allow me to show that the poet's failure is not exclusively the result of exterior hostile forces acting upon his poetic undertaking, but that it places itself, on the contrary, within this poetic undertaking insofar as the silence (the darkness of the fixed light) is the necessary risk to the word (the light in movement).
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Happ, Julia Stephanie. "Literarische Dekadenz : Denkfiguren und poetische Konstellationen bei Thomas Mann, Hugo von Hofmannsthal und Rainer Maria Rilke." Thesis, University of Oxford, 2009. https://ora.ox.ac.uk/objects/uuid:bb5baef5-de44-499c-a246-b609a3f0caff.
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My D.Phil, dissertation sheds new light on German literary decadence around 1900, its universal concepts, plurality of discourses and poetic transformations. The heuristic value of my dissertation is a refined differentiation of Dekadenz which reconstructs the literary history of the concept and for the first time proposes specific poetic constellations. In chapter 1, decadence is reviewed with its rich research heritage and introduced as a decisive concept and discourse of aesthetic modernism. Although much has been written on decadence, the concept is clearly in need of scholarly reconsideration. I argue that decadence is not only a vague epochal construct and an ensemble of motifs, but also encompasses discourses, universal concepts and a versatile literary style. In view of the stylistic eclecticism around 1900, I argue that decadence is a dynamic and malleable concept which can be combined with other aesthetic styles, movements and philosophical contexts depending on the specific author. Chapter 2 contextualizes Dekadenz from its etymology and central discourses to its universal concepts. Etymologically derived from the Latin verb de-cadere decadence signifies a downward movement and a figure of fragmentation. It evokes cultural and political decline especially that of the Roman Empire (décadence romaine) and undergoes various aesthetic transformations (1857-1894). After touching upon the precursors Baudelaire (1857), Bourget (1883) and Bahr (1889-1894), I dwell on Nietzsche to demonstrate the philosophically complex German double evaluation of decadence. I derive three universal concepts from Nietzsche (health vs. sickness, endings vs. new beginnings, fragmentation vs. wholeness) which are crucial to my literary analysis. My comprehensive literary analysis centers on three specific poetic constellations of decadence between late realism and aesthetic modernism. Chapter 3 illuminates Mann's spätrealistische Dekadenz (1894-1924) with his (Nietzschean) double evaluations. Transformations of decadence are shown in his early novellas, Buddenbrooks, Der Tod in Venedig and Der Zauberberg. Chapter 4 illustrates Hofmannsthal's ästhetizistische Dekadenz (1891-1902) in his early essays, his prose fragment Age of Innocence and Das Märchen der 672. Nacht. A significant transformation of decadence is illuminated in Ein Brief (1902), where Nietzschean decadence is concentrated and tentatively overturned. In chapter 5, Rilke's modernistische Dekadenz (1898-1910) is shown from his early fragment Ewald Tragy to his only novel Die Aufzeichnungen des Malte Laurids Brigge. His novel attempts a poetic 'revaluation of all values' and culminates in the emergence of a genuinely modernist decadence.
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Thompson, Erik Robb. "The Map and the Territory in the Poetry of Wallace Stevens." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12205/.
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In this dissertation, Wallace Stevens' imagination-reality problem as depicted in his poetry is discussed in terms of an eco-critical map-territory divide. Stevens's metaphor of "the necessary angel" acts to mediate human necessity, the map, with natural necessity, the territory, in order to retain contact with changing cultural and environmental conditions. At stake in this mediation are individual freedom and the pertinence of the imagination to the experience of reality. In Chapter 2, the attempt at reconciliation of these two necessities will be described in terms of surrealism. Stevens's particular approach to surrealism emphasizes separating and delineating natural necessity from human necessity so that through the poem the reader can experience the miracle of their reconciliation. In Chapter 3, this delineation of the two necessities, map and territory, will be examined against Modernist "decreation," which is the stripping bare of human perception for the purpose of regaining glimpses of the first idea of the external world. And in Chapter 4, Stevens's approach to the problem of the map-territory divide will be considered against his alienation or internal exile: balancing nature and identity through mediating fictions results in a compromised approach to the marriage of mind and culture in a historically situated place.
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Charpentier, Alain. "Sylvain Rivière, écrivain régionaliste contemporain." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82694.
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Quebec knew a long tradition of regionalistic literature since the novel of the soil, tradition with which the writers of Quebec broke for a long time. However, certain writers still practice a regionalistic form of literature, which does not have anything to see with the novel of the soil. Within the literary institution, the regionalistic writers of today seem to belong to a sphere of distinct production. In order to delimit the space occupied by the contemporary regionalistic writers, we based ourselves on the theory of the literary field of Pierre Bourdieu and the theory of the institution of the literature of Jacques Dubois. So as to apply the model of Bourdieu and Dubois to a typical example of contemporary regionalistic writer, we chose to concentrate us on the career of Sylvain Riviere, Gaspesian writer born in 1955. Sylvain Riviere seems to be the regionalistic writer par excellence, who devoted the most part of his work to his region, Gaspesia and the Magdalen Islands. The example of Sylvain Riviere shows us that in spite of his marginality, the regionalistic writer is able to find his place inside the contemporary literary field.
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Anker, Willem Petrus Pienaar. "Die nomadiese self : skisoanalitiese beskouinge oor karaktersubjektiwiteit in die prosawerk van Alexander Strachan en Breyten Breytenbach." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/1088.
