Dissertations / Theses on the topic '1912-1981 Criticism and interpretation'
To see the other types of publications on this topic, follow the link: 1912-1981 Criticism and interpretation.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 49 dissertations / theses for your research on the topic '1912-1981 Criticism and interpretation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
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.
Full text
2
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.
Full textAbstract:
"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
Graduate
3
Cobern, Lucy Rebecca. "The suspension of mastery and the desire for imaginary : applying Jacques Lacan's theory of the imaginary to the beholder/image dialectic as realised in selected paintings by Lucy Cobern and Gerhard Richter." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1007806.
Full textAbstract:
This dissertation seeks to explore the nature of the self/other, subject/object dialectic that can be found in Jacques Lacan's theory of the Minor Stage and his notion of Imaginary mastery, and how this relationship can be re-read in terms of a beholder/image relationship. What I seek to demonstrate in exploring the relationship between the beholder and the image is the staging of two opposing emotions, aggression and desire and the consequential tussle for mastery that arises from the self/other, and hence the beholder/image, dichotomy. I seek to explore the reasons why such a beholder/image relationship becomes ambivalent, due to veiled, obscured and fragmented images.KMBT_363
Adobe Acrobat 9.54 Paper Capture Plug-in
4
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.
Full textAbstract:
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.
5
Bosman, Brenda Evadne. "Alternative mythical structures in the fiction of Patrick White." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1001821.
Full textAbstract:
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
6
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.
Full textAbstract:
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
7
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.
Full text
8
Bélisle, Mathieu. "Le drôle de roman : rire et imaginaire dans les oeuvres de Marcel Aymé, Albert Cohen et Raymond Queneau." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115637.
Full textAbstract:
The drole de roman gathers works by Marcel Ayme, Albert Cohen and Raymond Queneau, French novelists who belong to the same generation, share common readers and inspiration and, most of all, a specific vision: the nonserious. Their novels draw from the most obvious manifestations of the comical tradition (farce, burlesque) to its most subtle (irony, parody). In their works, laughter does not occupy a secondary position nor does it simply provide some reading impressions. In fact, laughter is often expressed by the characters and narrators themselves, whose sense of mischeviousness demonstrates the Rabelaisian joy of body and soul.Besides, the drole is not restricted to its usual comical characteristics. In the prospect of literary history, it also refers to what stands apart from the realistic conventions inherited from Balzac and Zola. In other words, the drole is made of antirealism, merveilleux and fantasy. Thus, Ayme, Cohen and Queneau put forward their own response to the mimetic function of the 19th century realistic novel. Instead of renouncing the power of fiction, as Gide and Valery will often suggest, instead of denouncing its falseness, the three novelists give fiction even greater powers.
Based on the conclusions of the history of the novel and on studies concerning various aspects of its construction (the relation between reality and fiction, the conception of character and of its place in the community, the forms of the plot), this thesis wishes to shed light on the role and value of laughter through the study of three major themes: comedy, community and enchantment.
9
Morse, Sarah Elizabeth. "The black pastures : the significance of landscape in the work of Gwyn Thomas and Ron Berry." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa42924.
Full textAbstract:
This thesis examines how Gwyn Thomas and Ron Berry interact with and respond to landscape and environment in their fictional and non-fictional writing. Exploring how the writers negotiate the convergence of the industrial and the rural/natural in the uplands of the south Wales coalfield, in particular the Rhondda Fawr Valley, the study considers the literary geographies their work creates. Examining the themes of the cultural and political use of landscape and rural imagery, the manifestation of authority in landscapes, the impact of industrialisation and de-industrialisation, the uncanny underground environment and its dynamic interactions with the ground above, and post-industrial environmental issues, the study re-positions two industrial writers of Wales to reveal the significance of landscape, place and environment in their writing.
10
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.
Full textAbstract:
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.
11
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.
Full textAbstract:
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
12
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.
Full textAbstract:
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
13
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.
Full textAbstract:
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).
14
Wulf, Catharina. "Desire in Beckett : a Lacanian approach to Samuel Beckett's plays Krapp's last tape, Not I, That time, Footfalls and Rockaby." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59554.
Full textAbstract:
This thesis argues that desire is a major theme in Samuel Beckett's dramatic works. Central to our analysis is Jacques Lacan's concept of the Desire for the Other, as the outcome of the human subject's division. We will investigate how desire is expressed at the level of Beckett's characters' utterance. The characters' attempts at and inability to achieve a reconciliation with their speech correlate with the impossibility of reunifying Lacan's split subject. The first part of our discussion focuses upon desire-as-paradox--the lack of will to desire and the continuation of desire--in Not I, Footfalls and Krapp's Last Tape, whereas Rockaby and That Time are indicative of the regression of desire leading toward the characters' death. The second part emphasizes the dramatic presentation of these plays, except for Footfalls. It will become clear that desire affects the performance and the audience, thus preventing them from attaining a unified perception of self and other.
15
Van, der Merwe Petrus Lodewikus. "Lacan and Freud : beyond the pleasure principle." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4262.
Full textAbstract:
Thesis (MA (Psychology))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: Jacques Lacan and Sigmund Freud‟s ideas are presented with specific emphasis on the themes presented in Freud‟s (1920a) Beyond the Pleasure Principle. Freud‟s Project for a Scientific Psychology (1950) provides important clues to describe the pleasure principle in terms of Quantity (Q), facilitations [Bahnung] and contact-barriers. Therefore, the implications of the pleasure principle relate greatly to 1) Freud‟s notion of the unconscious, 2) Lacan‟s explanation of das Ding, 3) the difference between jouissance and plaisir, and 4) the relationship between das Ding and the Law. Lacan‟s understanding of the death drive is consequently the culmination of all the topics mentioned and repeated throughout. Lacan‟s description of the death drive is twofold: firstly, the mechanical explanation of the pleasure principle, and secondly, how desire features within the pleasure principle. Lacan‟s description of the death drive encompasses libido, desire, economy, Linguistics, and the Oedipus complex, which illustrates why Freud‟s (1920) Beyond the Pleasure Principle is not only an important text in Freud‟s oeuvre, but also in Lacan‟s.
AFRIKAANSE OPSOMMING: Jacques Lacan en Sigmund Freud se idees word nagegaan met spesifieke beklemtoning van die temas in Freud (1920a) se Beyond the Pleasure Principle. Freud (1950) se Project for a Scientific Psychology verskaf belangrike wenke vir die beskrywing van die pleasure principle in terme van kwantiteit (Q), fasilitasies (Bahnung) en kontak-versperrings [contact-barriers]. Gevolglik het die implikasies van die pleasure principle betrekking tot 1) Freud se begrip van die onbewussyn, 2) Lacan se verduideliking van das Ding, 3)die verskil tussen jouissance en plaisir, en 4) die verhouding tussen das Ding en die Wet. Lacan se begrip van die doodsdrang (death drive) is gevolglik die toppunt van al die onderwerpe wat deurentyd genoem en herhaal is. Lacan se beskrywing van die doodsdrang is tweedelig: eerstens, die meganiese verduideliking van die pleasure principle en tweedens, die rol van begeerte in die pleasure principle. Lacan se beskrywing van die doodsdrang behels libido, begeerte, ekonomie, Linguistiek, en die Oedipus-kompleks, wat wys hoekom Freud (1920) se Beyond the Pleasure Principle nie net „n belangrike teks in Freud se werke is nie, maar ook in Lacan s‟n.
16
Taggart, Emma. "Corporeal identification in selected works by Berni Searle." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1004576.
Full textAbstract:
Through a detailed analysis of a selection of works produced between 1999 and 2003 by the South African artist Berni Searle, this thesis explores the need to theorise a corporeal viewer in the process of interpreting art works. Such an approach is particularly necessary when dealing with an artist such as Searle because her work, which deals predominantly with the theme of identity, appeals not only to conceptual but also to experiential and corporeal understandings of identity. Searle incorporates the viewer into an experience of her own identity through a physical identification that the viewer feels in relation to her work. For viewers this means that they are made aware of how their own identity in the moment of interpretation is contingent on visual, mental and physical components. In order to develop this argument the work of psychoanalyst Jacques Lacan and the phenomenologist Maurice Merleau-Ponty is drawn on. These two theorists are very useful for an argument of this nature because both interpret identity as a construction involving an enfolding between the mind and, via the act of vision, the body of the subject. Through an inclusion of the corporeal element in interpretation, this thesis also offers a critique of interpretive theories that would reduce analysis to an interaction between eye and mind by analyzing how the viewer's body participates in the act of looking.
17
O'Connor, Bryan M. (Brian Michael) 1958. "A Lacanian reading of Boswell's morbid will : melancholia and "angst"." Monash University, Centre for Comparative Literature and Cultural Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/8768.
