Dissertations / Theses on the topic '1913-2001 Criticism and interpretation'

The female characters in four of Eudora Welty's five novels, The Robber Bridegroom (1942), Delta Wedding (1946), Losing Battles (1970), and The Optimist's Daughter (1972), undergo initiation experiences which are significant elements in the content and structure of the novels. Only in The Ponder, Heart (1954) is female initiation notably missing. This study identifies and interprets the patterns of female initiation in these novels, showing Welty's refining of her understanding and presentation of female initiation. While Welty embraces certain traditional elements of initiation, which this study identifies in anthropological, mythological, and psychological studies--the loss of innocence (discovery of evil), crisis and confrontation, the gaining of wisdom however painful, becoming an outcast, yet reuniting with the community--she also adds her own elements regarding female initiation-an underlying tension between males and females or between females and a shadowing of the Demeter/Persephone (Kore) myth. In addition, her female initiates lack the mentor traditionally found in male initiation. Also reflected in Welty's fiction is the separation involved in female initiation in primitive cultures, mythology, and psychology. Not all of Welty's female characters in these novels undergo initiation; someremain static and unchanging, while others are at the threshold, eagerly waiting to cross over. While Welty's initiates make the dark journey alone to gain knowledge of themselves and the world however painful, their initiation does not signify the end of their growth.
Department of English

Literary criticism has traditionally associated the work of Albert Camus with a very specific conception of literature. His more "philosphical" works (namely, his essays) are thus seen as demonstrations of the "message" that his truly literary works seek to transmit. As such, Le Mythe de Sisyphe and L'Homme revolte are considered to provide the driving themes (l'Absurde and la Revolte) of the author's fictive writings. This image (that of the "romancier a message") becomes problematic, however, in face of Camus' intransigent refusal to surrender to any form of dogma. Indeed, for the author, this possibility of surrender constitutes the greatest threat to la Revolte, representing its potential capitulation into Revolution and Terror. We believe that this notion of literature as a vehicle for philosophical beliefs is precisely the concept against which Camus was fighting.
Through the theme of "le juste", or more specifically the question of how we know what is just, Camus challenges this idea of literature and the act of writing. By exposing the mechanisms of self-justification underlying all universal values (and hence of all transcendental "truths" upon which they are necessarily based) the writer reveals them to be social and discursive constructs which permit and perpetuate the imposition of norms in a given domaine, including that of literature. This study proposes to examine Camus' rapport with this element of self-justification in literature, and the ways in which he calls the latter into question.

Benjamin Britten has written solo and chamber works for the harp which extend harp technique and contribute to a twentieth century public awareness of the instrument. Unlike the majority of harp composers, Britten was internationally known and not a harpist himself. His works form a large part of all contemporary harp literature, yet his solo work and composition for harp and high voice are rarely played because of their difficulty. An examination of A Ceremony of Carols (1942), Suite for Harp (1969), and A Birthday Hansel (1975), will illustrate his contribution to harp performance and technique, and will serve as a valuable resource for harpists.

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.

This dissertation argues that the four writers named above use the grotesque to illustrate the increasingly peculiar consequences of the assault of modernity on traditional Southern culture. The basic conflict between the views of Bakhtin and Kayser provides the foundation for defining the grotesque herein, and Geoffrey Harpham's concept of "margins" helps to define interior and exterior areas for the discussion. Chapter 1 lays a foundation for why the South is different from other regions of America, emphasizing the influences of Anglo-Saxon culture and traditions brought to these shores by the English gentlemen who settled the earliest tidewater colonies as well as the later influx of Scots-Irish immigrants (the Celtic-Southern thesis) who settled the Piedmont and mountain regions. This chapter also notes that part of the South's peculiarity derives from the cultural conflicts inherent between these two groups. Chapters 2 through 5 analyze selected short fiction from each of these respective authors and offer readings that explain how the grotesque relates to the drastic social changes taking place over the half-century represented by these authors. Chapter 6 offers an evaluation of how and why such traditions might be preserved. The overall argument suggests that traditional Southern culture grows out of four foundations, i. e., devotion to one's community, devotion to one's family, devotion to God, and love of place. As increasing modernization and homogenization impact the South, these cultural foundations have been systematically replaced by unsatisfactory or confusing substitutes, thereby generating something arguably grotesque. Through this exchange, the grotesque has moved from the observably physical, as shown in the earlier works discussed, to something internalized that is ultimately depicted through a kind of intellectual if not physical stasis, as shown through the later works.