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Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2007.ENGLISH ABSTRACT: This dissertation studies the depiction of character subjectivity in two text series of Alexander Strachan and Breyten Breytenbach. Strachan’s first three prose works are dealt with as a trilogy wherein one main character, Lenka, traverses three texts. Breytenbach’s five autobiographical prose works about visits to South Africa are also dealt with as a text series wherein one main character, Breytenbach, is depicted. In both instances the subjectivity, as portrayed by these authors, is read as a nomadic subjectivity, a term borrowed from the French thinkers Gilles Deleuze and Félix Guattari. The study assumes the form of a Deleuze-Guattarian reading of Strachan and Breytenbach’s work with a sustained focus on the depiction of the nomadic subject in the works of both authors. During the course of the study many philosophical concepts, developed in the work of Deleuze and Guattari, are explained and implemented as thinking and reading instruments whereby the prose texts are read in a new perspective. Although a Deleuze-Guattarian reading of prose texts is a relatively uncharted territory in circles of Afrikaans literary theory, this study purports to indicate that when a schizo-analytical view of subjectivity is used to analyse the functioning of character subjectivity within literary works, the texts gain new life in interesting ways. Using the concept of the nomadic subject empowers me to establish a useful reading strategy for the reading of a character who refuses to become wholly subjected to the text and the world within which he lives and who rather experiences an existence of perpetual becomings. Eventually it is suggested that the creation of a nomadic character is not only dependent upon a different grasp of subjectivity as indicated in the text, but that the writing of a particular, revolutionary form of literature, a minor literature, is implied. The nomadic subject’s being implies perpetual becomings, and a successful literary portrayal of this subject must depict such becomings at stylistic and formal levels. This study moves systematically from an analysis of nomadic subjects in literary texts to the more general question of how a minor literature functions so that the nomadic being of the character is also kept alive in the form and style of the text.
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Tan, Wen Qi. "Case study of Goldblatt's translation of The Garlic Ballads from skopos perspective." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954285.
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Almeida, Carla Cristine Souza de. "O pecado contemporâneo na obra de Nelson Rodrigues: uma análise das peças Álbum de família, Otto Lara Resende ou Bonitinha, mas ordinária e Toda nudez será castigada." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21383.
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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-29T11:32:36Z
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This dissertation analyses if narcissism can be considered a contemporary sin and, therefore, creates a category of behavior. In order to answer central questions: who Nelson Rodrigues was and what the importance of his work is for a declining society, if narcissism can be considered a contemporary sin and if the reading of Rodrigues’ plays reveals us a miserable and misfortune human condition, leading us not to live narcissism as a contemporary sin. The hypothesis is while having clarity of the “life as it is”, of its own tragedy, the reading of Nelson Rodrigues’ plays - Álbum de família; Otto Lara Resende ou Bonitinha, mas ordinária; and Toda nudez será castigada – selected for this study, opens the possibility of leaving the suffering behind, and on that account, living with the courage to have a position free of identifications and thus, living a space of desire. The general objective or the background is to identify if in the subjectivity of the contemporary man, amid his anguishes, his peculiar way of acting and living could become a type of contemporary sin, or: “narcissism updated to the 21st century”. And also think that reading Nelson Rodrigues’ plays, there is a possibility of the man to have a life with less narcissistic identifications, freeing himself from such suffering. Three plays are analyzed and other texts can shed a light on a possible exit from this type of behavior. Nobody is free from narcissism, everybody needs a little bit of it to wake up and look in the mirror every day, not count one day less in one’s life, but: get up, work, live, eat, have fun, love, cry, fight. So, this narcissism makes us live our lives because what makes us dull is its excess, the thing that goes with you, without limits, to an abyss without name nor place
Esta dissertação analisa se o narcisismo pode ser considerado como pecado contemporâneo, e deste modo, cria uma categoria de comportamento a fim de responder a três perguntas centrais: quem foi Nelson Rodrigues e qual a importância de sua obra para uma sociedade em declínio; se o narcisismo pode ser considerado um pecado contemporâneo; e se a leitura das peças rodrigueanas nos revela uma condição humana miserável e desgraçada, isto nos levaria a não habitarmos o narcisismo como pecado contemporâneo. Tendo como hipótese que ao se ter a clareza da “vida como ela é”, de sua própria tragédia, a leitura das peças rodrigueanas – Álbum de família; Otto Lara Resende ou Bonitinha, mas ordinária; e Toda nudez será castigada –, selecionadas para este estudo, abre a possibilidade de saída do sofrimento e, em vista disso, de viver com a coragem para assumir uma posição mais livre das identificações e, por conseguinte, habitar um espaço de desejo. O pano de fundo ou objetivo geral é identificar se na subjetividade do homem contemporâneo, em meio a suas angústias, seu modo peculiar de agir e de viver poderia se tornar uma espécie de pecado contemporâneo, dito de outro modo, um “narcisismo atualizado para o século XXI”. E, assim, pensar se com a leitura da obra de Nelson Rodrigues há uma possibilidade de o indivíduo ter uma vida com menos identificações narcísicas e, assim, libertar-se de tamanho sofrimento. Atravessa-se as três peças de Nelson Rodrigues e outros textos para trazer luz a uma possível saída deste modo de comportamento. Ninguém está livre do narcisismo, todos precisamos de um pouco dele para levantar e se olhar no espelho diariamente, não contar um dia a menos de vida ao acordar, mas, sim, levantar, trabalhar, viver, se alimentar, se divertir, amar, chorar, brigar. Enfim, este narcisismo nos faz viver a vida, pois o que nos embota é o seu excesso, aquilo que vai sem limite com você para um abismo sem nome e sem lugar
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Hurlburt, Christopher. "Paul Claudel and World War One." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/HurlburtCG2005.pdf.
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Soares, Priscila Luz Gontijo. "Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21692.