Full text
18
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.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-29T11:32:36Z
No. of bitstreams: 1
Carla Cristine Souza de Almeida.pdf: 766081 bytes, checksum: 1c7c325b58b455869537c02fb2bbdd53 (MD5)Made available in DSpace on 2018-08-29T11:32:36Z (GMT). No. of bitstreams: 1 Carla Cristine Souza de Almeida.pdf: 766081 bytes, checksum: 1c7c325b58b455869537c02fb2bbdd53 (MD5) Previous issue date: 2018-08-10
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
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
19
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.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-05T11:48:03Z
No. of bitstreams: 1
Priscila Luz Gontijo Soares.pdf: 1567410 bytes, checksum: 32deb1efe260ca00104c5b8b4f9faa98 (MD5)Made available in DSpace on 2018-12-05T11:48:03Z (GMT). No. of bitstreams: 1 Priscila Luz Gontijo Soares.pdf: 1567410 bytes, checksum: 32deb1efe260ca00104c5b8b4f9faa98 (MD5) Previous issue date: 2018-10-26
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
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
20
Silva, Camilo Gomide Cavalcanti. "A própria vida: efeitos de real e de sinceridade nas autoficções de Julián Fuks e de Karl Ove Knausgård." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20599.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-11-14T11:40:08Z
No. of bitstreams: 1
Camilo Gomide Cavalcanti Silva.pdf: 1007085 bytes, checksum: 60c372c60addef6cac28fb3f76f9c003 (MD5)Made available in DSpace on 2017-11-14T11:40:08Z (GMT). No. of bitstreams: 1 Camilo Gomide Cavalcanti Silva.pdf: 1007085 bytes, checksum: 60c372c60addef6cac28fb3f76f9c003 (MD5) Previous issue date: 2017-10-30
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work aims to analyze the effects of reality and sincerity in the autofictions A resistência, by Brazilian writer Julián Fuks, and Minha luta, by Norwegian writer Karl Ove Knausgård. These contemporary authors seek a new form of realistic expression in their works. Both start from a lack of interest in traditional fiction, with fictional plots and characters, and choose to write about their own life, finding greater legitimacy in the autobiographical. Autofiction was coined in the 1970s to define a practice which became popular among writers interested in telling their own story. Although it is inevitably contaminated by fiction, many authors have found in this genre a means of seeking new effects of reality and authenticity. This research intends to understand how these writers forge these impressions from something so notoriously fallible as memory. The theoretical foundations of this research have, as a starting point, the seminal analyses of Michel Foucault on the writings of the self and the study of Jean Starobinski on the Confessions of Rousseau. From the literary field, Roland Barthes’ studies on realism and the limits of representation are considered, as well as other theorists dedicated to the themes of autobiography and autofiction, such as Lejeune (2014), Doubrovsky (1977) (who coined the term autofiction) and contemporary researchers such as Schøllhammer (2009), Klinger (2012), Faedrich (2016) and Perrone-Moisés (2016). The conclusion of this research is that both Fuks and Knausgård find, in autofiction, a form of greater commitment to literature. The difference, however, is that in A resistência, the effect of reality comes from the narrator’s constant suspicion of his own narrative; and in Minha luta, this effect comes from the corrosive confession of the narrator, who deeply identifies with the author
Este trabalho tem por finalidade analisar os efeitos de real e de sinceridade nas autoficções A resistência, do escritor brasileiro Julián Fuks, e Minha luta, do escritor norueguês Karl Ove Knausgård. Esses autores contemporâneos buscam, nessas obras, uma nova forma de expressão realista. Ambos partem de um desinteresse por ficções tradicionais, com enredos e personagens fictícios, e optam por escrever sobre a própria vida, por encontrarem, no material autobiográfico, uma maior legitimidade. A autoficção é um neologismo criado na década de 1970 para definir a prática, que se popularizou entre alguns escritores interessados em narrar sua própria história. Embora seja marcada pela contaminação inevitável da ficção, muitos autores têm encontrado no gênero um meio de buscar novos efeitos de real e de autenticidade. Esta pesquisa pretende entender como esses escritores forjam essas impressões, a partir de uma matéria sabidamente falível como a memória. Os fundamentos teóricos da investigação têm, por ponto de partida, as análises seminais de Michel Foucault a respeito das escritas de si e o estudo de Jean Starobinski sobre as Confissões, de Rousseau. No campo literário, alicerçam a pesquisa os estudos de Roland Barthes sobre o realismo e os limites da representação, além de outros teóricos que se dedicam à questão da autobiografia e da autoficção, como Lejeune (2014), Doubrovsky (1977) (o inventor do termo autoficção) e pesquisadores contemporâneos como: Schøllhammer (2009), Klinger (2012), Faedrich (2016) e Perrone-Moisés (2016). A conclusão da pesquisa é a de que tanto Fuks quanto Knausgård encontram na autoficção uma forma de comprometimento maior com a literatura. A diferença, no entanto, é a de que, em A resistência, o efeito de real advém da desconfiança permanente do narrador sobre o próprio relato; e, em Minha luta, este efeito provém da confissão corrosiva do narrador, que se identifica profundamente com o autor
21
Maraun, Timothy Fritz. "Tension in 18th century Chinese painting." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31841.
Full textAbstract:
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
22
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.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-02T12:31:21Z
No. of bitstreams: 1
Eduardo Oyakawa.pdf: 3146353 bytes, checksum: 0051abe6693a8423b12c8c6711bbec0c (MD5)Made available in DSpace on 2018-04-02T12:31:21Z (GMT). No. of bitstreams: 1 Eduardo Oyakawa.pdf: 3146353 bytes, checksum: 0051abe6693a8423b12c8c6711bbec0c (MD5) Previous issue date: 2018-02-28
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
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
23
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.
Full textAbstract:
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)
Made available in DSpace on 2018-03-16T12:38:58Z (GMT). No. of bitstreams: 1 Tese Paula Sperb.pdf: 45490182 bytes, checksum: e858e6ae1921aa8d626fd7c7370b637d (MD5) Previous issue date: 2018-03-16
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.
24
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.
Full textAbstract:
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
25
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.
Full text
26
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.
Full textAbstract:
Orientador: Vilma Sant'Anna AreasTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-06T22:52:42Z (GMT). No. of bitstreams: 1 Santos_Cassiados_D.pdf: 1487492 bytes, checksum: 5083cbee83370434d54ca56d11e3ec37 (MD5) Previous issue date: 2005
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
27
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.
Full textAbstract:
Este trabalho realiza um estudo da representação do coronelismo nas narrativas de ficção Xarqueada, de Pedro Wayne, publicada em 1937, e Gabriela, cravo e canela, de Jorge Amado, de 1958, ambientadas, respectivamente, no Sul e Nordeste do Brasil. Entendendo que os aspectos culturais e socioeconômicos são partes integrantes de uma configuração histórica regional, a pesquisa busca discutir a forma com que espaços distintos contribuem para a construção ficcional dos coronéis nas regiões de produção do charque e do cacau. Além disso, o estudo analisa como as atividades charqueadora e cacaueira estão relacionadas com as disputas de poder e como a modernidade, tanto em âmbito econômico quanto cultural, consiste em um fator importante na reorganização dos jogos de forças das oligarquias no cenário político regional e nacional. Dessa forma, visa-se contribuir com os estudos sociorregionais que tratam do coronelismo e de suas relações de poder nas áreas da literatura e da história.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-11-17T15:53:27Z No. of bitstreams: 1 Dissertacao Fernanda Alliatti Masutti.pdf: 1138045 bytes, checksum: 4dcecfbc0bf20e216b7215965dee1ace (MD5)
Made available in DSpace on 2015-11-17T15:53:27Z (GMT). No. of bitstreams: 1 Dissertacao Fernanda Alliatti Masutti.pdf: 1138045 bytes, checksum: 4dcecfbc0bf20e216b7215965dee1ace (MD5)
This work performs a study of the coronelismo representation on the narratives of the Pedro Wayne’s fiction Xarqueada, published in 1937, and Jorge Amado’s Gabriela, cravo e canela, from 1958, settled, respectively, in the south and northeast regions of Brazil. Understanding that the cultural and socioeconomic aspects are inherit parts of a regional historical configuration, the research aims at discussing the way that distinct areas contribute to the coronels fictional construction in the cocoa and charque (jerked meat) production regions. Furthermore, the study proposes to analyze how charque and cocoa activities are related to power disputes and also how the modernity, in both economical and cultural levels, consists in an important factor in the reorganization of the oligarchies game of power in the regional and national scenario. As a result, the present study intends to contribute with the socioregional studies which deal with the coronelismo and its relations of power under the literature and history scope.
28
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.
Full textAbstract:
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.
29
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/.
Full textAbstract:
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.
30
Leme, Patrícia de Oliveira 1986. "Borges, um estranho : litorais entre a literatura e a psicanálise." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271102.