Thesis (MA (Afrikaans and Dutch))--Stellenbosch University, 2008.
This thesis is a comparative literature study of a Dutch and an Afrikaans novel that can be read by the youth and adults alike and display similarities with regard to genre, content, structure and theme. The novels are Winterijs (2001) by Peter van Gestel and Roepman (2004) by Jan van Tonder. Chapter 1 serves as an introduction. In chapter 2 concepts such as “crossover literature”, “cross publication”, “dual audience authors” and “dual audience literature” are discussed. Chapter 3 presents an overview of the theory that provides a conceptual framework for this study. The method of investigation that is followed by Helma Van Lierop-Debrauwer and Neel Bastiaansen-Harks (2005) in their study of the similarities and differences between an adolescent novel for the youth and an adolescent novel for adults is used, as well as the theory of Victor Turner (1969) on the concept of liminality. As it provides a useful method for approaching and analyzing the two texts, the above mentioned theories are applied to Winterijs and Roepman in Chapters 4 and 5, with specific reference to the representation of a male child narrator with liminal characteristics. In chapter 6 the similarities and differences between the two novels are pointed out and summarized. Conclusions are drawn and possibilities for further research are presented in chapter 7.

Thesis (MA)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This study examines the construction of cultural identity in Mamma Medea by Tom Lanoye (2001) and it’s translation by Antjie Krog (2002) by employing various theories as well as exhausting binary oppositions, and analysing the way it relates to the difference in language use between the conflicting individuals and groups in the drama. Mamma Medea is based predominantly on two versions of the Greek myth of Medea and her shocking tale of infanticide in order to wound her deceitful spouse, Jason. It follows the long tradition in literature and art wherein Medea is used to comment on the subjugation and oppression of women and non-dominant groups, as well as on the formation of the Other. Lanoye uses the details of the Ancient account, but broadens the spectrum to include commentary on contemporary themes in order to seek an alternative motivation for her premeditated infanticide. The drama does not stay within the details of the intertexts, however, and is altered so that both Medea and Jason each kill one of their children. A context-relevant approach is followed to examine how Lanoye’s drama challenges modern myths surrounding cultural identity in the Flemish-Dutch context. The latter interpretation is warranted by linking Flemish en Dutch with the groups in the drama, in accordance with the real language tension between the two language regions. In contrast to this Krog makes use of much more dialectal forms of Afrikaans reflecting the multicultural and multilingual South-African context. Her translation is not studied from a purely translational, theoretical perspective, considering that the focus of the study is on differences in cultural identity and on the differences in context wherein the respective drama and translation is produced.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die konstruksie van kulturele identiteit in Mamma Medea van Tom Lanoye (2001) en in die vertaling daarvan deur Antjie Krog (2002) aan die hand van verskeie teorieë, asook met behulp van binêre opposisies, en analiseer die wyse waarop dit onder meer saamhang met die verskille in taalgebruik tussen konflikterende individue en groepe in die drama. Mamma Medea ontgin veral twee weergawes van Griekse mites oor Medea, wat haar twee seuns op skokkende wyse vermoor om haar verraderlike eggenoot, Jason, leed aan te doen, in aansluiting by ’n lang tradisie in die literatuur en kunste waarin dié figuur veral gebruik is om kommentaar te lewer op die uitbuiting en onderdrukking van vroue en nie-dominante groepe, asook die formasie van die die Ander in verhoudinge. Lanoye verruim in sy drama die onderwerp van die konvensionele huweliksdrama en betrek hedendaagse kwessies ten einde ’n geldige eietydse motivering te verskaf vir Medea se optrede. Hy wyk onder meer doelbewus af van die brontekste deurdat hy Medea en Jason elk ’n seun laat vermoor. ’n Gemeenskapsrelevante benadering word gevolg om na te gaan hoe Lanoye se drama in die proses moderne mites rondom kulturele identiteit uitdaag binne ’n Vlaamse-Nederlandse konteks. Laasgenoemde interpretasie word ondersteun deur onderskeidelik Vlaams en Nederlands te verbind met die hoofgroepe in die drama, in ooreenstemming met reële taalspanninge tussen die twee taalgebiede. Hierteenoor maak Krog van veel meer dialektiese taalvorme gebruik in aansluiting by die multikulturele Suid-Afrikaanse konteks. Haar vertaling word nie soseer vanuit ʼn vertaalwetenskaplike perspektief nagevors nie, aangesien die hooffokus val op sowel die verskille in kulturele identiteit as op verskille rakende die konteks waarin onderskeidelik die drama en die vertaling geproduseer is.

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.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES
This work aims to investigate the reception of the brazilian writer Jorge Amado in the United States, more specifically in the north-american newspaper New York Times. For this objective, one hundred and fifty-one articles published in the newspaper were found, between 1945 and 2001. For a better understanding of the author's reception, we presente the history of political and cultural relations between Brazil and United States during the period before World War II until the end of it. With the so-called "good neighbor policy", both countries have approached. The narrowing of ties is a factor that contributed to Jorge Amado's entry into the north-american literary polysystem in 1945, with the book The violent land. The debut book was published by the prestigious publisher Alfred Knopf. The writer's editorial trajectory, which went through Avon Books and Bantam, is also presented. The communist militancy of Jorge Amado was monitored and registered by the CIA (Central Intelligence Agency), fact verified in twenty-two reports produced by the organ during the Cold War. The documents corroborate the hypothesis that the writer's political ties caused him to occupy a peripheral position in the polysystem for seventeen years. Only in 1962, a second book by the author, Gabriela, was published in the United States, resulting in a commercial success and placing the writer in a position of centrality in the polysystem. From the 1960s to the 1980s, Jorge Amado was often associated with the boom of latin american literature. In this last decade, the writer was rediscovered: the book Showdown received the largest amount, until then, by the authors rights for a foreign book. Throughout his reception, Jorge Amado has always been mentioned in the New York Times as a synonym and symbol of Brazil.