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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-05T11:48:03Z
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The present work aims to investigate the presence of multiple voices in the theatrical works of Nelson Rodrigues, Vestido de novia and Valsa nº6, in dialogue with the writing of the novel O Homem Proibido (2007). The starting point of problematizing the sense of polyphony in the above mentioned Nelson Rodrigues’ texts is the contextualization of the literary career of the author, his literary influences and his experience in newspaper, where he worked in several areas demonstrating a polyphonic ability unparalleled to no other a Brazilian author and a determining factor for the construction of his aesthetic themes and obsessions. After this, we will undertake a shift of perspective between the concept of polyphonic novel developed by Mikhail Bakhtin and the reflection on the current dramatic form, inscribed in some entries, mapped by the Research Group on Drama of the University of Paris III, coordinated by Jean-Pierre Sarrazac, playwright, teacher and essayist on theater theory. In the lexicon of modern and contemporary drama, the French group suggests the extension of the concept of polyphony in line with other dramatic writing procedures: rhapsody, romanticization, monodrama (polyphonic), monologue, action and character crisis, the becoming, the voice and the theater of the possible. This research is in line with literary creation, which, although it does not exist formally, there are projects being carried out in the Program of Literature and Literary Criticism of PUC-SP. This study is guided from the point of view of literary creation, having as presupposition to welcome these multiple voices to analyze the construction of a delusional poetic prose. What procedures does Nelson Rodrigues use to create this explosion of voices in his dramatic texts, Vestido de Noiva and Valsa nº6, therefore becoming one of the greatest exponents of delirious poetics? What are the effects of the plurality of voices employed in such elaborations? The purpose of this study is to list written procedures where multiple voices are released. The writing of both the theoretical field and the fictional creation implies the creation of another time. The voice is due to the construction of poetic time, simultaneous actions, the crossing of temporalities and the vertigo of spacing. To make an analysis of how Nelson Rodrigues created such a foreign language and "dragged his tongue out of his customary furrows, causing it to be delirious," in Deleuze's words
O presente trabalho tem como objetivo investigar a presença de múltiplas vozes nas peças teatrais Vestido de noiva e Valsa nº6 em diálogo com a escrita do romance O homem proibido (2007), todos de Nelson Rodrigues. Para problematizar os efeitos de sentido da polifonia nos textos dramáticos de Nelson Rodrigues, parte-se primeiramente da contextualização da carreira literária do autor, suas influências literárias e sua experiência em jornal, onde trabalhou em diversas áreas demonstrando uma habilidade polifônica sem paralelo a nenhum outro autor brasileiro e fator determinante para a construção de seus temas e obsessões estéticas. Após esse percurso, empreenderemos um deslocamento de perspectiva entre o conceito de romance polifônico desenvolvido por Mikhail Bakhtin e a reflexão sobre a forma dramática na atualidade inscritas em alguns verbetes mapeados pelo Grupo de Pesquisas sobre o Drama da Universidade de Paris III, coordenado por Jean-Pierre Sarrazac, dramaturgo, professor e ensaísta da teoria do teatro. Em Léxico do drama moderno e contemporâneo, o grupo francês sugere a ampliação do conceito de polifonia em consonância à outros procedimentos da escrita dramática: a rapsódia, a romancização, o monodrama (polifônico), o monólogo, a crise da ação e do personagem, o devir, a voz e o teatro dos possíveis. A pesquisa vai na linha da criação literária, que, embora não exista formalmente, já tem projetos realizados e em andamento no Programa de Literatura e Crítica Literária da PUC-SP. Este estudo se guia a partir do ponto de vista da criação literária, tendo como pressuposto acolher essas múltiplas vozes para analisar a construção de uma prosa poética delirante. Que procedimentos Nelson Rodrigues utiliza para criar essa explosão de vozes em seus textos dramáticos Vestido de noiva e Valsa nº6, tornando-se assim, um dos maiores expoentes de uma poética delirante? Quais os efeitos da pluralidade de vozes empregadas em tais elaborações? O objetivo deste estudo é elencar procedimentos de escrita onde as múltiplas vozes se libertam. A escrita tanto do campo teórico quanto da criação ficcional implica na criação de um outro tempo. A voz está em função da construção do tempo poético, das ações simultâneas, do cruzamento de temporalidades e da vertigem do espaçamento. Para fazer uma análise de como Nelson Rodrigues criou uma língua estrangeira e “arrastou a língua para fora de seus sulcos costumeiros, levando-a a delirar.” nas palavras de Deleuze
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Heleno, Gilberto. "O homem e o seu entorno: metafísica e antropologia, em José Ortega y Gasset." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21041.
