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1
Ariturk, Nur Nilgun. "An Iris in the sun : perception-reception-perception in Iris Murdoch's novels of the good." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/1970.
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Murdoch considers herself a 'Christian fellow-traveller', 'a kind of Platonist' and a 'sort of Buddhist', all of which summarise her spirit of writing very well. Iris Murdoch places a very serious obligation on the artist to present reality to his/her observers/readers. In almost all her philosophical articles, books, and interviews, she expresses with great emphasis the task of art, especially prose literature, as a form of education for moral development. In that sense, we can call her a moralist and a 'philosophical' novelist. With her 'Novels of the Good' Iris Murdoch is inviting the reader for a 'journey into the iris', saying: 'I am the Iris; come into me and see. ' The message of her novels is not of 'philosophy' but of everyday moral reality. In other words, reading Murdochian novels is reading morals. This is the main argument in this study. The moral education (preception) of the reader by Iris Murdoch is to 'realise' (receive) the 'perception' of the other--hence the title of the thesis--through her 'novels of character'. For Murdoch, appreciating a work of art is no different than knowing another person(s). The good artist and the good person have, in that respect, the same moral discipline. And this disciplined attention brings with it the true perception and clarity and morally right behaviour. The reader has to attend with moral responsibility to the work of art because it is through literature that s/he can enlarge his/her vision and inner space. The thesis is divided into two main sections: the moral precepts and their exemplification as concrete everyday examples in her novels themselves. The Introduction provides the 'philosophical' and theoretical background for Murdoch's 'Novels of the Good'. Included here is a dictionary of some of the major 'concepts', or rather 'precepts' that Murdoch uses both in her novels and her philosophical articles and books, in order to train her reader to gain ethical vision. Also included in this chapter is a section on reading and readers through structuralist and reader-oriented theories in contrast to or comparison with Murdoch's conception/perception of the 'reader' in her novels. Chapter I switches on the 'machine', Murdoch's &camera-eye' on the egoistic human 'psyche', which Murdoch likens to a machine. Chapter 11 discusses this 'machine' in close-up, that is through first-person narrative novels. Chapter 111, which includes novels that have philosophers at the centre, throws a 'light' on philosophy and everyday reality. Chapter IV explores the importance of death in everyday life. However, although the chapters are divided under different titles, the novels discussed in each chapter can be related to the rest as Murdoch discusses the same precepts recurrently in different contexts which gives her novels the 'serial' characteristic. Each novel is part of the reader's pilgrimage to the Good to understand his/her limitations in the face of the contingent reality represented in her fiction through free individual characters. To enter the Murdochland is to enter the cycle of 'arriving at not arriving'.
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Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
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This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
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Ng, Yee Ki. "Eliminating clichés : the evolution of Jerzy Grotowski's self-revealing encounters (1957-1970)." HKBU Institutional Repository, 2011. http://repository.hkbu.edu.hk/etd_ra/1249.
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Harano, Mami. "Anatomy of Mishima's Most Successful Play Rokumeikan." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/387.
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Mishima Yukio premiered the play Rokumeikan in 1956 and published it in 1957. For more than half a century, this play has been praised as one of the finest Japanese plays in the Post-War period. Rokumeikan is a multi-act tragic melodrama, set in 1886 (Meiji Period) in the Rokumeikan building. The play intertwines complex political cabals, intense loves and hatreds, and multiple deceptions embodying the conflict between political power and love. This essay explores the reasons why Rokumeikan has maintained its popularity over its fifty year long performance history and examines the critical reception of the play. My analysis of the Rokumeikan text is based on conflicting notions of truth and power. According to the French philosopher, Michel Foucault, socio-political power creates truth. This "power reality" is embodied in the play by Prime Minister Kageyama, and its authority is challenged by his wife, Asako, who has an entirely different conception of truth. This interplay of conflicting values has helped to maintain the popularity and stature of the play for half a century.
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Millard, Michèle. "An analysis of the critical discourse on the work of Eva Hesse /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61138.