This paper presents the lives and early feminist works of two modernist era poets, Laura Riding Jackson and Muriel Rukeyser. Despite differences of style, the two poets shared a common theme of essentialist feminism before its popularization by 1950s and 60s second wave feminists. The two poets also endured periods of poetic silence or self censorship which can be attributed to modernism, McCarthyism, and rising conservatism. Analysis of their poems helps to remedy their exclusion from the common canon.

In this dissertation I explain the transition from modernism to postmodernism through the study of the French existentialist novel. I follow theories that demonstrate that the latter owes its success to historiographic metafiction. By setting off the aporias that deeply penetrate modern novels, I demonstrate the obsolescence of the prototype of the realist novel and I explain the impasses towards which the project of a committed literature lead, inscribed in the line of realism and aimed at an almost direct relation with society and history through the mediation of art between 1945 and 1955 in France.
On one hand I consider literature as an object which can be described by the methodologies of history. On the other hand I suggest an analysis of the historicity of the text that is constituted by the dynamic system generated by the interaction, the interdependence, and the correlation of the poetic and aesthetic parameters and the factors of the historical context. My aim is to set off the poetic and aesthetic mecanism of stability and of transformation of literary creation according to the dynamic relation between the vector of the project associated to realism and the one of the prototype associated to the novel. I think that late modernism produces paradoxical configurations of the novel because it is the period in which the project of realism becomes lapsed and the prototype of the realist novel becomes dilapidated.
Among the works that are exemplary of the tension between fiction and history and between project and prototype in the framework of the representation of reality and of the inscription of history in novels, I identified Albert Camus' La Peste, Simone de Beauvoir's Les Mandarins and Jean-Paul Sartre's Les Chemins de la liberte . I conclude that the enterprise of committed literature was an aporias because it was generated from the impoverishment of the project of realism and the obsolescence of the prototype of the novel. Later literature was extricated, firstly, by the radically and extremely metafictional writing of the Nouveau Roman and, secondly, it was changed by postmodern historiographic metafiction. The crisis of history and of the writing of history was solved by works in which there is the acknowledgement and the use of sophisticated mediations to evoke and inscribe history in different ways.

Eudora Welty is an author concerned with relationships between human beings. Throughout A Curtain of Green and Other Stories, The Wide Net and Other Stories, and The Golden Apples, Welty's characters search for ways in which to establish and sustain viable bonds. Particularly problematic are the relationships between opposite sexes. I argue that Welty uses communication as a tool for sustaining a relationship in her early work. I further argue that when her stories provide mostly negative outcomes, Welty moves on to a illuminate the possibility and subsequent failure of relationships via innocence in the natural world. Finally, Welty explores, through her characters, the attempt at marginalization and the quest for relationships outside the culture of the South.

"The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty" examines certain prototypical natures of isolation as recurrent and underlying themes in selected short fiction of Chopin, Porter, and Welty. Despite the differing backgrounds of the three Southern women writers, and despite the variety of issues they treat, the theme of isolation permeates most of their short fiction. I categorize and analyze their short stories by the nature and the treatment of the varieties of isolation. The analysis and comparison of their short stories from this particular perspective enables readers to link the three writers and to acknowledge their artistic talent and grasp of human psychology and situations.

This thesis examines the imagery of Jose Guadalupe Posada in the context of the Mexican Revolution with particular reference to the corrido as a major manifestation of Mexican culture. Particular emphasis is given to three corridos: "La Cucaracha," "La Valentina," and "La Adelita." An investigation of Posada's background, style, and technique places him in the tradition of Mexican art. Using examples of works by Posada which illustrate Mexico's history, culture, and politics, this thesis puts Posada into the climate of the Porfiriato and Revolutionary Mexico. After a brief introduction to the corrido, a stylistic analysis of each image, research into the background of the song and subject matter, and comments on the music draw together the concepts of image, music, and text.