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Fundação São Paulo - FUNDASP
This hermeneutic and critical analysis of José Ortega y Gasset’s philosophy undertakes to examine the various circumstances from which his philosophy sprang, and to understand the metaphysical discovery of life as a radical reality and the typology of becoming human as coming from the relationship with one’s environment. Ortega creates a philosophy grounded in his people and his country. Underlying his philosophy is, on one hand, the deep crisis immersing Spain and, on the other hand, the ineffective way of facing this crisis by the Spanish people. His philosophy is an answer to an inner call and in it he takes position as a political leader and gives an intellectual reference of his time. His philosophy arises using particular circumstances: he uses newspapers, conferences, courses and classes. In this way, it reaches the Spanish people, whom Ortega wishes to educate, more quickly. The originality of his philosophy comes from his raciovitalismo, a synthesis of life and reason, giving greater emphasis on the former, since he wishes to restore life to a place it lost through rationalism, and to circumscribe reason within the broader reality of human life. According to Ortega, this is the theme of his time. His anthropology is bound to his metaphysics, since, for him, humans must undertake what is the radical reality of life as a project, as a quehacer. Depending on which answer a human gives to that call of life, which Ortega understands as a vocation, he or she becomes either a human of the masses or a noble human. By leaving behind pure reason, Ortega chose what at first he called vital reason and, later, historical reason, to understand human life, which, according to him, is built upon the dialectic of its own experiences
A tese é uma análise hermenêutica e crítica da filosofia de José Ortega y Gasset, procura destacar as várias circunstâncias nas quais nasce a sua filosofia, compreender a descoberta metafísica da vida como realidade radical e a tipologia de homem oriunda da relação com o seu entorno. Ortega faz uma filosofia vinculada ao seu povo e ao seu país. O que o impulsiona a filosofar é a crise na qual se encontra a Espanha e a maneira ineficaz que o homem espanhol responde a essa crise. Ele atende a uma chamada interior e procura se colocar como líder político e referência intelectual de seu tempo. Nessas circunstâncias, surge a sua filosofia, que, vindo à luz através de revistas e jornais, conferências, cursos e aulas, chega mais rápido ao povo espanhol, que Ortega entende formar. A originalidade da filosofia de Ortega vem do raciovitalismo, síntese da vida e da razão, com maior preponderância para a primeira, em que pretende dar à vida o lugar que ela perdeu para o racionalismo e circunscrever a razão dentro da realidade mais ampla que é a vida humana. Para Ortega, esse é o tema do seu tempo. Sua antropologia estará coligada à sua metafísica, na medida em que a vida como realidade radical deve ser assumida pelo homem como um projeto, como um quehacer. Dependendo da resposta do homem a esse chamamento da vida, que Ortega entende como vocação, ele poderá ser considerado um homem-massa ou um homem-nobre. Abandonando a razão pura, Ortega elege a razão vital e, posteriormente, a razão histórica, para compreender a vida humana que, segundo ele, vai se construindo na dialética de suas experiências
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Maraun, Timothy Fritz. "Tension in 18th century Chinese painting." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31841.
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In Western scholarship, eighteenth century Chinese paintings have consistently been seen as playful, eccentric, and odd. This characterization has been based on the formal qualities of some of the paintings. At the same time, Chinese scholars have written of the scholarly virtues and ambitions of the painters producing the works. The contradiction between these two interpretations is in part consistent with the Western and Chinese approaches generally. But it also stems from the mixed signals and information generated in the eighteenth century. The nature of painting, not just formally, but socially has yet to be explained in a way which takes into account some actual historical contradictions of the eighteenth century.
In order to explain these historical tensions, I combine a biographical (Chinese) approach with a contextual approach (Western) in a study of two different scholar painters, Zheng Xie and Li Shan. I juxtapose biographical sources with artworks, and less official writings relating Zheng Xie and Li Shan, in order to describe the tensions involved in painting for the literatus within the merchant culture of Yangzhou.
These tensions existed between the literatus' expected status and that granted him, between his ideal of the role of painting in the scholar's life and the implications of commercial painting, and between his emphasis upon poetry
and his popularity as a painter. In all cases, the tensions in eighteenth century literati painting arise from the difficult relationship between the painter and patron, and between the painter and the ideas of a broader public. The lack of a clear definition of "scholar" and "scholar painting" amongst literati illustrates the literatus' loss of control over the definition of his lifestyle.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Oyakawa, Eduardo. "A luz brilha nas trevas: um estudo sobre o Deus Absconditus na literatura de Franz Kafka (1912-1924)." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20948.
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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-02T12:31:21Z
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This study is dedicated to the knowledge of writer Franz Kafka’s literature, under the egis of the religious mystic interpretation. In order to accomplish this goal, Franz Kafka’s biography is presented, to allow his “personality enclosed by a glass wall” to be accurately exposed. Kafka’s life and work are so inextricably combined that it would not be possible to appropriately enlighten his literature without previously understanding his conflicting relationship with parents and girlfriends, as well as his difficulties with work – done with anxiety and discouragement – and with Judaism, basis of his family formation. Following this, this study comprehends analytical multiple visions, emphasizing the hermeneutic polissemy and difficulties of univocally understanding Kafka, without taking into consideration his “literature astonishment”, responsible for making him one of the authors that were mostly read and commented during XX and XXI centuries. Essential scope of the third session is offering a critical view about the efforts to interpret his writings under the religious mystic harness. For this, “Max Brod case” will be discussed and the hypothesis brought by the religions historian Gershom Scholem who presented Kafka as a heretic cabalist. Last but not least, textual hermeneutics will be made (Die Verwandlung, Der Prozess, Der Brau and Forschungen Eines Hund) under cabalistic perspective, trying to uncover Deus Absconditus who is shown in Kafka’s literature with the diversity of chromatic and sonorous tones as a small light shining in the dark
Este estudo é dedicado ao conhecimento da obra do escritor Franz Kafka, sob a égide da interpretação religiosa-mística. Para que logre esse intento, apresenta a biografia de Franz Kafka, a fim de desvelar acuradamente a sua “personalidade encerrada por uma parede de vidro”. Em Kafka, vida e obra se misturam inextricavelmente, de tal maneira que não se pode esclarecer convenientemente a sua literatura sem antes saber de sua relação conflituosa com os pais, com as namoradas, as suas dificuldades concernentes ao trabalho – realizado sob ansiedade e desalento – e com o judaísmo, constitutivo de sua formação familiar. A seguir, este trabalho estuda as multivisões analíticas, sublinhando a polissemia hermenêutica e as dificuldades de se compreender Kafka de maneira unívoca, isto é, sem levar em consideração o “assombro de sua literatura”, responsável por transformá-lo num dos autores mais lidos e comentados no deambular dos séculos XX e XXI. A terceira sessão tem como escopo fundamental oferecer um olhar crítico sobre as tentativas de interpretar os escritos sob o jaez místico-religioso. Para tanto, discute-se o “caso Max Brod” e a hipótese aventada pelo historiador das religiões Gershom Scholem, segundo a qual teria sido Kafka um cabalista herético. Finalmente, faz-se a hermenêutica textual (O Covil, A Metamorfose, O Processo e Investigações sobre um Cão) sob o ponto de vista cabalístico, ou seja, tentando deslindar o Deus Absconditus que, na diversidade de tons cromáticos e sonoros, incide na obra de Kafka como pequena luz brilhando nas trevas
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Sperb, Paula. "A recepção de Jorge Amado no New York Times (1945-2001)." reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/3560.