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This thesis is an analytical study of the various critical approaches taken to the work of Eva Hesse and their underlying methodologies and theoretical assumptions. Its purpose is to determine in a general way how and why the nature of criticism has changed from positions strongly influenced by Modernism as defined by Clement Greenberg to those that involved a separation of criticism from consideration of artworks as individual phenomena.For the most part, Chapter One concerns critics' Modernist analyses of Hesse's relationship to Minimalism and their progression towards a criticism based on non-formalist, non-hierarchical theories of style. There is also a short discussion on the linkage created between Hesse's art and specific psychological traumas in her life. Included as well is an explanation of the changing conception of originality and the critic's dilemma in confronting private content through the strictures of public dialogue.
Chapter Two investigates critical discussions of experience, how art was apprehended and how meaning was transmitted.
Chapter III involves a feminist debate on the issues of gender. The content of Hesse's work was analyzed in psycho-biographical terms and within the framework of her identity as a female artist in western culture.
And finally, the thesis concludes by pointing out the evolution of criticism into a distinct, independent discipline whereby the critic articulates the theoretical contexts in which the artwork exists, but then extends in into a broader cultural setting where the critic analyzes the significance of such positions taken, its relationship to the past and future implications.
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Ocaña, Karen Isabel. "Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix Guattari." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26748.
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This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.
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Berry, Robert James. "Conrad and Dostoevsky : an unsuspected brotherhood." Thesis, University of Stirling, 1993. http://hdl.handle.net/1893/2015.
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This thesis attempts a comparative study of Conrad and Dostoevsky. In doing so, it proposes a significant relationship between the ideological, political and literary worlds of both authors. The work is undertaken in eight chapters. Chapter One explores Conrad and Dostoevsky's respective national and cultural identities. It reflects on Conrad's recorded reactions to Dostoevsky and his work, and speculates on the latter's likely response to Conrad. Chapter Two challenges established critical formulae that suggest Dostoevsky is a purely 'Dionysian' writer. The view that Conrad is a consummate 'Apollonian' artist is similarly brought into question. Chapter Three considers Conrad and Dostoevsky as major literary innovators. To support my argument, Bakhtin's critical concepts of 'polyphony' and 'monology' are introduced, and applied in a Dostoevskyan and Conradian context. Especially highlighted is my debate on Conrad's 'polyphonic' narrative technique in Lord Jim (1900). The notable fusion of disparate literary genres in Conrad and Dostoevsky's novels is explored in Chapter Four. Elements of 'adventure', 'thriller', 'romance', and 'detective' fiction are identified in each novelist's world. My argument, however, restricts itself to an extensive analysis of the surprising importance of the 'Gothic' elements in both writers' worlds. Chapters Five and Six, concentrate on Conrad and Dostoevsky's profound insights into the fundamental character of the human personality. Chapter Five considers their parallel interpretations of mankind's quintessentially materialist nature. Chapter Six looks at their strikingly similar visions of man's violent and carnal identity, and his primary urge to dominate other weaker individuals. Chapters Seven and Eight consider two central themes in Conrad and Dostoevsky's fiction, that of anarchist politics and nihilism respectively. Their political and ideological responses to these issues are investigated in some detail, and significant interpretive parallels established. Finally, the conclusion undertakes to once again assure the reader of the surprising and unsuspected bonds that exist between these two seemingly alien writers.
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Bourassa, Alan. "Calvino's desiring machines : literature and the non-human in Deleuze and Calvino." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56803.
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This thesis stages a meeting between the work of French philosopher Gilles Deleuze and the short fiction of Italian writer Italo Calvino. This meeting has as its subject the question of the human and the non-human. What forces make up the human? What assemblages of elements make up language, literature, subjectivity? And what does it mean that these forces come from outside the human at the same time as they create the human? Calvino is often accused of being an unemotional writer, lacking in human warmth. With this I agree completely. Calvino does lack human warmth because he allows non-human forces to penetrate his writing, taking it beyond conventionalized and banal prefabricated emotion into a dimension of new intensities. Deleuze will provide us with a vocabulary of concepts with which to discuss these non-human forces and their potential for moving the human out of itself and into a new assemblage of thoughts, passions and actions.