Full textAbstract:
Orientador: Nina Virgínia de Araújo LeiteDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-21T22:47:56Z (GMT). No. of bitstreams: 1 Leme_PatriciadeOliveira_M.pdf: 1354597 bytes, checksum: 5dae4738b3554f602db88d197ab3ebad (MD5) Previous issue date: 2013
Resumo: O presente trabalho consiste em uma leitura do estilo de Jorge Luis Borges a partir de um inquietante efeito narrativo, passível de ser abordado na área psicanalítica através do enigmático conceito de estranho. Para a elaboração dessa hipótese, inicialmente chamou-se à baila três contos de Borges: "La escritura del dios", "La muerte y la brújula" e "Tlön, Uqbar, Orbis Tertius". Mesmo estendendo-se a outras incursões na vasta obra borgeana, as três narrativas constituem a moldura necessária para a compreensão de certos mecanismos do estilo borgeano, que nesse trabalho acabam por figurar como elemento causa de estranhamento. No primeiro capítulo tomaram-se os textos como cenas de leitura, em um procedimento que buscou explicitar esse inquietante efeito da escrita de Borges, bem como salientar suas reverberações no campo da crítica literária. O impacto do estilo borgeano na sua crítica pôde elucidar alguns pontos cruciais ao enodamento com a teoria psicanalítica nos capítulos posteriores, recuperando também algumas chaves de leitura importantes no delineamento do efeito em questão. No segundo capítulo promoveu-se uma leitura d' "O estranho", de Sigmund Freud, a partir desse funcionamento da obra borgeana: seus pontos de contato puderam revelar que o conceito erigido por Freud supera os limites de sua própria elaboração, fazendo-se presente mais como um lugar de enunciação do estranho do que como um conceito fechado em suas próprias bases. Esse movimento convocou, no terceiro capítulo, a retomada do conceito de estranho por Jacques Lacan em seu O seminário, livro 10: a angústia. Nele, Lacan promove uma elaboração do estatuto do objeto a, noção paradigmática no campo psicanalítico, a partir do estranho como um efeito de seu aparecimento na estrutura subjetiva. Para tecer o enodamento com o literário, as teorizações lacanianas em seu décimo oitavo seminário foram fundamentais, por trazerem à tona a noção de discurso e de escrita, sobretudo em sua "Lição sobre Lituraterra". O estabelecimento da letra como litoral entre saber e gozo, bem como o seu funcionamento a partir da rasura, permitiram a sustentação da hipótese de leitura que se soergueu inicialmente a partir de um efeito: há em Borges algo que causa estranhamento, e ele se anuncia para além do registro do relato, constituindo uma operação formal que produz esse efeito de escrita
Abstract: This work consists in a reading of Jorge Luis Borges' style beginning from a disquieting narrative effect, which is liable to be approached by the psychoanalytic area through the enigmatic concept of the uncanny. For the elaboration of this hypothesis three Borges' short stories were primarily chosen: "La escritura del dios", "La muerte y la brújula" and "Tlön, Uqbar, Orbis Tertius". Even having made other incursions into the vast borgesian oeuvre, these three narratives constitute the needed frame for the understanding of certain mechanisms of the borgesian style, which in this work figure in the end as elements cause of uncanniness. In the first chapter these texts were boarded as reading scenes in a procedure that aimed to make explicit this disquieting Borges' writing effect, as well as to underline its repercussion in the field of literary criticism. The impact that the borgesian style had on his critics could elucidate some crucial points to the entanglement with the psychoanalytic theory in the posterior chapters, as well as recovering important keys for the reading in the proposed outlining. In the second chapter was promoted a reading of Freud's "The uncanny" through this aspect of the functioning of the borgesian oeuvre: their points of contact could reveal that the concept created by Freud overcomes the boundaries of its own elaboration, making itself present as a place of enunciation of the uncanny rather than a concept closed in its own bases. This movement summoned, in the third chapter, the resumption of the uncanny concept in the seminar, book 10. The anguish, by Jacques Lacan. In this work Lacan promotes an elaboration of a paradigmatic notion for the psychoanalytic field, the object a, starting from the uncanny as an effect of its appearance on the subjective structure. The lacanian theories in his eighteenth seminar were essential in order to compose the entanglement with the literary form, as they shed light on the notions of discourse and writing, especially in his "Lesson on Lituraterre". The establishment of the letter as littoral between knowledge and jouissance, as well as its way of function through the erasure, allowed to sustain this reading hypothesis, which was raised from an effect: there is something that causes uncanniness in Borges' writing and it shows itself beyond the register of the narrated story, constituting a formal operation that produces this writing effect
Mestrado
Linguistica
Mestra em Linguística
31
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/.
Full textAbstract:
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.
32
Kulemeka, Andrew Tilimbe Clement. "Ambivalence and scepticism in Patrick White's later novels." Master's thesis, 1986. http://hdl.handle.net/1885/139564.
Full text
33
Yannacci, Christin Essin. "Landscapes of American modernity: a cultural history of theatrical design, 1912-1951." Thesis, 2006. http://hdl.handle.net/2152/3444.
Full text
34
"基督敎與二十世紀中國小說---郁達夫、茅盾、許地山的小說." 2001. http://library.cuhk.edu.hk/record=b5890933.
Full textAbstract:
陳志傑."2001年6月"
論文 (哲學碩士)--香港中文大學, 2001.
參考文獻 (leaves 117-123)
附中英文摘要.
"2001 nian 6 yue"
Chen Zhijie.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001.
Can kao wen xian (leaves 117-123)
Fu Zhong Ying wen zhai yao.
Chapter 第一章 --- 導言 --- p.1
Chapter 1.1 --- 基督教與中國現代小說的研究
Chapter 1.2 --- 郁達夫、茅盾、許地山的獨特之處
Chapter 1.3 --- 郁達夫、茅盾、許地山三人的硏究檢討
Chapter 1.4 --- 硏究構想與槪念簡釋
Chapter 1.5 --- 材料與方法
Chapter 1.6 --- 史料搜集與論證過程
Chapter 1.7 --- 各章簡介
Chapter 第二章 --- 時代巨變中的中國：「啓蒙與救亡」 --- p.25
Chapter 2.1 --- 吾人覺悟與啓蒙
Chapter 2.2 --- 「啓蒙與救亡」的一脈相承
Chapter 2.3 --- 救亡壓倒啓蒙
Chapter 2.4 --- 小結
Chapter 第三章 --- 普遍皇權崩潰：「以耶補儒」 --- p.34
Chapter 3.1 --- 皇權崩潰下的真空
Chapter 3.2 --- 陳獨秀對基督教的理解與認同
Chapter 3.3 --- 小結
Chapter 第四章 --- 由傳統轉向現代的「文以載道」與郁達夫的啓蒙 --- p.40
Chapter 4.1 --- 文學革命
Chapter 4.2 --- 沉淪與重新
Chapter 4.3 --- 《南遷》的諷刺與肯定
Chapter 4.4 --- 小結
Chapter 第五章 --- 茅盾的政治寓言小說 --- p.54
Chapter 5.1 --- 審查下的創作
Chapter 5.2 --- 在桂林的《新舊約全書》
Chapter 5.3 --- 《耶稣之死》的政治暗喻
Chapter 5.4 --- 小結
Chapter 第六章 --- 我們要甚麼樣的宗敎：許地山 --- p.76
Chapter 6.1 --- 許地山與宗教
Chapter 6.2 --- 我們要甚麼樣的宗教
Chapter 6.3 --- 基督教「人格救國」
Chapter 6.4 --- 聖賢基督徒《商婦人》、《缀網勞蛛》
Chapter 6.5 --- 處於民族主義與基督教的《玉官》
Chapter 6.6 --- 小結
Chapter 第七章 --- 郁達夫、茅盾、許地山與基督敎 --- p.107
Chapter 7.1 --- 郁達夫：向基督的懺悔
Chapter 7.2 --- 茅盾：耶稣的犧牲精神
Chapter 7.3 --- 許地山：耶穌之再現
Chapter 7.4 --- 小結
Chapter 第八章 --- 結論 --- p.115
參考書目 --- p.117
35
"論茅盾翻譯、評論和小說中的婦女解放論述(1919 -1930)." 2013. http://library.cuhk.edu.hk/record=b5884264.
Full textAbstract:
李凱琳."2013年9月".
"2013 nian 9 yue".
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 138-146).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Li Kailin.
36
"論端木蕻良作品中的自我建構(1929-1949)." 2002. http://library.cuhk.edu.hk/record=b6073831.
Full textAbstract:
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).
37
Johnson, Kevin Erdean 1977. "The unconscious as a rhetorical factor: toward a BurkeLacanian theory and method." Thesis, 2007. http://hdl.handle.net/2152/3260.
Full textAbstract:
This dissertation provides an exploration of the nature and scope of the category of the Unconscious as a necessary feature of rhetorical theory and criticism. In order to demonstrate the fundamental importance of the Unconscious to rhetorical theory and criticism, this dissertation focuses on Kenneth Burke's rhetorical theory of Dramatism. Burke is one of the most frequently cited theorists by rhetorical scholars, and offers a familiar site for rhetorical scholars to understand the Unconscious as a rhetorical factor. Burke formulated a theory of the Unconscious by drawing from Freudian psychoanalysis. Since Freud, Jacques Lacan has advanced and altered the Freudian understanding of the Unconscious. Therefore, by navigating the terrain of both Burkeian and Lacanian scholarship, this dissertation moves toward a BurkeLacanian theory and method to offer a more critical lexicon for the rhetorical study of the dialectical relationship between the conscious and Unconscious parts of the psyche. In doing so, this dissertation develops and answers the following questions: How can we theorize the Unconscious as a rhetorical factor? How is Burke's theory of the Unconscious rhetorically useful? How might we understand Burke's theory of rhetoric differently and better if we read his Freudian influences through Lacanian scholarship on the Unconscious? How is a theory of the BurkeLacanian subject rhetorically useful? How does a BurkeLacanian theory of the Unconscious inform productive criticism? This dissertation applies a BurkeLacanian theory of the Unconscious by introducing a rhetorical method called "Ideographic Cluster Quilting." This method moves toward the rhetorical study of texts as cultural psyches that are constructed from fragments of discourse that form around figures of abjection. In order to demonstrate the usefulness for studying Ideographic Cluster Quilts, this dissertation analyzes the cultural psyche that forms around the figure of the "illegal immigrant" as abject. In doing so, we gain an insight into the Unconscious hatred of humanity as the perverse core of American identity that qualifies which bodies do and do not matter. We will also gain an insight into the way nationalistic identities function within globalization by confining labor forces within national boundaries, while multinational corporations move freely around the world.text
38
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.
39
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
40
"革命的性別與性別的革命: 透視茅盾和蔣光慈「革命加戀愛」小說中的革命女性." 2013. http://library.cuhk.edu.hk/record=b5549240.