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Este trabalho tem como objetivo investigar acerca da recepção do escritor brasileiro Jorge Amado nos Estados Unidos, mais especificamente no jornal norte-americano New York Times. Para tanto, foram levantados cento e cinquenta e um artigos publicados no referido periódico, entre os anos de 1945 e 2001. Para uma melhor compreensão da recepção do autor, primeiramente, apresenta-se um histórico das relações políticas e culturais entre Brasil e Estados Unidos no período que antecede a Segunda Guerra Mundial até o final desta. Com a chamada “política da boa vizinhança”, ambos países se aproximaram. O estreitamento dos laços é um fator que contribuiu para entrada de Jorge Amado no polissistema literário norte-americano, em 1945, com o livro Terras do sem-fim. O livro de estreia foi publicado pela prestigiada editora Alfred Knopf. A trajetória editorial do escritor, que passou pelas editoras Avon Books e Bantam, também é apresentada. A militância comunista de Jorge Amado foi acompanhada e registrada pela CIA (Central Intelligence Agency), fato verificado em vinte e dois relatórios produzidos pelo órgão durante a Guerra Fria. Os documentos corroboram a hipótese de que os laços políticos do escritor fizeram com que ocupasse posição periférica no polissistema durante dezessete anos. Apenas em 1962, um segundo livro do autor, Gabriela, foi publicado nos Estados Unidos, resultando em um sucesso comercial e colocando o escritor em posição de centralidade no polissistema. Dos anos 1960 aos anos 1980, Jorge Amado foi frequentemente associado ao boom da literatura latino-americana. Nesta última década, o escritor foi redescoberto: o livro Tocaia grande recebeu a maior quantia, até então, pelos direitos autorais de um livro estrangeiro. Ao longo de sua recepção, Jorge Amado sempre foi mencionado no New York Times como sinônimo e símbolo de Brasil.Submitted by cmquadros@ucs.br (cmquadros@ucs.br) on 2018-03-16T12:38:58Z No. of bitstreams: 1 Tese Paula Sperb.pdf: 45490182 bytes, checksum: e858e6ae1921aa8d626fd7c7370b637d (MD5)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES
This work aims to investigate the reception of the brazilian writer Jorge Amado in the United States, more specifically in the north-american newspaper New York Times. For this objective, one hundred and fifty-one articles published in the newspaper were found, between 1945 and 2001. For a better understanding of the author's reception, we presente the history of political and cultural relations between Brazil and United States during the period before World War II until the end of it. With the so-called "good neighbor policy", both countries have approached. The narrowing of ties is a factor that contributed to Jorge Amado's entry into the north-american literary polysystem in 1945, with the book The violent land. The debut book was published by the prestigious publisher Alfred Knopf. The writer's editorial trajectory, which went through Avon Books and Bantam, is also presented. The communist militancy of Jorge Amado was monitored and registered by the CIA (Central Intelligence Agency), fact verified in twenty-two reports produced by the organ during the Cold War. The documents corroborate the hypothesis that the writer's political ties caused him to occupy a peripheral position in the polysystem for seventeen years. Only in 1962, a second book by the author, Gabriela, was published in the United States, resulting in a commercial success and placing the writer in a position of centrality in the polysystem. From the 1960s to the 1980s, Jorge Amado was often associated with the boom of latin american literature. In this last decade, the writer was rediscovered: the book Showdown received the largest amount, until then, by the authors rights for a foreign book. Throughout his reception, Jorge Amado has always been mentioned in the New York Times as a synonym and symbol of Brazil.
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Riepma, Lindsy. "Mor' better, mor' worse : the effects of marriage on the valuing of art." Honors in the Major Thesis, University of Central Florida, 1998. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/49.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Art History
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Grogan, Bridget Meredith. ""Abject dictatorship of the flesh" : corporeality in the fiction of Patrick White." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001554.
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Santos, Cassia dos. "Uma paisagem apocaliptica e sem remissão : a criação de Vila Velha e da Cronica da casa assassinada." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270213.
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Orientador: Vilma Sant'Anna AreasTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A tese tem como objetivo principal investigar como se deu a elaboração do romance Crônica da casa assassinada do escritor mineiro Lúcio Cardoso (19121968). O processo de redação do livro é reconstituído através do exame dos seus originais e de sua edição critica publicada em 1991 pela Coleção Arquivos. Entrevistas concedidas pelo autor, trechos do seu Diário, a sua correspondência e outras de suas obras ficcionais, parte delas inacabada contribuem igualmente para a discussão. O romance é entendido, ainda como parte de um projeto maior idealizado em tomo de uma cidade imaginária: a pequena Vila Velha situada na Zona da Mata mineira
Abstract: The main purpose of the thesis is to research on the making of the novel Crônica da casa assassinada by Lúcio Cardoso (1912-1968), a writer from Minas Gerais State, Brazil. The book's writing process is reconstructed trough the examination of the original drafts and the critical edition, published in 1991 by Coleção Arquivos. Interviews with the author, excerpts from bis personal joumal, bis mail and other fictional works of bis, some of wbich unfinished, contribute to this discussion as well. The novel is understood also as part of a greater project idealized around an imaginary town: the small Vila V elha located in the Zona da Mata region, in Minas Gerais
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária
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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)
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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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Lawrence, Faith. "'True receivers': Rilke and the contemporary poetics of listening (Part 1) ; Poems: Small weather (Part 2)." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7418.