Cette thèse traite de la présence des textes religieux dans l'œuvre d'Albert Camus. Il s'agit de mettre en évidence l'intertextualité qui apparaît, sous différentes formes, dans les ouvrages romanesques et philosophiques de l'auteur. La thèse s'organise en deux axes parallèles et complémentaires, le premier est la mise en relief de la présence directe et effective de l'intertexte biblique dans les textes de Camus, qui s'effectue par l'emprunt directe au registre religieux ; le deuxième est la présence de l'intertexte religieux par le biais d'autres écrivains-philosophes, antérieurs ou contemporains de l'auteur (Saint Augustin, Pascale, Kierkegaard, Dostoïevski, Nietzsche, et Heidegger). Ainsi, l'intertextualité apparaît dans l'œuvre de Camus sous des formes explicites (déclarées) ou implicites (latentes ou suggérées.) La thèse se focalise, à chaque étape, sur les techniques intertextuelles utilisées, sur le rôle joué par l'intertexte dans l'analyse du texte camusien, et son action sur le lecteur sensibilisé à la perception de l'œuvre. En conclusion, l'implication systématique de l'œuvre de Camus dans un enjeu intertextuel progressif, depuis la forme simple du commentaire jusqu'aux formes plus élaborées d'une intertextualité devenue trame de l'œuvre
This thesis deals with the occurrence of the religious texts in the works of Albert Camus. The point is to find out the different aspects of intertextuality embodied in the novels and the philosophical essays of the author. The thesis is organized around two axis. The first one has to do with the biblical intertext that is found in the texts of Camus. In fact, this process is done by the direct borrowing from the religious register. The second axis deals with the occurrence of the religious intertext linked to some previous and contemporary authors-philosophers : Saint Augustin, Pascal, Kierkegaard, Dostoïevski, Nietzsche or Heidegger. As a matter of fact, the intertextuality appears in the works of Camus in an explicit way or an implicit one. The thesis focuses, at each step, on the intertextual techniques that are used by Camus, on the role played by the intertext in the analysis of the camusian text, on the effect of the intertext on the reader and who is aware of the perception of the work. To conclude, this work shows the systematic implication of Camus’s masterpieces in a progressive intertextual process. It starts by the use of a simple form of commentary to a most complex form of intertextuality which becomes the framework of Albert Camus’s works

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.
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This work performs a study of the coronelismo representation on the narratives of the Pedro Wayne’s fiction Xarqueada, published in 1937, and Jorge Amado’s Gabriela, cravo e canela, from 1958, settled, respectively, in the south and northeast regions of Brazil. Understanding that the cultural and socioeconomic aspects are inherit parts of a regional historical configuration, the research aims at discussing the way that distinct areas contribute to the coronels fictional construction in the cocoa and charque (jerked meat) production regions. Furthermore, the study proposes to analyze how charque and cocoa activities are related to power disputes and also how the modernity, in both economical and cultural levels, consists in an important factor in the reorganization of the oligarchies game of power in the regional and national scenario. As a result, the present study intends to contribute with the socioregional studies which deal with the coronelismo and its relations of power under the literature and history scope.

Homing, as a collection, speaks to the capacity and yearning to navigate our way towards something we might call home. In animal behaviour, this seems like an instinct, hard-wired to the body. It is something I envy. By comparison, the instinct, in human behaviour, feels muffled and complicated. These poems move between two places in which I feel ‘at home’, whatever that means: the south-west of Western Australia, where I was born and raised, and the north-west of Wales, where I lived for a time, and find myself returning to, drawn not by blood, but by longing, and a deep affinity for the landscape. Without any real intention, in the writing of the poems I found I had a lot to say about rivers. In particular, I found myself repeating images of drifting and gripping, as if these two, opposing, compulsions also said something about how we try to find our way home. The poet Mark Doty speaks of a “fierce internal debate between staying moored and drifting away, between holdings and letting go.”1 It is as if the river, too, knows something of how to arrive, and yet its movement is much like that of these poems, pulled by new hungers, at times distracted, or slowed, or apparently lost. Drift. Grip. Perhaps it is, after all, another kind of instinct. In the critical essay that accompanies the poems, I look at the poetic leap in the work of the Welsh poet and priest R.S. Thomas. I was initially compelled by a strange parallel between an actual physical leap of escape, enacted by Thomas, who leapt a graveyard wall in order to avoid speaking to the mourners to whom he had just ministered a funeral service, and the leap found in Italo Calvino’s essay on lightness. This leap is also one of escape, in which the poet-philosopher Guido Calvcanti places a hand on a grave and leaps lightly over it, in order to elude the taunts of some local louts. Calvino calls this act, “an auspicious image for the new millennium.”2 In poetry we find the leap in the act of making metaphor, in enjambment, even in a kind of concentration. In Thomas’s work, the leap is focused in the form of the raptor; a presence repeated through his oeuvre, carrying with it many of his chief concerns, about God, love, and the inherent ferocity of the natural world. In a close reading of those poems, and with the aid of thinkers as disparate as Helene Cixous, Roland Barthes, Simone Weil and Edward Said, this essay is an attempt to trace the ways the leap works in Thomas’s poetry. It is also an attempt to analyse and understand the way poetry itself works to move the reader, in all senses of the word. 1Doty, M. (2001). Still life with oysters and lemon. Boston: Beacon Press, p.7 2Calvino, I. (2009). Six memos for the new millennium. (P. Creag, Trans.) London: Penguin Classics, p.12

This study explores the depictions of technology and scientists in the literature of five writers during the 1960s. Scientists and technology associated with nuclear, computer, and space science are examined, focusing on their respective treatments by the following writers: John Barth, Kurt Vonnegut, Thomas Pynchon, Isaac Asimov, and Arthur C. Clarke. Despite the close connections between the abovementioned sciences, space science is largely spared from negative critiques during the sixties. Through an analysis of Barth's Giles Goat-boy, Vonnegut's Cat's Cradle, Pynchon's The Crying of Lot 49, Asimov's short stories "Key Item," "The Last Question," "The Machine That Won the War," "My Son, the Physicist," and Clarke's 2001: A Space Odyssey, it is argued that altruistic goals of space science during the 1960s protect it from the satirical treatments that surround the other sciences.