Full textAbstract:
「革命加戀愛」小說在一九二零年代末中國的大量出現，反映了當時知識份子藉書寫對革命與性別之間的關係所展開的思考。而這些思考往往集中表現在文本中的革命女性身上。論文選擇以茅盾（1896 - 1981）及蔣光慈（1901 - 1931）這兩人創作的「革命加戀愛」小說為例，嘗試說明這些文本中的革命女性，蘊藏著一種未被充份理解的革命性。這一革命性，是以當時一套經翻譯進入中國的社會主義女性主義柯倫泰（1872 - 1952）的論述為參照而顯現出來。以此為基礎，我們重新發現通過《虹》這個文本中的革命女性，茅盾敘述了一個女性如何成為「革命的性別」的故事。而在《衝出雲圍的月亮》這本小說中，蔣光慈則在革命女性的思考、行動上，展示了革命如何可以是一場「性別的革命」。「革命的性別」及「性別的革命」說明了當時中國左翼知識份子對革命的思考及想像中，性別解放的可能的面向。With the mushrooming of Revolution and Love stories in China during late 1920s, intellectuals at the time have begun their reflection on the relation between “revolution and “gender through their writings, and addressed specifically on female characters that are engaged in revolutions. The following thesis sheds light on the Revolution and Love stories of Mao Dun（1896 - 1981）and Jiang Guangci（1901 - 1931）, and tries to illuminate the revolutionary spirit of those female characters. By comparing these fictions with Alexandra Kollontai（1872 - 1952）’s gender theories, my thesis aims at revealing the revolutionary traits when Kollontai’s socialist feminism theories were introduced into China through translation. From this point of departure, the underlying meaning of how Mao Dun transformed a female narrative into a “revolutionary oriented gender one would be underscored in his book Rainbow. While in another story written by Jiang, The moon that breaks free from the clouds, he demonstrated how a revolution could be perceived as a “gender oriented revolution through the reasoning and accomplishment of revolutionary females. By highlighting both the “revolutionary oriented gender and “gender oriented revolution, it allows us to rethink how leftist Chinese intellectuals at that time have comprehended the possibilities of gender emancipation through their understandings and imaginations towards revolution.
Detailed summary in vernacular field only.
高俊傑.
"2013年2月".
"2013 nian 2 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 120-123).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Gao Junjie.
Chapter 第一章 --- 序 --- p.頁1
Chapter 一、 --- 緒論：「革命加戀愛」小說的爭議 --- p.頁1
Chapter 二、 --- 研究對象：茅盾的《虹》及蔣光慈的《衝出雲圍的月亮》中的革命女性 --- p.頁6
Chapter 三、 --- 研究方法：引入柯倫泰的思想脈絡重讀《虹》及《衝出雲圍的月亮》中的革命女性 --- p.頁12
Chapter 四、 --- 研究內容 --- p.頁19
Chapter 第二章 --- 柯倫泰的性別論述 --- p.頁22
Chapter 一、 --- 柯倫泰在現代中國 --- p.頁23
Chapter 二、 --- 柯倫泰性別論述的背景 --- p.頁29
Chapter 三、 --- 資本主義下家庭與婚姻對女性的剝削 --- p.頁31
Chapter 四、 --- 社會主義下新型的家庭與婚姻 --- p.頁33
Chapter 五、 --- 獨身女性 --- p.頁37
Chapter 六、 --- 新性道德：戀愛遊戲 --- p.頁39
Chapter 七、 --- 小結 --- p.頁44
Chapter 第三章 --- 革命的性別--從柯倫泰到茅盾的《虹》 --- p.頁46
Chapter 一、 --- 翻譯作為起點：柯倫泰與茅盾在女性解放議題的連結 --- p.頁49
Chapter 二、 --- 柯倫泰進入茅盾小說創作的視野：從《蝕》到《虹》的轉變 --- p.頁52
Chapter 三、 --- 性別意識：梅行素作為克服傳統女性特質的「新婦人」 --- p.頁59
Chapter 四、 --- 性別身份：新女性的獨身主義 --- p.頁63
Chapter 五、 --- 性別身體：女性與女性的戀愛遊戲 --- p.頁69
Chapter 六、 --- 小結 --- p.頁76
Chapter 第四章 --- 性別的革命--從柯倫泰到蔣光慈的《衝出雲圍的月亮》 --- p.頁79
Chapter 一、 --- 茅盾與蔣光慈的可比性 --- p.頁82
Chapter 二、 --- 為甚麼是《追求》？逆寫《追求》的意義 --- p.頁84
Chapter 三、 --- 逆寫《追求》 --- p.頁89
Chapter （1）. --- 女性的自我意識 --- p.頁89
Chapter （2）. --- 女性與其他女性的關係 --- p.頁94
Chapter 四、 --- 柯倫泰與蔣光慈 --- p.頁97
Chapter 五、 --- 新性道德：革命女性的戰場 --- p.頁102
Chapter 六、 --- 新家庭：新的倫理關係，與繼續革命 --- p.頁109
Chapter 七、 --- 小結 --- p.頁114
Chapter 第五章 --- 結語 --- p.頁116
參考書目 --- p.頁120
41
Coetzee, Michelle. "The artist as a visionary : a consideration of Jackson Pollock, Joseph Beuys and Jackson Hlungwani as visionary artists." Thesis, 1996. http://hdl.handle.net/10413/5984.
Full textAbstract:
This study is a consideration of the notion of the artist as a visionary. This perception of the artist is explored in relation to the work and ideas of three twentieth century artists; the American painter Jackson Pollock (1912-1952), the German artist Joseph Beuys (1921-1983) and the South African artist Jackson Hlungwani (1918 -). The work and ideas of these artists is discussed primarily in terms of the similarities and differences between their art and ideas and those encountered in traditional shamanism and the visionary aspects of Romantic and Gothic art and culture as represented by the work and ideas of eighteenth century English poet and painter William Blake (1757-1827). Each of the twentieth century artists who are considered represents a different strain of the idea of the artist as a visionary. Pollock is discussed in terms of his implicit identification with the artist-shaman. This identification is revealed by the influence Jung's writings and Native American (Indian) art and culture had on his work. Beuys is considered in relation to his explicit adoption of a shaman-like persona. Hlungwani is a practising healer in a traditional community whose art explores an apocalyptic vision of redemption. The comparisons between the artists under investigation and the visionary aspects of traditional shamanism and Gothic and Romantic culture entail an analysis of pictorial elements, subject matter and content in the work of these artists. The intention was to explore those properties in the work and ideas of these artists which correspond to the notion of the artist as a visionary.Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1996.
42
"時代、地域與戲曲生產: 清初李玉戲曲研究." 2012. http://library.cuhk.edu.hk/record=b5549011.
Full textAbstract:
本論文為地域文學視野下的李玉研究。李玉（1611? - 1711後），字玄玉，蘇州派、中國戲曲史上之代表作家。上世紀二十年代以來，李玉研究於前人學者的筆耕下已取得豐碩的成績。然而當「現實精神」、「教化指向」與「平民色彩」一再成為研究蘇州派的關鍵詞，地域元素之於作家的影響仍有待爬梳。本論文追溯了「地」於李玉戲曲生產，即意念生成、形諸創作、再現場上的過程中，所飾演之各種角色；亦探討了李玉與當地文化、觀眾間千絲萬縷的互動與反饋。論文共分為七章。第一章梳理了李玉研究的發展脈絡，提出了個人的關注問題與研究視野。論文第二章結合蘇州的科舉文化、家班文化、「市隱」文化，對李玉的生平行事與交遊進行重讀，指出「久居蘇州」可謂重省其創作的重要鑰匙。第三至六章從作家生平考察，轉移至文本細續。第三章結合「一人永占」四劇（《一捧雪》、《人獸關》、《永團圓》、《占花魁》）探討地緣於李玉早期創作的痕跡，以觀照作家日後的發展脈絡。第四章探討李玉代表作《清忠譜》中，身份認同與歷史書寫的問題，重新審視了「蘇州」於劇中所鋪演的著名歷史事件──明天啟六年的「開讀之變」，以及歷史循環發展中所扮演的角色。第五章追蹤了蘇州士人黃向堅萬里尋親復歸蘇州後的事態發展（1653 1661），繼而討論當地民眾的情感力量如何轉化為作家編寫傳奇《萬里圓》的資源。論文第六章具有李玉接受史研究的性質，以《萬里圓．打差》為個案分析，從橫向與縱向角度探討李玉劇作脫離創作的當下後，與戲曲機制、舞台反饋互動的一面。筆者選擇了「政治意識」作為關鍵詞，分析了劇中使用的方言（蘇白）與服色的問題。第七章概括各章重點，並為本課題的後續發展作出展望。
本論文透過多個相互關連的個案，勾勒了「蘇州」於李玉戲曲生產所扮演的不盡相同但不容忽視的角色。面對散佈於各劇的蘇州地方掌故、地方時事、蘇白方言、地理景觀、風土人情、地方家族史，筆者一方面視之為作家與地方觀眾互動的表徵，另一方面指出，此乃為作家地域經驗與身份認同的呈現。本文在豐富學界對李玉認識的同時，希望李玉的地域性研究能在蘇州派研究、中國戲曲史研究，以及明清地域文學研究中都展現其價值。
This thesis concerns the research on Li Yu under the perspectives of regional literary studies. Li Yu (1611? - after 1711), also referred to as Li Xuanyu, is a renowned Suzhou playwright widely recognized in the history of Chinese drama. Since 1920s, researches on Li Yu have yielded significant results. However, as “realism, “didacticism and “folk color have become the core concepts in the interpretations of the works of Suzhou playwrights, study on how regional factors have influenced these dramatists has long been omitted. This thesis tries to trace how “place shaped the production of Li Yu’s plays. In other words, the study investigates the role of “Suzhou in the formation of Li Yu’s idea, the writing of the play, and the representation including performance on stage. This research also sheds light on the connection between Li Yu and local culture, as well as the interaction between the dramatist and his audience.