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Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'.
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Batista, Miguel. "Bildung and initiation : interpreting German and American narrative traditions." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.
Full textAbstract:
This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.
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Angel-Cann, Lauryn. "Stretched Out On Her Grave: The Evolution of a Perversion." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2586/.
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The word "necrophilia" brings a particular definition readily to mind that of an act of sexual intercourse with a corpse, probably a female corpse at that. But the definition of the word did not always have this connotation; quite literally the word means "love of the dead," or "a morbid attraction to death." An examination of nineteenth-century literature reveals a gradual change in relationships between the living and the dead, culminating in the sexualized representation of corpses at the close of the century. The works examined for necrophilic content are: Mary Wollstonecrafts Mary, A Fiction, Mary Shelleys Frankenstein, Emily Brontës Wuthering Heights, and Bram Stokers Dracula and The Jewel of Seven Stars.
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Adcox, John Roland. ""Fools for Christ": An Examination of the Ministerial Call in Three Novels by William Golding." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500718/.
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This thesis examines the ministerial call in three novels by William Golding, specifically The Spire, Darkness Visible, and Rites of Passage. The central character of each novel, a Christian minister, has a vision, or series of visions, which dominates his life. The call and vision(s) of Golding's ministers are examined in light of Jacques Ellul's The Humiliation of the Word, a work examining the differences between the word and the image. The ministerial call, in this thesis, is linked to Ellul's ideas about the word; the vision, in this thesis, is linked to Ellul's ideas of the image. As a result of following their vision(s) rather than their call, the ministers fail, and their lives end in despair and ruin.
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Dreyer, Nicolas D. "'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.
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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.
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"莫言「民間寫作」研究: 以《檀香刑》、《四十一炮》及《生死疲勞》為例." 2008. http://library.cuhk.edu.hk/record=b5896799.
Full textAbstract:
歐韻賢."2008年10月".
"2008 nian 10 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 401-415).
Abstracts in Chinese and English.
Ou Yunxian.
Chapter 第一章： --- 引言 --- p.1
Chapter 第一節： --- 硏究動機 --- p.5
Chapter 第二節： --- 硏究目的 --- p.6
Chapter 第三節： --- 硏究範圍 --- p.8
Chapter 第四節： --- 硏究方法 --- p.9
Chapter 第二章： --- 莫言小說的硏究槪況 --- p.11
Chapter 第一節： --- 從軍事文學的角度看莫言小說的硏究槪況 --- p.15
Chapter 第二節： --- 從尋根文學的角度看莫言小說的硏究槪況 --- p.22
Chapter 第三節： --- 從先鋒文學的角度看莫言小說的硏究槪況 --- p.31
Chapter 第四節： --- 從民間的角度硏究莫言小說的硏究槪況 --- p.37
Chapter 第五節： --- 本章結語 --- p.41
Chapter 第三章： --- 「民間」的槪念 --- p.43
Chapter 第一節： --- 民間的定義 --- p.45
Chapter 第二節： --- 民間立場 --- p.59
Chapter 第三節： --- 民間的審美價値 --- p.68
Chapter 第四節： --- 「民間」的寫作技巧 --- p.78
Chapter 一、 --- 結構 --- p.78
Chapter 二、 --- 敍事角度 --- p.84
Chapter 三、 --- 語言 --- p.87
Chapter 第五節： --- 本章結語 --- p.90
Chapter 第四章： --- 莫言小說中的民間立場 --- p.93
Chapter 第一節： --- 作爲老百姓寫作´ؤ´ؤ寫自我的自我寫作 --- p.96
Chapter 第二節： --- 農民式的思維´ؤ´ؤ站在民間的立場設想 --- p.107
Chapter 第三節： --- 以民間的立場說大歷史 --- p.112
Chapter 第四節： --- 本章結語 --- p.129
Chapter 第五章： --- 莫言小說中的民間審美價値 --- p.130
Chapter 第一節： --- 「大紅大綠」的民間審美價値 --- p.132
Chapter 第二節： --- 從「肉體」體現民間審美價値 --- p.139
Chapter 第三節： --- 從「開放的孔穴」體現民間審美價値 --- p.147
Chapter 第四節： --- 從審美到「審醜」 --- p.155
Chapter 第五節： --- 本章結語 --- p.160
Chapter 第六章： --- 莫言小說中的民間寫作技巧 --- p.162
Chapter 第一節： --- 民間的結構 --- p.162
Chapter 第二節： --- 民間的敍事角度 --- p.177
Chapter 第三節： --- 民間的語言運用 --- p.184
Chapter 第四節： --- 本章結語 --- p.193
Chapter 第七章： --- 結語 --- p.195
Chapter 附錄一： --- 《檀香刑》附錄 --- p.202
Chapter 附錄二： --- 《四十一炮》附錄 --- p.266
Chapter 附錄三： --- 《生死疲勞》附錄 --- p.321
Chapter 附錄四： --- 莫言作品篇目 --- p.360
參考書目： --- p.401
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Hanor, Stephanie. "Jean Tinguely: useless machines and mechanical performers, 1955-1970." Thesis, 2003. http://hdl.handle.net/2152/625.