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Viens, Lise. "La citation dans la pensée créatrice de Bernd Alois Zimmermann." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39886.
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The use of quotation is a crucial element in Bernd Alois Zimmermann's (1918-1970) creative thinking. This thesis explores the evolution of Zimmermann's compositional approach to the use of this procedure. The first chapter defines four categories of borrowing which correspond, although in a non-exclusive manner, to the features which characterize four compositional periods: stylisation, homage, teleological genesis and pluralism (A compositional technique defined by the composer around 1960 and aiming at representing a spherical conception of time). The second chapter considers the nature, source and content of the quotations and focuses on the recurrence of the identical fragments, themes and types of writing common to several works. It also establishes that the same logic--where theological concerns and the concept of time function as essential points in a network of reference--unifies older works with more recent ones. The third chapter analyzes the strategic role of passages containing quotations with respect to global form and as solution to compositional problems which confronted the composer. The fourth chapter deals with methods of construction which characterize passages with quotations and demonstrates the composer's fascination with Franco-Flemish polyphonic techniques (cantus firmus, proportional canon and isorhythm). In these contexts, borrowed fragments tend not only to have a historical association with such structural types, but also stem from a repertoire supposedly universal. This permits the creation of textures charged with meaning and allows the listener to perceive different superimposed layers.
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Abel, Hermione. "An analytical study of narrative techniques in Giono's Regain." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1002008.
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The dominant theme in Regain is that of death leading to rebirth. This dissertation attempts to explore Giono's narrative techniques within this context. No single chapter will be devoted to a specific technique; instead, the various devices used by the author are discussed as they emerge from the structure of the chapters. Justifying the field of study as defined in the "Introduction", the following three chapters outline the passage of life from death to eventual rebirth. With acknowledgement to Frank Kermode, who writes: "A concord of past, present and future three dreams which, as Augustine said, cross in our minds, as in the present of things past, the present of things present, and the present of things future" ¹, the first three chapters bear his terminology for their headings. Chapter One, "The Present of Things Past", deals with Mameche's loss of her husband and son. Chapter Two, "The Present of Things Present", focuses upon Mameche' s realization of Gaubert's departure, and the decision that she must do something to save the dying village of Aubignane. Chapter Three, "The Present of Things Future", sees Mameche setting out in search of a wife for Panturle, and succeeding. This brings to an end Part One of the novel. Interwoven throughout the chapters are paradigms from Greek mythology, rich in universal symbolism, and the author's belief in man's ability to fuse himself with his surroundings. The conclusion summarizes the findings of this study, attempting to show how an analysis of Giono's narrative technique provides an insight into such a novel as Regain. ¹The Sense of an Ending (London: Oxford University Press, 1966), rpt., 1970, p. 50.
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Vigneault, Louise 1965. "La question identitaire dans l'art moderne québécois /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36725.
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The following study traces modern Quebecois art from the beginning of the twentieth century with specific reference to the question of the redefinition of identity. The study mainly consists of an analysis of different strategies used by certain progressive artists like Paul-Emile Borduas, Francoise Sullivan and Jean-Paul Riopelle to impose a new reality which was simultaneously contemporary, rooted and distinct in the context of a Quebec that was emerging in modernization. By using popular or marginalized artistic forms and by seizing certain ancient models belonging to the distant past---in the non-western world or precolonial America---and by using different strategies of deconstruction and transgression of normative codes defined by the dominant ideology, these artists were able to avoid current hegemonic models in order to assert new spaces for expression and representation. Taking on modern Quebecois art from an approach belonging to diverse social sciences and humanities, this study aims to renew the analytical parameters of the traditional art history. The main challenge lies in zeroing in on the ways in which the development of modern identity (meaning the affirmation of the right to be different and to self-determination, and the development of subjectivism and expressivism) influenced avant-garde artistic productions, and which strategies artists used to replace the values imposed by traditional institutions and the dominant ideology, which in turn sparked a renewal of identity. Modern identity is based upon a principle that is modeled on two foundations: on the image that the subject will have of himself, and the impression that the Other (a bordering neighbour, cultural cousin, colonial authority or political oppressor) will have of him. In fact, this "stranger" will essentially assume the role of guaranteeing the recognition of the proposed identity. The phenomena of mythical constructions of symbolical imagination and of primitivism, in this study,
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Bond, Nathaniel Peter. "Lessons in Immorality: Mishima's Masterpiece of Humor and Social Satire." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/988.