This thesis consists of seven chapters. The first chapter provides a literature review on the discussion of Li Yu, explains the motivation for this work and outlines the organization of the thesis. The second chapter explicates the biographical background of Li Yu, with an introduction of imperial examinations, domestic troupes and the idea of “urban recluse, so as to illustrate the importance of Li Yu’s stay in Suzhou before re-interpreting his works. The third to the sixth chapters involve close readings of Li Yu’s texts. The third chapter focuses on Li Yu’s early plays, namely, A Handful of Snow [Yipeng xue], The Gate Separating Humans and Beasts [Renshou guan], The Everlasting Union [Yong tuanyuan], Winning the Prize Courtesan [Zhan huakui]). Through analyzing these plays, this chapter portrays how geographical and social forces affected Li Yu’s early dramas and his later works. The fourth chapter examines Li Yu’s prominent drama Registers of the Pure and Loyal [Qingzhong pu] by addressing the problem of identity and historical narratives, especially how “Suzhou was employed by the author in the famous political incident “Kaidu zhi bian, that happened in 1626, and in the cyclic recurrence of historical events. The fifth chapter illustrates the journey of Suzhou literatus Huang Xiangjian from Suzhou to Yunnan to search for his father and his return with him (1653-1661), and discerns how emotional power among local citizens contributed to the composition of Li’s play, Union Across Ten Thousand Miles [Wanli yuan]. The sixth chapter explores the reception of Li Yu’s plays, by studying the performances of Beating the Officer from Union Across Ten Thousand Miles. Since this play was staged in local theatres, how its stagecraft developed and transformed across time and space is traced in this chapter. “Political consciousness is key to understanding the costumes and Suzhou dialect used in these performances. The seventh chapter is a conclusion summarizing the above arguments and providing insights into areas that await future explorations.
Through case studies that are interrelated, this thesis demonstrates how “Suzhou was vital to Li Yu’s literary production. Living in Suzhou, Li assimilated local history, contemporary events, dialect with special idioms, geographical landscapes, folk customs, and family histories, so as to interact with the interests of local audience. On the one hand, this interaction has been revealed in my study of various dramas written by Li Yu; on the other hand, this interaction in my view, represents his self identity and local experience. The aim of this research on Li Yu is not limited to the eminent playwright. It is believed that this thesis can also provide information that contributes to the study of Suzhou playwrights, regional literature in the Ming-Qing era, as well as the history of Chinese drama.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
陳雅君.
"2012年2月".
"2012 nian 2 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 161-172).
Abstract in Chinese and English.
Chen Yajun.
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 研究情況回顧 --- p.4
Chapter 第二節 --- 研究方法與問題意識 --- p.11
Chapter 第三節 --- 論文章節安排 --- p.17
Chapter 第二章 --- 李玉生平、戲曲活動與蘇州的關係 --- p.21
Chapter 第一節 --- 成長在申家班 --- p.22
Chapter 第二節 --- 仕與隱 --- p.26
Chapter 第三節 --- 戲曲創作 --- p.31
Chapter 第四節 --- 交遊 --- p.34
Chapter 第三章 --- 晚明蘇州之浮世繪--「一人永占」 --- p.39
Chapter 第一節 --- 時事劇的地域性：《一捧雪》 --- p.41
Chapter 第二節 --- 給蘇州人的寓言：《人獸關》 --- p.51
Chapter 第三節 --- 鬧熱的蘇州社火：《永團圓》 --- p.60
Chapter 第四節 --- 地域與時代之間：《占花魁》 --- p.65
Chapter 第四章 --- 吳人觀吳事--《清忠譜》的蘇州史事再現 --- p.72
Chapter 第一節 --- 《清忠譜》中的晚明蘇州開讀之變 --- p.75
Chapter 第二節 --- 《清忠譜》中的蘇州史事再現 --- p.79
Chapter (一) --- 「罵亦禰衡之氣」：周順昌 --- p.81
Chapter (二) --- 晚明的要離、專諸：五人義 --- p.85
Chapter (三) --- 「時間錯誤」下的諸生朱祖文 --- p.90
Chapter (四) --- 開放式場景中的蘇州史事：〈鬧詔〉 --- p.91
Chapter (五) --- 對蘇州命運之關懷：〈蔭吳〉與〈塗本〉 --- p.94
Chapter (六) --- 流變中的蘇州史事：〈弔墓〉 --- p.95
Chapter 第三節 --- 《清忠譜》的迴響 --- p.97
Chapter 第五章 --- 蘇州孝子尋親記──《萬里圓》的時事書寫 --- p.100
Chapter 第一節 --- 黃向堅萬里尋親事於蘇州的傳播(1653-1661) --- p.102
Chapter (一) --- 黃向堅《尋親紀程》、《滇還日記》與「尋親圖冊」 --- p.102
Chapter (二) --- 李玉《萬里圓》傳奇 --- p.106
Chapter 第二節 --- 《萬里圓》中的時事再現：家國、忠孝與空間 --- p.107
Chapter (一) --- 忠孝、家國的交織與深化 --- p.108
Chapter (二) --- 空間與回憶：蘇州地域經驗的深化 --- p.113
Chapter (三) --- 亂世中的家族經驗 --- p.117
Chapter (四) --- 孝的普世性：孝子尋親故事的互涉 --- p.118
Chapter 第三節 --- 《萬里圓》作為場上之曲的迴響 --- p.120
Chapter (一) --- 《綴白裘》的〈跌雪〉與三溪 --- p.124
Chapter (二) --- 晚清舞台上的〈打差〉 --- p.125
Chapter 第六章 --- 李玉戲曲的再生產--從《萬里圓打差》說起 --- p.127
Chapter 第一節 --- 《萬里圓.打差》的政治意識 --- p.129
Chapter 第二節 --- 《綴白裘》之《清忠譜鞭差》與吳梅鈔本《清忠譜.打差》 --- p.138
Chapter 第三節 --- 王蒸籠於《翡翠園》的回歸 --- p.147
Chapter 第四章 --- 餘論：朱素臣戲曲的再生產 --- p.153
Chapter 第七章 --- 結語 --- p.156
參考書目
43
"以劇寫「史」: 黃燮清《倚晴樓九種曲》研究." 2011. http://library.cuhk.edu.hk/record=b5894329.
Full textAbstract:
梁慧."2011年5月".
"2011 nian 5 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references.
Abstracts in Chinese and English.
Liang Hui.
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 史傳文學下的論述 --- p.1
Chapter 一、 --- 「史傳」與「文學」
Chapter 二、 --- 以劇寫「史」的意涵
Chapter 三、 --- 黃燮清筆下的「史劇」
Chapter 第二節 --- 研究目的 --- p.11
Chapter 第三節 --- 文獻回顧 --- p.15
Chapter 一、 --- 清末民初的迴響
Chapter 二、 --- 近代評論的主題
Chapter 三、 --- 既有研究的不足
Chapter 四、 --- 小結
Chapter 第四節 --- 研究方法 --- p.22
Chapter 第二章 --- 黃燮清與《倚晴樓九種曲》 --- p.24
Chapter 第一節 --- 黃燮清生平及其作品 --- p.24
Chapter 第二節 --- 黃燮清戲曲的創作緣起 --- p.26
Chapter 第三節 --- 結語 --- p.34
Chapter 第三章 --- "「藉古人啼笑,今人悲喜」一為司馬相如翻案及自喻的《茂陵絃》" --- p.37
Chapter 第一節 --- 前言 --- p.37
Chapter 第二節 --- 翻案史劇的提出 --- p.37
Chapter 一、 --- 「翻案劇」釋義
Chapter 二、 --- 「司馬相如事」的討論熱潮
Chapter 三、 --- 《史記》、《西京雜記》記載的「司馬相如事」
Chapter 四、 --- 《茂陵絃》簡介
Chapter 第三節 --- 「譜曲覓知音」一《茂陵絃》的旨趣 --- p.44
Chapter 第四節 --- 「惜青史之傳誣」一一黃燮清「翻案」的筆法 --- p.47
Chapter 一、 --- 《茂陵絃》與《琴心記》
Chapter 二、 --- 翻案的特色
Chapter 三、 --- 小結
Chapter 第五節 --- "以曲作賦,借古喻今" --- p.52
Chapter 第六節 --- 結語 --- p.59
Chapter 第四章 --- 以劇寫史《帝女花》中的抒情與歷史 --- p.62
Chapter 第一節 --- 前言 --- p.62
Chapter 第二節 --- 《帝女花》簡介 --- p.63
Chapter 第三節 --- "史家筆法:譜興亡之舊事,寫離合之情悰" --- p.64
Chapter 第四節 --- 《帝女花》的藝術構思 --- p.72
Chapter 一、 --- 腳色分派
Chapter 二、 --- 服飾穿戴
Chapter 三、 --- 時空安排
Chapter 第五節 --- 《帝女花》中的母題與象徵 --- p.80
Chapter 一、 --- 「帝女之花」與長平「兩起死」
Chapter 二、 --- 天命與人事
Chapter 第六節 --- 以劇寫史一一黃燮清的史心 --- p.91
Chapter 第七節 --- 結語 --- p.95
Chapter 第五章 --- 書寫「列女」內外的歷史一一女性入傳的《玉台秋》、《桃谿雪》 --- p.98
Chapter 第一節 --- 前言 --- p.98
Chapter 第二節 --- 為女性發聲的《玉台秋》及《桃谿雪》 --- p.101
Chapter 一、 --- 前言
Chapter 二、 --- 內容簡介
Chapter 三、 --- 黃燮清筆下的張宜人不和吳絳雪
Chapter 第三節 --- 典範女性的建立一一儼如私人「墓誌銘」 --- p.105
Chapter 第四節 --- 「節烈」一一正史《列女傳》的規範 --- p.111
Chapter 一、 --- 《桃谿雪》》與吳絳雪
Chapter 二、 --- 從典範到規範一一黃燮清筆下的吳絡雪
Chapter 第五節 --- 劇為史傳的筆法 --- p.123
Chapter 一、 --- 列傳的意圖
Chapter 二、 --- 「列女傳」的演變
Chapter 三、 --- "傳人兼傳史,借傳以存史"
Chapter 第六節 --- 結語 --- p.136