Dans l’Amérique et les Caraïbes des XIXe et XXe siècles, l’œuvre du poète national est au cœur d’un trafic d’images qui nourrit un lien social fragile dans un temps où les collectivités reposent moins sur un lien direct entre leurs membres que sur un lien imaginé. Prenant ses distances vis-à-vis des représentations en circulation à son époque, comme les représentations exotiques de la nature, le poète offre une vision démocratique ambitieuse pour l’avenir de la communauté à travers des images nouvelles du territoire, du peuple, de l’esclavage et de l’histoire. L’ethos auctorial encourage l’appropriation de ce discours par le lecteur en désignant le poète comme figure de référence. Mais c’est surtout à travers son procédé d’écriture qui met à mal les normes littéraires de son temps que celui-ci est à même d’influer sur la société. Plutôt qu’ils ne parviennent à saisir l’esprit de leur peuple, Whitman, Martí et Césaire participent par leur travail sur le fragment, les formes populaires ou le tremblement du sens à la création d’un devenir collectif
In 19th and 20th centuries America and West Indies, the national poet’s works lay at the centre of a traffic of images. This traffic feeds the fragile social ties of young collectivities, at a time when communities are bound by imagination rather than by direct contact between their members. Distancing themselves from the representations of the community circulating at that time, like the exotic images of the New World’s nature, the poet offers an ambitious democratic vision for the future which is channeled through images of the territory, the people, slavery and history. The poet’s ethos encourages the reader to appropriate this discourse by presenting the author as a role model. However, it is mainly thanks to his style, at odds with the literary norms of his time, that the poet is able to act upon society. Whitman, Martí and Césaire do not so much contrive to capture their people’s spirit, as they participate through their work on the fragment, on popular poetical forms or on the destabilizing of meaning, in the creation of a common devenir

Cette étude a pour ambition de cerner la sensibilité esthétique qui s’est développée dans la chanson française depuis le début des années trente au contact des différentes formes de jazz. L’arrivée en France, dès la fin de la Première Guerre mondiale, de nouveaux genres musicaux venus d’Amérique bouscule le paysage artistique ainsi que certaines conceptions esthétiques occidentales. Le jazz questionne la forme dans son rapport au signifié, impose le sonore pour créer du sens et interroge ainsi l’art du début du siècle, savant ou populaire, sonore ou visuel, de Pierre Mac Orlan à Darius Milhaud, Wassily Kandinsky ou Piet Mondrian. Comment la chanson française, genre alors lyrique et contraint, parvient-elle à concilier les nécessités poétiques qui la définissent avec les libertés formelles qui caractérisent le jazz ? Dans le cadre théorique et critique de la cantologie, étude pluridisciplinaire et spécifique de la chanson, et à travers l’œuvre de trois auteurs-compositeurs-interprètes ayant des approches du jazz très différentes, voire opposées, ce travail de recherche consiste à interroger ce qui musicologiquement relève du jazz pour en évaluer l’impact sur les caractéristiques fondamentales de la chanson française, en particulier sur les textes poétiques, la fluctuation des limites entre texte et musique, la conception rythmique et la modernité de l’interprétation vocale et scénique
The present thesis explores the aesthetic sensibility developed in French song as of the early thirties through its contact with different forms of jazz. The change that occurred in France after the Great War, mainly due to new musical genres coming from America, shook the European artistic scene, and more generally Western views on aesthetics. Jazz questions form in its relation to the signified, requires sound to create meaning and thus becomes an essential part in the reflection on the arts in the first decades of the twentieth century, whether high-brow or popular culture, in sound or sight. Examples abound such as Pierre Mac Orlan, Darius Milhaud, Wassily Kandinsky or Piet Mondrian. How does French song, as a lyrical and constrained genre, reconcile its own idiosyncratic poetics with the formal openness of jazz? This study is set within the framework of cantology, the multidisciplinary and specific study of song, and explores the work of three singer-songwriters with significant differences in their approaches to jazz. It examines what from a musicological viewpoint falls into the category of jazz, in order to evaluate the impact it has had on French song, especially on poetic texts, as well as the fluctuating boundaries between text and music, the rhythmic design, and the modernity of the vocal and scenic rendition

Cette étude porte sur le fait littéraire afro-antillais de l’ère coloniale (1920-1960). Il s’agit d’examiner les stratégies des agents à partir des cas de René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant et Mongo Beti et de percevoir comment ils se définissent leur identité littéraire et sociale.