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Kulemeka, Andrew Tilimbe Clement. "Ambivalence and scepticism in Patrick White's later novels." Master's thesis, 1986. http://hdl.handle.net/1885/139564.
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Kapitza-Meyer, Marlene Lydia. "Denaturalized nature - strategies of representation in selected works of Penelope Siopis and William Kentridge." Thesis, 1994. https://hdl.handle.net/10539/25922.
Full textAbstract:
A Dissertation submitted to the Faculty of Arts, University of the Witwatersrand,
Johannesburg, in partial fulfilment of the requirements for the degree of Master of
Arts in Fine Arts.American critic Hal Foster argues that conceptions of 'the natural' are not universal, they are historically and discursively produced, There is no unmediated presence of 'the natural' in painting. He proposes 'denaturalization' as a form of critical postmodemist aesthetic which questions universalist tendencies in contemporary cultural production" This research examines selected theories and visual. representations of 'the natural' in order to explore different ways in which Foster's notion of denaturalization may be productive in assessing the complexity of critical visual art practice in South Africa. My approach to the topic is largely fragmentary in order to reflect on and engage with the diverse terms of 'the natural' as manifest in visual art practice. To this end I discuss selected works of contemporary South African artists William Kentridge and Penelope'Siopis, While Foster's notion of denaturalization is productive in trying to engage with"critical issues' of art practice it is difficulr, if not impossible to determine if cenaln works conform with either his notion of a postmodernism of resistance or postmodernism of reaction. I will also explore the notion of denaturalization with reference to my practical work.
Andrew Chakane 2018
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Yannacci, Christin Essin. "Landscapes of American modernity: a cultural history of theatrical design, 1912-1951." Thesis, 2006. http://hdl.handle.net/2152/3444.
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"論端木蕻良作品中的自我建構(1929-1949)." 2002. http://library.cuhk.edu.hk/record=b6073831.
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熊志琴.論文(哲學博士)--香港中文大學, 2002.
參考文獻 (p. 262-314).
中英文摘要.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Xiong Zhiqin.
Zhong Ying wen zhai yao.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (p. 262-314).
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Trautman, Andrea Dominique. "The voice of the many in the one : modernism’s unveiled listening to minority presence in the fiction of William Faulkner and Patrick White." Thesis, 2003. http://hdl.handle.net/2429/14815.
Full textAbstract:
By comparing the novels of William Faulkner and Patrick White, this thesis
reconsiders modernism's elitism and solipsism by revealing within them a critical interest in
liberating minority perspective. Theoretical debates which continue to insist on modernism's
inherent distance from the identity politics which front the postmodernist movement are
overlooking modernism's deeply embedded evaluative mechanisms which work to expose
and criticize the activity of psychic and social co-optation.
Faulkner and White are both engaged in fictionally tracing the complexities of a
failing patriarchy which can no longer substantiate its primary subjects — the white, upper
class male. As representatives of modernism we can see that Faulkner and White, perhaps
unwittingly, initiate the awareness that the 'failure' of their chosen subjects is in large
measure due to processes of marginalization which both created the authoritative power
structures within which they are constructed and helped serve to collapse them. The classic
isolation of the modernist subject can be looked at not simply as an isolation predicated on
endless self-referentiality, but rather on a desperate social outreaching for which he or she is
not psychically equipped. By following the trajectory and perspective of specific novels and
characters it becomes clear that it is precisely this handicap which clears the textual space for
diversity of representation, just as it overturns the notion of modernism's functioning
separatism.
Chapter one concentrates on the double-edged representation of the female subject
constructed as always-already 'guilty' within the psychologically, emotionally and physically
repressive terms of the dominant male power structures within the context of Faulkner's
Requiem for a Nun and White's A Fringe of Leaves. Chapter two investigates the
psychological parameters of the morally disenfranchised modern subject whose
disillusionment results from prejudicial social practices promoted by virulent racial anxiety
as exemplified in Faulkner's Absalom, Absalom! and White's Voss. The third and final
chapter discusses Light in August and Riders in the Chariot with attention to modernism's
own investigation of the exclusion of minority voices from collective social imagining.
The thesis posits that literary modernism is interested less with reconciling its literary
subjects within a self-contained totalizing project than it is with invoking new social and
psychological paradigms that stress the necessity of external, not internal, represented
multiplicity, and that what has been (mis)recognized as modernism's self-closure is, in fact,
the key not only to its own continuing relevance, but to the contemporaneous literary
injunction to let all voices be heard.
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Keefer, James Robinson. "Dynasties of demons : cannibalism from Lu Xun to Yu Hua." Thesis, 2002. http://hdl.handle.net/2429/13094.
Full textAbstract:
Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of
representations of the body in modern Chinese fiction. My interest concerns the relationship, or
correspondence between "textual" bodies and the physical "realities" they are meant to represent,
particularly where those representations involve the body as a discursive site for the intersection
of state ideology and the individual. The relationship between the body and the state has been a
question of profound significance for modern Chinese literati dating back to the late Qing, but it
was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a
Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for
cannibalizing its own people.
In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct,
though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness,"
which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative
strategy for critiquing traditional Chinese culture without contributing to or stimulating his
reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern
Chinese literature to write about Lu Xun's erasure of the spectacle body.
In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua,
respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic
words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce
that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism
the feasting began in earnest.
Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction"
from quite different perspectives, which I have characterized in the following way: Han
Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As
becomes evident through my analysis of selected texts, despite their very significant differences
(personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in
and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman.
49
Edwards, Katie Robinson. "Jackson Pollock in the cultural context of America, 1943-1956: class, "mess," and unamerican activities." Thesis, 2006. http://hdl.handle.net/2152/2527.