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From 1958 to 1959, Mishima Yukio published a series of satirical essays titled Lessons in Immorality, in the magazine Weekly Morningstar. Lessons in Immorality was made into a television series, a stage play, and a film.
Famous in the West for writing serious novels, Mishima's work as a humor writer is largely unknown. In these essays Mishima writes in a very comic style, making liberal use of hyperbole, burlesque, and travesty, in order to parody and satirize contemporary Japanese morality. Mishima uses humor to create a world in which Mishima Yukio, iconoclastic author and pop-culture figure, is an arbiter of his own honest and just morality that runs counter to the norms that Japanese at that time considered to be honest and just.
Additionally, Mishima used Lessons in Immorality as a forum to discuss some of the serious concerns that are central to his famous novels. Because Mishima was writing for young men and women, he wrote about his complex philosophical and aesthetic ideals in a very humorous and accessible style. Thus, in addition to displaying Mishima's talent as a humor writer, these essays also give the reader fresh perspectives on Mishima's serious literature.
In this paper, I will present the writing styles, rhetorical tools, and philosophical discussions from Lessons in Immorality that I believe make the series essential reading for anyone interested in Mishima or postwar Japanese literature.
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Carpenter, Brian L. ""A Marvelously Big Stone": Geological Objects and Mythological Experience in the Writing of Charles Olson." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/CarpenterBL2005.pdf.
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Prisco, Mario. "Journeys beyond binaries : storytelling and polyphony in the narratives of Gabriella Ghermandi, Igiaba Scego, Ubax Cristina Ali Farah and Amara Lakhous." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11947.
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In the last two decades, in media and political discourses, Italianness has been increasingly represented as a homogeneous and compact entity, which is intruded on and contaminated by immigrants. In this study, the binary opposition between Italians and migrants is investigated from the perspective of writers who inhabit a liminal space, between at least two cultures, with the main intent to problematize the binary itself and to show its nature of fabrication. On the basis of Said's contrapuntal method, the novels by Ghermandi, Scego, Ali Farah and Lakhous are thought to establish a counterpoint with dominant discourses about Italianness. With the firm belief that discourses about postcolonial Italy must address its colonial past, the works analysed are considered as in dialogue with both colonial and postcolonial discourses. A dialogical relation is established, within the study, between Ghermandi's Regina di fiori e di perle and Flaiano's Tempo di uccidere. Written from the perspectives of the colonized and the colonizers respectively, both novels unveil colonial crimes and faults in Ethiopia, thus being counter-narratives about official representations of Italian colonialism. In Scego's Rhoda and Oltre Babilonia and Ali Farah's Madre piccolo, like threads, the individual stories of Somali exiles intertwine to create a fabric, whose pattern reveals the importance of the legacy of colonialism within contemporary Italy. Mainly situated between Italian and Somali cultures, the protagonists experience traumas, suffering and loss but finally attain a contrapuntal awareness between the two cultural poles. They become conscious of how enriching their in-between position is; they affirm the value of their hybrid identity. With a further zoom into postcolonial Italy, Lakhous' Scontro di civiltà per un ascensore a piazza Vittorio and Divorzio all'islamica a viale Marconi analyse the binary ‘us-Italians' versus ‘thosemigrants' in two microcosms in Rome. General polarizations such as Islam and the West emerge as factors which are exploited in order to exacerbate tensions and divisions. In addition, Italianness appears to be an internally fragmented entity, which is imagined as compact and homogeneous, as a reaction to the influx of immigrants. Against any logic of binarism, the novels by Ghermandi, Scego, Ali Farah and Lakhous reveal the constant effort to create a passage between two poles and to uphold a dialogical relation between them; crossings over and hybridity are continuously affirmed. With their highly important affirmation of multiplicity, the works challenge any essentializing notion of identity and any narrow representation of Italianness, within multiethnic contemporary Italy.