Pour ce faire, notre démarche s’articule en deux temps :(1) examiner les conditions de possibilité d’un champ littéraire afro-antillais à Paris (colonisation française et ses effets, configuration d’un champ littéraire pré-institutionnalisé, etc.) ;(2) analyser les processus de consolidation du champ, ainsi que les luttes internes qui opposent deux tendances émergentes représentées d’abord par Senghor et Césaire, ensuite par Beti et Glissant, dont les prises de position littéraires mettent en œuvre des « modèles empiriques » ;ceux-ci régulent et unifient leurs rapports au monde et à l’Afrique.

This study relates to afro-carribean literature in colonial period (1920-1960). We want to examine the strategies of agents like René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant and Mongo Beti ;and we want to understand how they invente literary and social identity.

Our approach is structured in two steps: we shall analyse (1) the conditions for an afro-carribean literary field to appear in Paris (french colonialism and its consequences, configuration of literay field.) ;(2) the consolidation of this field and the internal struggles between two tendances represented by Senghor and Césaire, by Glissant and Beti whose literary practice shows the “empirical model” that regularizes and consolidates their relation with the world and Africa.
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished

In the early 1890s, Ingeborg von Bronsart (1840-1913) was hailed by the German musical press as the "first lady" of the German stage. Her first two extant dramatic works —Jery und Bately (Singspiel, 1873) and Hiarne (grosse Oper, 1891) — had captivated audiences and were met with enthusiasm from critics. By 1904, Arthur Elson noted that Bronsart was "one of the few really great women composers." Yet by the time her last opera, Die Siihne, premiered in 1909, the magic had faded. Critics rejected the work as unimaginative, while audiences stayed away. Bronsart and her works quickly disappeared from the repertoire and from history. Employing manuscript and contemporary published sources, Chapter One examines Bronsart's life and the rich artistic circles in which she lived and worked. Chapters Two, Three and Four are devoted to each of Bronsart's three extant operas. The individual works are considered with respect to their genesis as well as to more general matters of plot and dramatic structure. Because little is known about Bronsart's music, in order to obtain a better understanding of her style a substantial portion of my discussion concentrates on the musical analysis and dramatic interpretation of each opera. Focusing on the specific numbers and scenes that I consider to be of significant interest, I examine the vocal writing, harmonic language, formal structures, unity and continuity. The thesis concludes with an exploration of broader historiographical issues of reception, gender, genre and aesthetic value, laying the foundation for a renewed interest in this unique composer and her works.

鄺文峯.
"2013年9月".
"2013 nian 9 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 120-129).
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.
Guang Wenfeng.

P’ansori is a unique form of Korean traditional music in the opera genre. It is known for its distinctive rhythm, vocal timbre, key, and texture. Musical pioneer Dongjin Kim (1913-2009) masterfully blended authentic Korean music with Western style music most notably in two operas that retained their p’ansori heritage while also appealing to wider audiences. Kim believed in the importance of accurately portraying Korean culture and history in his vocal music feeling that Korea’s “unique national music” had much to contribute to the rest of the world. Although traditional p’ansori operas are sung with a gritty and husky voice that lacks any sense of resonance, Kim adapted this harsh style for Western singers by introducing what he called “shin-ch’ang-ak” (New Singing Music). The purpose of shinch’ang-ak was to allow singers to retain their normal vocal technique while preserving key elements of traditional p’ansori. Previous studies of shin-ch’ang-ak have focused primarily on its history, purpose, and design and typically have been written in the Korean language. In this study I expound upon this work in English and I provide a vocal interpretation of Kim’s shin-ch’ang-ak as applied to excerpts taken from his two operas. I also offer my own suggestions for performing Kim’s shin-ch’ang-ak provided from the perspective of a performer who has practiced Western music.
Pansori -- Pansori performance issues -- Shin-chang-ak (new singing music) -- Performing shin-chang-ak -- Conclusion and suggestions for further study.
School of Music