Chapter 一、 --- 以劇傳人的意義
Chapter 二、 --- 明清文人為女性寫墓誌銘的原因及情況
Chapter 三、 --- 史學與性別的思考一一創作的意涵
Chapter （一） --- 《玉台秋》的意圖
Chapter （二） --- 《桃谿雪》的關懷
Chapter 第六章 --- 清朝時事劇的復興一《絳稍記》和《居官鑑》 --- p.146
Chapter 第一節 --- 前言 --- p.146
Chapter 第二節 --- 影射時事的嘗試一一《絳稍記》 --- p.148
Chapter 一、 --- 《絳稍記》簡介
Chapter 二、 --- 影射時事的筆法
Chapter 三、 --- 《絳稍記》的可觀性
Chapter 四、 --- 小結
Chapter 第三節 --- 直寫時事的創作一《居官鑑》 --- p.157
Chapter 一、 --- 《居官鑑》簡介
Chapter 二、 --- 國事家事天下事一黃燮清筆下的現實
Chapter 三、 --- 黃燮清筆下的人物
Chapter 四、 --- 以筆載史一詩歌與戲文
Chapter 第四節 --- 結語 --- p.170
Chapter 一、 --- 從《茂陵絃》到《居官鑑》一一黃燮清白喻形象的轉變
Chapter 二、 --- 直刺史實的影響
Chapter 第七章 --- 結論 --- p.174
Chapter 第一節 --- 總結 --- p.174
Chapter 一、 --- "戲曲詩化以「緣,情」 ,r言志」"
Chapter 二、 --- 黃燮清以「史」為劇的發展進程
Chapter （一） --- 史劇中的人物與歷史的關係
Chapter （二） --- 劇中的「黃燮清」
Chapter （三） --- 巾幗不讓鬚眉的女性形象
Chapter （四） --- 從「聊以自娛」到「直刺時事」
Chapter 三、 --- 研究晚清戲曲的新進路
Chapter 第二節 --- 餘論一一黃燮清筆下的歷史與虛構 --- p.185
Chapter 一、 --- 從吳梅語「劇場惡套」說起
Chapter 二、 --- 黃燮清歷史劇中的虛構情節
Chapter 三、 --- 歷史與虛構的結合
Chapter （一） --- 尚實風氣的形成和重現
Chapter （二） --- 虛構情節一一文人作意好奇的意義
Chapter 四、 --- 黃燮清歷史劇的結局與不朽的聯想
參考書目
44
"詩詞對照下的《彊村語業》: Explicating Qiangcun yuye via the aesthetic disparities between shi and ci poetry." 2015. http://library.cuhk.edu.hk/record=b6115869.
Full textAbstract:
晚清時局亟變，新事物、新思想不斷湧現，傳統文體為了回應時代變化，各自作出相應的調整，唯獨詞體仍然固守舊貌。朱祖謀素有詩名，四十歲後棄詩而專注填詞，稱其詩作「不足傳世」。詩詞的美感特質各異，這種刻意的「滯後」說明朱祖謀認為詞體更能切合末代士人與遺民的表達需要。朱氏於同儕中學詞最晚而造詣最深，國變後歷任詞社社長，其詞於當時極具典範意義。然而，清末民初的政治與文化急劇轉型，傳統文學不再位居主流，由封建王朝到現代國家的過渡亦為士人帶來各種思想上的衝擊，「士」已失去了其倫理與制度上的基礎，而朱祖謀則透過在不同情境下的政治、文學抉擇將「士」的內涵重新予以彰顯。本文將以詩詞之辨的角度來分析《彊村語業》中的藝術特色及其政治意涵。第三、四章討論清遺民所面臨的倫理困境與朱氏如何以詩詞回應近代世變。第五章處理朱氏擬仿金朝遺民元好問〈鷓鴣天〉宮詞八首的互文意義。鑑於純粹的文本細讀未必能夠完整地理解詞旨，第六章將以歷時角度討論庚子事變之際的四印齋詞聚與漚社詞聚中的「雅集」詞課，並將嘗試回置詞課的創作情境。本文最後指出朱氏以矢志填詞的初衷及其如何以詞體撫平歷史創傷。
The catastrophic changes of political situation in late Qing China had brought in myriad of ideological trends and accessories. As a stimulus, the traditional literary forms had themselves fine-tuned so as to react with the social and cultural forces while ci poetry retained its old style and seemingly exempted itself from literary reforms of all sorts. Zhu Zumou was a shi poet of repute of his time. At the age of 40, he abandoned shi and dedicated to ci writing. Meanwhile, Zhu had it asserted that his shi would be no worth of posthumous circulation. Given that ci differs from shi in their aesthetic sense, the strong-willed demarcation in artistic creation illustrated that ci fitted in with Zhu’s pursuit in literary articulation as a Confucian in late Qing, and later as a Confucian loyalist after The 1911 Revolution. Zhu, among his associates, acquainted with ci the latest yet his expertise was of the highest attainments and had been reappointed the head of ci poetry society consecutively. His works was then revered as the paradigm in its field. However, in early Republican China, classical literature was not in the prestigious main stream. The sharp transformation from imperial dynasty to modern nation state had casted manifold cultural shocks upon the loyalists, thus causing the word Confucianistlost its ethical and institutional ground. In view of this, Zhu, with the circumstantial factors he engaged in, redefined the essence of Confucianist by the political and literary courses he proceeded on.
Critical attention of this essay will be drawn to explicate the political implications of Qiangcun Yuye via the aesthetic disparities between shi and ci poetry. The fourth and fifth chapter will first exemplify the ethical dilemmas that the Qing loyalists encountered and how Zhu’s self-agency reacted with the social force through shi and ci on modern historical trauma. The fifth Chapter scrutinized the intertextuality between Zhu’s emulation on Yuan’s Suite Poems to The Tone of Jiegu Tian, which share the features of Palace-Style Poetry. Seeing that close reading may not bring the intendment to light, the sixth chapter will illuminate Zhu’s works of yaji from the Siyin Cabinet gathering in the Gengzi Crisis and Ou Society in a chronic basis and contextualize the works to the social situations they were immediately written. To conclude my research, this essay intended to disinter the original intensions of Zhu’s unswerving adherence to ci writing and how Zhu tranquilized his jeopardizing experience through ci poetry.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
陳榮生.
Parallel title from English abstract.
Thesis (M.Phil.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 88-91).
Abstracts also in English.
Chen Rongsheng.
45
"陳獻章(1428-1500)書法硏究." 1998. http://library.cuhk.edu.hk/record=b5896286.
Full textAbstract:
譚沛榮.論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998.
附參考文獻.
中英文提要.
Tan Peirong.
緒言 --- p.i-iii
Chapter 上篇 --- 陳獻章的時代背景及生平
Chapter 第一章 --- 明代初期至中期的政治及社會狀況 --- p.1
Chapter 第一節： --- 帝主的作風 --- p.1
Chapter 第二節： --- 駕馭臣民之術 --- p.3
Chapter 第三節： --- 士人的趨避 --- p.5
Chapter 第四節： --- 朱熹理學的尊崇 --- p.6
Chapter 第五節： --- 地方民變頻仍 --- p.7
Chapter 第六節： --- 地方經濟文化重心 --- p.8
Chapter 第二章 --- 陳獻章的生平 --- p.12
Chapter 第一節： --- 從學及科考 --- p.12
Chapter 第二節： --- 閉門讀書及居ˇёإ授徒 --- p.15
Chapter 第三節： --- 復遊太學、名震京師及科考落第 --- p.16
Chapter 第四節： --- 居ˇёإ講學及盛名牽累 --- p.21
Chapter 第五節： --- 應徵赴京、受窘及獲授官銜 --- p.24
Chapter 第六節： --- 屢薦不起、著文寄託 --- p.27
Chapter 下篇 --- 陳獻章的書法藝術
Chapter 第一章 --- 明代書壇狀況 --- p.33
Chapter 第一節： --- 皇帝愛惡 --- p.33
Chapter 第二節： --- 大型刻帖的影響 --- p.34
Chapter 第三節： --- 永樂大典修編的影響 --- p.34
Chapter 第四節： --- 書壇局面的統合與分立 --- p.35
Chapter 第五節： --- 明代書藝理論及淵源 --- p.37
Chapter 第二章 --- 陳獻章的理學 --- p.41
Chapter 第一節： --- 本體論：自然與自得 --- p.42
Chapter 第二節： --- 方法論：虛與靜 --- p.45
Chapter 第三章 --- 陳獻章的藝術觀 --- p.51
Chapter 第一節： --- 詩觀 --- p.51
Chapter 第二節： --- 對藝術的一般態度 --- p.55
Chapter 第三節： --- 對藝術商品化的態度 --- p.57
Chapter 第四章 --- 陳獻章書法藝術的師承 --- p.66
Chapter 第一節： --- 幼學 --- p.66
Chapter 第二節： --- 國子監課業 --- p.67
Chapter 第三節： --- 嶺南文物 --- p.68
Chapter 第四節： --- 朋輩影響 --- p.70
Chapter 第五章 --- 陳獻章的書藝觀 --- p.73
Chapter 第一節： --- 書藝與人生 --- p.73
Chapter 第二節： --- 藝以載道 --- p.74
Chapter 第三節： --- 中庸之道 --- p.76
Chapter 第六章 --- 陳獻章茅龍書藝的成因及工具 --- p.82
Chapter 第一節： --- 浙派畫風的薰染 --- p.83
Chapter 第二節： --- 林良筆法的啓迪 --- p.84
Chapter 第三節： --- 茅筆的材料及製造 --- p.86
Chapter 第四節： --- 茅筆工具的局限性 --- p.88
Chapter 第七章 --- 陳獻章的書法風格 --- p.91
Chapter 第一節： --- 毛筆書風格 --- p.91
Chapter 第二節： --- 茅筆書風格 --- p.93
Chapter 第八章 --- 陳獻章書藝的成就及評價 --- p.97
Chapter 第一節： --- 在書法工具上的創新 --- p.97
Chapter 第二節： --- 在書法文化及藝術經濟上的貢獻 --- p.98
Chapter 第三節： --- 理學與書藝的融合 --- p.99
Chapter 第四節： --- 書法史地位的商榷 --- p.100
Chapter 第五節： --- 書法史對陳獻章的忽略及誤解 --- p.101
參攷書目 --- p.107
附錄
Chapter ´ؤ. --- 陳獻章年表 --- p.112
Chapter 二. --- 陳獻章題跋書畫詩文一覽表 --- p.122
Chapter 三. --- 陳獻章書蹟辨僞 --- p.124
Chapter 四. --- “祇署´ب白沙，之陳獻章書蹟皆膺品´ح之商榷 --- p.126
Chapter 五. --- 陳獻章書法作品編年評釋及圖版 --- p.129
Chapter 六. --- 各章插圖 --- p.282
謝辭 --- p.306
46
"孟稱舜言情劇作研究." 2012. http://library.cuhk.edu.hk/record=b5549005.