Full text
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"文藝與政治之間: 論洪深、田漢夏衍與中國現代戲劇的轉向 = Between literature and politics : a study of Hong Shen, Tian Han, Xia Yan and the transformation of modern Chinese drama." 2015. http://library.cuhk.edu.hk/record=b6115317.
Full textAbstract:
在中國現代文學中，文藝與政治之間有著密切而複雜的關係，此一問題在現代戲劇中尤其值得重視。過往戲劇研究長期位處邊緣，這與戲劇此一文類所獨具的綜合藝術特質不無關係，其橫跨文學、美術、音樂、表演等領域的跨藝術特徵，導致其複雜性實際上遠超純文學的範疇。另一方面，戲劇運動的集團性和政治性，亦導致論者對於中國現代戲劇發展較為簡單化的論述，戲劇史的書寫往往與時代話語緊密連繫。不論是純粹文藝化還是政治化的角度，皆很可能遮蔽了戲劇本身一體兩面的問題，導致研究單一化和簡單化。洪深 (1894-1955)、田漢 (1898-1968)和夏衍 (1900-1995)均是中國現代重要戲劇家，同時亦長期被定位為左翼文藝陣營中的重要成員。戲劇家和政治家的身分重疊，導致他們的研究情況往往與時代的意識形態掛鈎，而目前有關他們的研究更是受到冷落，與他們的文學成就並不相稱。本文以三位劇作家為研究對象，希望通過他們的不同面向，重新審視文藝與政治之間各種複雜關係的可能性。本文分為五章。第一章為導論，主要介紹本文的寫作理念、方法和背景。第二章以洪深為研究對象，重新探討他的現實主義戲劇創作和主張。洪深對改譯劇的主張和實踐，體現了他與晚清鴛鴦蝴蝶派文學和西方戲劇的深刻淵源，而他和蕭伯納之間的文學關係，反映了他對早期文明戲的戲劇改革和西方舞台的繼承，突顯了洪深如何在中西文化之間思索中國現代戲劇中的現實主義問題。第三章從西方唯美主義和先鋒文學運動的角度，重新探討田漢的創作和政治轉向。本章考察田漢對外國文學的譯介活動，當中包括英國唯美主義作家威廉．莫里斯、德國表現主義影劇、俄國和日本左翼劇場，反映了田漢戲劇運動的左翼國際主義特徵；然而田漢對日本作家佐藤春夫和谷崎潤一郎的翻譯，則體現了他對唯美主義的回歸。第四章以夏衍的戲劇創作為研究對象，重新探討夏衍的戲劇文學的獨特性。本章把夏衍此時期的劇作分為歷史劇和上海都市劇兩個角度作出分析，並將它們放在當時文學場域中與郭沫若的歷史劇、國防文學、現代派小說和左翼電影作一比較，並分析夏衍的現實主義與左翼現實主義的相異。第五章為結論，綜合前文各章的討論，重新思考三位劇作家的戲劇實踐，並重審中國現代戲劇中文藝與政治之間的複雜關係。
There is a complicated relationship between literature and politics in modern Chinese literature, especially in modern Chinese drama. As a result, the research of modern Chinese drama has long been placed at a marginal position. Drama is an integrated artistic form consisting of literature, art, music, and performance, and therefore presents a complexity that goes far beyond "pure literature". On the other hand, the history of modern Chinese drama is closely integrated with historical discourse as a result of the organizational and political characteristics of drama movements. This shows that either literary or political point of view may confine the interpretation of their inter-related complexity and interaction. Hong Shen (1894-1955), Tian Han (1898-1968) and Xia Yan (1900-1995) are three of the most important dramatists in modern Chinese literature, who were also regarded as representative members in the left-wing literary camp. Due to their dual identities as dramatist and politician, their images are often connected with historical and ideological discourses. This has also resulted in desolation in their researches, which is not commensurate with their literary achievements. This dissertation, therefore, focuses on the three dramatists by presenting different perspectives of their works and activities, with the aim to explore the possibilities of various relations between literature and politics.
There are five chapters in the dissertation. Chapter one introduces the framework, method and background of the research. Chapter two re-examines the realistic works and theories of Hong Shen. Hong’s adaptation reflects his literary relationship with both the Mandarin Ducks and Butterflies literature and the Western drama. Moreover, Hong’s literary relationship with Bernard Shaw reflects his succession of both the tradition of the civilized drama and the Western theatre. This highlights that the characteristics of Hong Shen’s realistic theories were adapted from both China and the West. Chapter three re-explores the political transformation of Tian Han from the Western literary movements of aestheticism and the avant-garde. This chapter demonstrates the characteristics of left-wing cosmopolitanism in Tian Han’s drama movements by studying his translation activities of international literature, which include the English poet William Morris, German expressionist cinema and theatre, Russian and Japanese left-wing theatre. In the meantime, Tian Han’s translations of Japanese writers Sato Haruo and Tanizaki Junichiro reflect his return to aestheticism. Chapter four discusses the uniqueness of Xia Yan’s literary works, including his historical drama and his modern drama centering on Shanghai. This chapter emphasizes the difference of Xia Yan’s realistic style from left-wing realism by comparing Xia’s works with National Defence Literature, modernist fictions, left-wing cinema, as well as the historical drama by Guo Moruo. Chapter five concludes the significance of the dramatic transformation by Hong Shen, Tian Han and Xia Yan, and reviews the relationship between literature and politics in modern China.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
盧敏芝.
Parallel title from added title page.
Thesis (Ph.D.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 135-157).
Abstracts also in English.
Lu Minzhi.