Guy Butler (1918-2001) was one of South Africa's most prolific English writers. His work extended across several genres. He has hitherto been seen by his critics in terms of neat binaries: Marxists versus liberals, Negritudinists versus 'colonials'. In this study it is argued that a modification of these polarised positions is necessary. Butler's own position is simultaneously one of Oxford scholar and Karoo son, engaged with both the challenges and difficulties of 'local habitation'. By testing these oppositions against the concepts of 'past significance' and 'present praxis' I suggest that Butler is neither simply transcendental nor socially committed, neither simply international nor local. In taking advantage of a 'freer' perspective succeeding the 'struggle' decades in South Africa, I suggest a more inclusive reevaluation of Butler as both artist and public figure serving an inclusive 'imagined community'. Chapter One focuses on Butler's plays, both those published and - for the first time - those unpublished, and examines the texts in the context, locally, of a repressive apartheid regime and, internationally, against the background of the Cold War. What emerges is a writer whose views were neither exclusive nor sectarian, and who was an outspoken critic of injustice, wherever this occurred. Butler's hitherto undervalued contribution to the development of serious drama as an art form in South Africa is given prominence. Chapter Two deals with Butler's poetry. For all his intervention in public debate, it is his poetic expression that reveals his most profound insights. His attempts to "take root" in a local habitation are scrutinised, and it is argued that the poetry has been misunderstood by many of his critics, especially those on the Left. Besides his "compulsion to belong", the study explores the twin search of Butler for an African synthesis through his utilisation of the Apollo-Dionysus paradigm, and his 'eschatological imperative'. While attempting to adapt European forms and sensibilities to African experience his poetry - it is argued - also seeks to heal the divisions of a fragmented South African society. In Chapter Three Butler's cultural projects are examined. It is argued that his cultural narrative is not one of separation but of integration premised (in his own words) on a "common humanity". Several projects are scrutinised in the context of post-1960 Republican South Africa, where National Party policies attempted to impose crushing political and social hegemonies on the English community as well as on all communities of colour. While Butler's immediate aims were to ensure the survival of the English language and English cultural identity, the scope of his cultural projects reveals that his 'imagined community' extended to all South Africans: his vision was not one of elite cultural separation, but of egalitarian integration. Butler's achievements in his many and varied forms of service are considered as having contributed to the formation of a new, democratic society in South Africa.
Thesis (Ph.D.)-University of Natal, Durban, 2003.

This thesis analyses critically theme and character in the fourteen novels of R.K. Narayan, written between 1935 and 1990, and it assesses their importance in Narayan's Indian world view. It evaluates Narayan's depiction of Indian middle class society in the comic-ironic mode. His skills as a narrator who experiments with various narrative techniques are examined. The thesis traces the development of Narayan's fictional town, Malgudi, and illustrates how it reflects changes on the Indian sub-continent and how they impact on the Malgudi character. The themes of parental love, the conflict between orthodoxy and modernity, academic disillusionment, harmony in family relationships and Hindu astrology are examined in Swami and Friends (1935) and The Bachelor of Arts (1946). Narayan's portrayal of orthodox and modern concepts of marriage is appraised in The Dark Room (1938), The English Teacher (1946) and The Painter of Signs (1976). This thesis examines the deterioration of marital harmony and Savitri' s portrayal as the typical Hindu housewife cast in the Pativrata tradition in The Dark Room. In The English Teacher this thesis evaluates Krishnan and Susila's idyllic marriage and the couple's psychic communication when Susila dies. Raman and Daisy's proposed Gandharva marriaqe is reviewed in The Painter of Signs. This study assesses Narayan's treatment of the themes of religious faith, Hinduism and Gandhian ideology in Waiting for the Mahatma (1955), The Guide (1958) and The Vendor of Sweets (1967). Raju' s transformation from a jailbird to a swami is evaluated in The Guide. The dedication of Gandhists such as Bharati and Sriram in Waiting for the Mahatma, is reviewed. In A Tiger for Malgudi, Narayan's innovative talking tiger, Raja, is examined as well as his treatment of the concepts of reincarnation and the transmigration of souls. The deleterious effects of materialism are highlighted in The Financial Expert in which Margayya is obsessed with accruing large sums of money. Srini vas and Sampath' s desire to achieve fame and fortune is explored in the filming of the Burning of Kama in Mr Sampath. This thesis ends with an exploration of the conflict between orthodoxy and modern lifestyles, and the cyclical nature of life in The World of Nagaraj (1990).
Thesis (Ph.D.)-University of Durban-Westville, 1995.