Full textAbstract:
本文以性別研究視野作為孟稱舜言情劇作研究的新切入點，透過分析相互關連的個案，重新審視孟氏劇作中「情」的意蘊及言情觀的發展。全文旨在從個人、社會、家國的視角審視孟稱舜戲曲如何寫「情」，並按照戲曲寫作的順序和體裁之脈絡，以文本細讀方式探討劇作。本文的重點有二，第一是展現孟稱舜劇作的「情」在不同時期有不同的側重點：早期雜劇中對「真」的讚揚，至中期傳奇《嬌紅記》提倡情正，後期傳奇《二胥記》對誠的推崇，以至《貞文記》情與貞的一體兩面等。這顯示了作者寫情的層層深入與遞進。從晚明到清初，孟稱舜言情劇作的「情」在呼應湯顯祖之餘，其覆蓋的範圍更廣，從男女愛情延伸至歷史和家國層面，也展示了更複雜的寫情框架。第二是揭示孟稱舜戲曲如何繼承湯顯祖寫情的藝術手法，並表現了十七世紀明清戲曲文學對性別觀念的文化建構，尤見於後期傳奇對情與自我、身分、角色的思考。孟稱舜言情劇作敘寫男女人物的情感經驗，緊扣時代文化風潮，因而給予性別更豐富的詮釋空間，有別於一般只借女性角色寄託象徵意涵的方式。本文把孟稱舜戲曲置於繼承《牡丹亭》，下開《桃花扇》之間的過渡時期審視，透過突顯孟稱舜在明清戲曲史上承先啟後的重要貢獻，藉此重新評價其文學地位。
The thesis examines Meng Chengshun’s conception of qing [love; passion; sentiment] and traces the development of his views towards love and relationship over time as embedded in his romantic plays. Through analyzing the interrelations between texts under the perspective of gender studies, this thesis aims at giving a close reading of Meng’s plays in respect to the representation of “qing on personal, communal and national level in chronological order with modifications according to the genre of the texts.
The study has two main points. First, it exhibits Meng’s different representations of “qing and their orientations in different periods. For instance, the early zaju dramas praises the quality of “truthfulness; in the middle period, the chuanqi dramas champions qingzheng; in the late period, Erxuji worships “zheng and Zhenwenji applauds the symbiosis of qing and chastity. The trajectory is evident of Meng’s growth of depth and intensity in the depiction of “qing. From late Ming to early Qing period, Meng’s plays do not only echo Tang Xianzu’s, they also sophisticate the framework of “qing and cover a broader scope, ranging from romantic love to aspects of history and nation. Second, the study reveals the way Meng’s plays inherit the aesthetics of qing of the Tang Xianzu and present the cultural constructs of gender roles of Ming and Qing plays in the seventeenth century, which are particularly prominent in the relation of “qing with self, identity and role, in the late chuanqi. The selected plays embody the cult of qing in Meng’s contemporary era in the portraits of romantic relations and their occupation with the romantic theme provides a greater room for gender reading. Meng’s representations of female characters distinguish from the common way of simply using them as symbols. In brief, the thesis places and examines Meng’s works in the transition period between Mudanting and Taohuashan. Through explicating Meng Chengshun’s significant role in the history of Ming and Qing plays as both a successor of traditions and forerunner of new ideas, this thesis sheds new light on the playwright’s literary achievement.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
胡凱琪.
"2012年8月".
"2012 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 216-235).
Abstract in Chinese and English.
Hu Kaiqi.
摘要 --- p.i
目錄 --- p.iv
Chapter 第一章 --- 緒論 --- p.1
Chapter 一、 --- 研究緣起 --- p.1
Chapter 二、 --- 孟稱舜概述 --- p.2
Chapter （一） --- 生平 --- p.2
Chapter （二） --- 交游 --- p.8
Chapter （三） --- 著作 --- p.11
Chapter 三、 --- 研究回顧及綜述 --- p.19
Chapter 四、 --- 問題意識和研究方法 --- p.27
Chapter 五、 --- 論文各章內容 --- p.32
Chapter 第二章 --- 孟稱舜雜劇中「情」的書寫 --- p.35
Chapter 一、 --- 重寫才子佳人愛情 --- p.35
Chapter （一） --- 《桃源三訪》中情與性別的表述 --- p.37
Chapter （二） --- 《花前一笑》中情的喜劇式調和 --- p.54
Chapter （三） --- 《泣賦眼兒媚》中功名與愛情兼得的兩難局面 --- p.70
Chapter （四） --- 小結 --- p.79
Chapter 二、 --- 《殘唐再創》中個人、 家國與歷史寄寓 --- p.81
Chapter 三、 --- 結語 --- p.92
Chapter 第三章 --- 《嬌紅記》之「魂旦」的塑造與「情正」思想之關係 --- p.97
Chapter 一、 --- 「情正」與「同心子」 --- p.99
Chapter 二、 --- 原著中魂旦的塑造與作用 --- p.103
Chapter 三、 --- 《嬌紅記》中魂旦的意蘊與「情正」之關係 --- p.104
Chapter （一） --- 女性主體的模糊：似是而非的人鬼對照 --- p.106
Chapter （二） --- 「同心子」關係的謔倣與考驗 --- p.110
Chapter （三） --- 魂旦和嬌娘的行為對比及差異 --- p.115
Chapter （四） --- 魂旦結局的雙重意蘊之一：情與欲的平衡 --- p.120
Chapter （五） --- 魂旦結局的雙重意蘊之二：情與欲的共生與並存 --- p.122
Chapter （六） --- 《嬌紅記》魂旦在清代的回歸：情色欲望的對象 --- p.125
Chapter 五、 --- 「情正」的餘韻 --- p.127
Chapter 六、 --- 結語 --- p.132
Chapter 第四章 --- 《二胥記》之「誠」與忠孝之情 --- p.135
Chapter 一、 --- 情的重申與肯定：「誠」 --- p.137
Chapter （一） --- 申包胥與明亡：忠臣復國的刻畫 --- p.139
Chapter （二） --- 伍子胥與為父盡孝：報仇的意蘊 --- p.148
Chapter 二、 --- 「誠」的爭議：既一致又矛盾 --- p.155
Chapter 三、 --- 結語 --- p.158
Chapter 第五章 --- 《貞文記》的「情貞」與自我認同 --- p.162
Chapter 一、 --- 關於《貞文記》成書年份的分歧 --- p.163
Chapter 二、 --- 情的多重聲音：世變中對情的反思 --- p.165
Chapter （一） --- 情的回溯與回顧 --- p.167
Chapter （二） --- 自我的探索：夢與情的關係 --- p.171
Chapter （三） --- 愛情與自我定位 --- p.173
Chapter 三、 --- 情與家國 --- p.176
Chapter （一） --- 忠貞的矛盾與轉移 --- p.180
Chapter （二） --- 女性與貞的象徵 --- p.183
Chapter （三） --- 以貞喻忠 --- p.186
Chapter 四、 --- 自我記憶與「文」的意蘊 --- p.192
Chapter 五、 --- 餘韻：情的最終歸處 --- p.197
Chapter 六、 --- 結語 --- p.201
Chapter 第六章 --- 結論 --- p.205
Chapter 附錄 --- 歷代《嬌紅記》戲曲 --- p.214
參考書目 --- p.216
Chapter 一、 --- 基本文獻 --- p.216
Chapter 二、 --- 專書 --- p.221
Chapter 三、 --- 文集論文 --- p.225
Chapter 四、 --- 期刊論文 --- p.229
Chapter 五、 --- 學位論文 --- p.232
Chapter 六、 --- 外國專書／論文 --- p.232
Chapter 七、 --- 網上資料 --- p.235
47
"裂變之後的桃源建構: 清初陶學研究." 2013. http://library.cuhk.edu.hk/record=b5549700.
Full textAbstract:
本文是第一部專以清初陶學為研究對象的論文，擬從文人的情懷、詩學的演變、詩歌的用意、意象的運用、注本的闡釋等多角度概述清初陶學的全貌。在方法上，筆者除分析當時文人對陶淵明的評論外，還選取了清初四十家身份不同的文人，比較他們詩作中運用的陶淵明典故，探討他們對「陶淵明形象」的塑造與取捨，並以歷史背景為線索，梳理陶淵明意象在清初文人心目中地位的差異與其變化。基於上述的研究，筆者認為以往學術界把清初陶學只理解為「忠憤」的表現是不夠全面的，尤其是清初關於陶淵明的討論，除了遺民文人有熱烈的參與外，非遺民文人亦有相當數量的研究，而且他們之間還存在着不少的交流，互相回應。正因如此，清初和陶風氣盛極一時，並且出現了一種嶄新、「反其致」的和陶現象--〈反乞食〉詩。
這種借用陶淵明的意象互相交流與回應，更多反映在詩歌方面。清初文人借讀陶、評陶、和陶等方法抒發他們於易代間的鬱悶。這種詩歌世界，重現了陶淵明筆下的桃源，在這裏，他們「不知有漢，無論魏晉」，思想上可以暫時脫離現實的痛苦，悠然人間。這也使得清初《陶集》評注本的編撰，一改南宋以來十卷本的「全集」形式，而偏重於四卷本，只收錄詩作的體制。
The author intends to discuss the reception of Tao Yuanming in the Early Qing Dynasty from the aspects such as the emotions of poets, the changes of poetics, the intentions of poetries, the poetic imageries and the differences of the editions. And, it is the first work focusing solely on the reception of Tao Yuanming in the Early Qing Dynasty. Regarding the research methods, this dissertation not only studies the critiques through the existed methods, but also analyses the existed materials in a different manner. By comparing the literary allusions of Tao Yuanming’s life of 40 scholars lived in Early Qing who had different social background, the thesis discusses how these people constructed the images of Tao Yuanming and how they selected from Tao’s qualities. The thesis also tries to sort out the different attitudes of Tao among scholars of Early Qing and its changes with regard to the historical context.
Based on the research, the author finds out that the existed understanding of the reception of Tao Yuanming in the Early Qing, which focuses on the leftover citizen’s aspect, and which portrays Tao image as a rebellion was largely incomplete. Apart from the vigorous discussions regarding the images of Tao among the leftover citizen, the non-leftover citizen also discussed Tao with great enthusiasm. Under this circumstance, a new form of He Tao Shi(和陶詩) “poems written to match Tao’s , was found in opposite mode in order to response to those leftover citizen.
By appropriation of Tao’s images in their communication and responding each other especially in poems, scholars lived in Early Qing expressed their uneasiness and pain as in the change of the regime through reading, commentary and writing of Tao’s collections. Thus, this special kind of poem allowed the Early Qing scholars to escape from the distress of the reality to an ideal world, a typical example of which was “Peach-Blossom Spring created by Tao Yuanming. This tendency reflected in the editions of Tao’s works in Early Qing Dynasty that Tao’s poems received much attention while other forms of works were not included in the collections of works.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
梁樹風.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 331-376)
Abstracts in Chinese and English.
Abstracts in English and Chinese.
Liang Shufeng.
提要 --- p.I
目錄 --- p.III
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 研究範圍 --- p.1
Chapter 第二節 --- 研究旨趣 --- p.7
Chapter 第三節 --- 相關文獻回顧 --- p.14
Chapter 第四節 --- 論文架構與研究方法 --- p.17
Chapter 第二章 --- 清初陶學背景 --- p.24
Chapter 第一節 --- 明清易代與文人「生死」的抉擇 --- p.24
Chapter 第二節 --- 陶淵明生存方式對清初文人的啟示 --- p.29
Chapter 第三節 --- 清初文人寄情陶淵明的表現 --- p.37
Chapter 第四節 --- 清初遺民的逃禪與蓮社之約 --- p.56
Chapter 第三章 --- 清初詩學與陶詩評價的關係 --- p.91
Chapter 第一節 --- 清初詩壇尋「真」對陶詩評價的影響 --- p.91
Chapter 第二節 --- 清初「詩史」的重視與陶淵明甲子紀年之義 --- p.115
Chapter 第三節 --- 清初田園詩的復興與陶淵明田園詩內涵的解讀 --- p.130
Chapter 第四章 --- 清初的擬陶、集陶與和陶 --- p.151
Chapter 第一節 --- 清初擬陶與集陶的表現與陶文詩意的賞讀 --- p.152
Chapter 第二節 --- 清初和陶詩的表現與其意義 --- p.162
Chapter 第三節 --- 清初擬陶、和陶的觴濫--陶淵明〈酒二十首〉 --- p.169
Chapter 第四節 --- 清初的「反乞食詩」 --- p.184
Chapter 第五章 --- 清初的陶淵明意象與繪事 --- p.206
Chapter 第一節 --- 清初陶淵明與菊的意象與繪事 --- p.207
Chapter 第二節 --- 清初桃源的意象與繪事 --- p.228
Chapter 第六章 --- 清初《陶集》評注本 --- p.257
Chapter 第一節 --- 《陶淵明集》版本源流與清初的《陶淵明集》 --- p.257
Chapter 第二節 --- 清初的《陶淵明集》注釋 --- p.277
Chapter 第三節 --- 清初《陶集》評注的特色 --- p.319
Chapter 第七章 --- 結論 --- p.328
參考書目 --- p.331
Chapter 附錄一 --- 清初文人詩作用陶淵明典故語句輯錄 --- p.1
Chapter 附錄二 --- 清初文人用陶淵明典故的創作時間與數量分佈 --- p.105
Chapter 附錄三 --- 歷代書目所錄《陶淵明集》 --- p.106
Chapter 附錄四 --- 宋代《陶集》注本研究 --- p.119
Chapter 附錄五 --- 清初文人和陶詩附表 --- p.147
48
"圖像的流動與互動: 任伯年仕女畫的風格與意旨." Thesis, 2010. http://library.cuhk.edu.hk/record=b6075276.
Full textAbstract:
As the most important city in the Far East after the Opium War in terms of physical capital and western civilization importation, Shanghai, with an unprecedented openness, created a hybrid environment of domestic and foreign immigrants. Furthermore, its location advantage at the meeting point of the South-North major transportation routes and within the most economically developed regions of Jiangsu and Zhejiang produced an unparalleled social tolerance and cultural context, thus providing new room for revival and innovation of then declining figure paintings.As the most popular Shanghai-based artist in the 20th century, Ren Bonian's life spanned Late Qing's most critical 50 years that were full of external challenges. Under then Shanghai's complex historical and cultural background, his figure paintings, especially women story paintings, demonstrated the significance of multi-referential. His women paintings were so welcomed also have other reasons: such as the influences from other Shanghai artists of women paintings; his reference to and evolution of classical image in his paintings; his absorption and creation of folk image; and his understanding and interpretation of Japanese image. Ren Bonian's rewriting and re-reading of women's images in his diversified women paintings showed the abundance of women-related topics in late Qing.
This thesis is to show that a unique path of women paintings in the development of figure paintings can be reflected in the work of Ren Bonian, the most creative figure-painting artist in 19th century. Moreover, via the artist himself and the vertical and horizontal axis constructed from his figure paintings, I investigate the reference to and digging of women paintings, the supply of the most active nutrient for innovations by figure paintings of women-related topics to Shanghai arts, and the borrowing and conversion of women image, consumption representation and visual desire in the diversified old and new, Chinese and foreign culture. I hope this thesis can fill the gap of study on Women paintings in Ren Bonian's figure paintings, and playa role in the promotion of research on Qing's women paintings.
周越.
Adviser: Harold Kar-Leung Mok.
Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (p. 199-208).
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, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Zhou Yue.
49
Willet, Eugene Kenneth 1969. "Music as sinthome: joy riding with Lacan, Lynch, and Beethoven beyond postmodernism." Thesis, 2007. http://hdl.handle.net/2152/3231.
Full textAbstract:
The films of David Lynch are full of ambiguities that derive from his habitual distortion of time, inversion of characters, and creation of ironic, dreamlike worlds that are mired in crisis. While these ambiguities have been explored from numerous angles, scholars have only recently begun to closely examine music's role in Lynch's cinematic imagination. This dissertation explores the relationship between music and fantasy through the lens of Lacanian psychoanalysis where fantasy plays a crucial role in helping psychoanalytical subjects work through their psychical crises. In particular, I look at Blue Velvet (1986), Lost Highway (1996), and Mulholland Drive (2001), showing how Lynch employs music to manage and, in the case of Mulholland Drive, move beyond the particular crises of jouissance experienced by the Characters--and also the viewers. Before engaging in my analysis of Lynch's film music, however, I begin with an extended discussion of what Kevin Korsyn describes as the current crisis of music scholarship, examining how this crisis manifests itself in recent "postmodern" interpretations of Beethoven's Ninth Symphony. Few works are invested with as much cultural capital as this one and arguably the discourse around it exhibits the crisis more acutely than any other. Korsyn restricts his analysis to the fields of musicology and music theory, but I approach the crisis of music scholarship obliquely, through my Lacanian reading of Lynch's film music. This dissertation, then, has two goals. On one hand it attempts to examine music's role in Lynch's films, and on the other, it explores how Lynch's use of music might aid us in navigating and moving beyond the institutional crises of music scholarship. This Lynchian solution to our crisis provides a glimpse of what might lie beyond postmodernism, a new philosophical movement some are calling the "New Sincerity." This term covers several loosely related cultural or philosophical movements that have followed in the wake of postmodernism, the most notable being what Raoul Eshelman and Judith Butler refer to as "performatism." Finally, I return to Beethoven's Ninth to offer a second, performative reading, demonstrating how Lynch's use of music can be translated into current musical discourse.text