This study examines metaphoric expression as an innovative phenomenon in This study examines metaphoric expression as an innovative phenomenon in the creative process and explor.es theO!i_~s_~f_ metap~or as a model for changing our perceptions of reality. Innovation is taken to be the creation and extension of meaning via metaphoric reference and projection, an imaginative -----------"----------- ------_.--- -_. _~~- _~ ---- str~Lct~rimLOf ~~!i~f!~ !h,at !:.E!!l1v~nt~ealit and esents it as~ fiC!ion~ While fiction refers to those worlds made in the creative act of producing works of art, worlds refer to both the exterior manifestations of works, as well as the interior world as a source of symbolic worlds. This study thus explores metaphoric reference and projection as a means by which we understand and figuratively express experience and the role metaphor plays in the creative strategies of my own practice as a visual artist and those of the contemporary British artist Tony Cragg. In my own recent working practice, in relation to the innovative role of metaphor, the notion of psychic or metaphorical disruption is explored. This is understood as a suspension of logical or literal reference to reality and as the condition for a metaphoric or analogical response to experience. This form of disengagement brought about by psychological and emotional upheaval, allows me to disembark from dominant conceptual and emotional frameworks and corresponds to the semantic openings brought about by metaphoric reference and interpretation. These disruptions manifest themselves as primitive iconic conditions that provide routes in the creative process conducive to discovery, restructuring and invention. In my work this is principally achieved by the activity of drawing. I describe drawing as a mythic activity of attempting to close the gap on an elusive empirical world and as a means of making new worlds. Interpretation or reading the drawings, their surfaces and calligraphic marks, is' also part of the lyrical process of making ii fidions, metaphorical digressions and progressions towards deciphering and re-organising worlds. These worlds are both virtual and material spaces. In all the work, what appears to be disruptive or discordant brings about the condition for renewal and reorientation in the world. The \YOrk of Tony Cragg (b.1949) is discussed as an example of contemporary art pradice where metaphor is evident as a model for changing perceptions. Early in his career Cragg explored scientific models of investigation, as explanatory means for understanding the world. His work refleds an endeavour to 'humanise' these scientific models by making images that fundion as alternative and complementary 'thinking models' (Cragg in Celant :172). His working process is understood as an attempt to construct a novel referential scheme for our encounters with the physical \YOrld of objeds both natural and manufadured. His sculptures are thus interpreted as visual manifestations of metaphorical disruption and innovation. Often made from discarded waste, his sculptures emerge from the material ruin of a prior physical order, and an evolving mental order. In both instances, physically and conceptually, they carry traces of former selves, with the potential to .extend into something new. As a loose framevvork for this discussion, certain theories of mind and metaphor that provide some insights into my own \YOrking pradice and what I perceive to be those of Tony Cragg, are briefly examined. Principally, these include the theory of metaphor of the philosopher Paul Ricoeur, but also some more general views concerning cognition and imagination. These include the early theories of Giambattista Vico concerning the creative role of the imaginative and metaphorical capacities of the mind.. the creative process and explor.es theories of metaphor as a model for changing our perceptions of reality. Innovation is taken to be the creation and extension of meaning via metaphoric reference and projection, an imaginative -----------"----------- ------_.--- -_. _~~- _~ ---- str~Lct~rimLOf ~~!i~f!~ !h,at !:.E!!l1v~nt~ealit and esents it as~ fiC!ion~ While fiction refers to those worlds made in the creative act of producing works of art, worlds refer to both the exterior manifestations of works, as well as the interior world as a source of symbolic worlds. This study thus explores metaphoric reference and projection as a means by which we understand and figuratively express experience and the role metaphor plays in the creative strategies of my own practice as a visual artist and those of the contemporary British artist Tony Cragg. In my own recent working practice, in relation to the innovative role of metaphor, the notion of psychic or metaphorical disruption is explored. This is understood as a suspension of logical or literal reference to reality and as the condition for a metaphoric or analogical response to experience. This form of disengagement brought about by psychological and emotional upheaval, allows me to disembark from dominant conceptual and emotional frameworks and corresponds to the semantic openings brought about by metaphoric reference and interpretation. These disruptions manifest themselves as primitive iconic conditions that provide routes in the creative process conducive to discovery, restructuring and invention. In my work this is principally achieved by the activity of drawing. I describe drawing as a mythic activity of attempting to close the gap on an elusive empirical world and as a means of making new worlds. Interpretation or reading the drawings, their surfaces and calligraphic marks, is' also part of the lyrical process of making ii fidions, metaphorical digressions and progressions towards deciphering and re-organising worlds. These worlds are both virtual and material spaces. In all the work, what appears to be disruptive or discordant brings about the condition for renewal and reorientation in the world. The \YOrk of Tony Cragg (b.1949) is discussed as an example of contemporary art pradice where metaphor is evident as a model for changing perceptions. Early in his career Cragg explored scientific models of investigation, as explanatory means for understanding the world. His work refleds an endeavour to 'humanise' these scientific models by making images that fundion as alternative and complementary 'thinking models' (Cragg in Celant :172). His working process is understood as an attempt to construct a novel referential scheme for our encounters with the physical \YOrld of objeds both natural and manufadured. His sculptures are thus interpreted as visual manifestations of metaphorical disruption and innovation. Often made from discarded waste, his sculptures emerge from the material ruin of a prior physical order, and an evolving mental order. In both instances, physically and conceptually, they carry traces of former selves, with the potential to .extend into something new. As a loose framevvork for this discussion, certain theories of mind and metaphor that provide some insights into my own \YOrking pradice and what I perceive to be those of Tony Cragg, are briefly examined. Principally, these include the theory of metaphor of the philosopher Paul Ricoeur, but also some more general views concerning cognition and imagination. These include the early theories of Giambattista Vico concerning the creative role of the imaginative and metaphorical capacities of the mind.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 2002.

"October 2003."
Includes bibliographical references
592 leaves. :
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Chiefly in English; some Polish text in pt. B.
Comprises three types of material: composition (pt. A); performance (pt. C); and, musicology (pt. B.), and is intended to reflect the author's professional activities as composer, pianist and writer. The various writings and texts all relate to the life and music of Witold Lutoslawski (1993-2003). Earlier publications have been excluded because they are referred to (and reflected in) the author's thesis: Pitch organisation in the music of Witold Lutoslawski since 1979 (Thesis (Ph.D.)--University of Leeds, 1992)
Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2004?