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CARTER, STEVEN MICHAEL. "EPISTEMOLOGICAL MODELS SHARED BY AMERICAN PROJECTIVIST POETRY AND QUANTUM PHYSICS." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/187927.
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The American Projectivist verse of Jack Spicer, Charles Olson, and Robert Duncan contains within its poetics many epistemological assumptions shared by quantum physics. These assumptions exist in three broad categories: perception, process, and wholeness. In physics, the epistemology of perception has been profoundly altered by the Heisenberg Uncertainty Relation, which creates a symbiotic relationship between the observer and the observed. At least one photon of light is necessary to observe an electron; one photon is sufficient to alter the electron's momentum or position; therefore, a physicist affects an electron's "fate" in the act of observing it. Similarly, in Projectivist poetics, the perceptions of the reader are often enlisted to help "compose" the poem which is offered to him in "pieces," or, as in Robert Duncan's poetry especially, in self-reflexive segments. By "self-reflexive," we further mean that the Projectivist poem often "mirrors itself" as an electron "mirrors itself" as wave or as particle, while it is paradoxically both. A Projectivist poem may pause halfway through and "unravel" itself, i.e., study its own etymology. The reader thus must participate in "putting the poem back together," as the physicist participates in the phenomena he observes. The second epistemological model in physics and poetry stresses becoming, rather than being. Matter at the subatomic level has been defined as energy-in-flux. Similarly, the Projectivist poems of Charles Olson especially often exist as "fields" with no syntactical beginnings or endings. Moreover, the "I" of the Maximus Poems is often seen in a perpetual process of becoming the world of spacetime in the poems, creating a system similar to the being-and-becoming model of particle-and-field in quantum mechanics. Third, wholeness is a premise governing poetry and physics separately and together. Jack Spicer's thematics blend matter and consciousness, as "love and death matter/Matter as wave and particle." Similarly, Robert Duncan's poetics describes a "dancing organization between personal and cosmic identity." In physics, wholeness is seen primarily in an "implicate order" which attempts to overturn the old paradigms of fragmentation and connect matter and consciousness, including language, as interrelated systems of information.
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Almeida, Adriana Antunes de. "Uma possível leitura irônica das colunas femininas de Clarice Lispector." reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1347.
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A escritora e jornalista Clarice Lispector escreveu durante nove anos, entre as décadas de 1950 e 19560, colunas femininas para três jornais cariocas. Suas colunas eram intituladas: “Entre mulheres”, “Feira de utilidades” e “Correio feminino”. Cada coluna era assinada por um pseudônimo, Tereza Quadros, Helen Palmer e a ghost writer lka Soares, respectivamente. Seus textos abordavam assuntos relacionados ao universo feminino, em que se podem observar a cultura e o comportamento social em que a mulher desse período estava inserida. Esta tese propõe-se a ler esses textos pelo viés da ironia, buscando comprovar que é possível lê-los como contradiscurso ao sistema patriarcal conservador e opressor presente na sociedade de então.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-10-17T15:13:32Z No. of bitstreams: 1 Tese Adriana Antunes de Almeida.pdf: 5583134 bytes, checksum: a607f230137e220cd5ea6b995833c044 (MD5)
Made available in DSpace on 2016-10-17T15:13:32Z (GMT). No. of bitstreams: 1 Tese Adriana Antunes de Almeida.pdf: 5583134 bytes, checksum: a607f230137e220cd5ea6b995833c044 (MD5) Previous issue date: 2016-10-17
La escritora y periodista Clarice Lispector iscrivió por nueve años, entre las décadas de 1950 y 1960, colunas femeninas hasta três periódicos cariocas. Sus páginas eran llamadas: “Entre mulheres”, “Feira de utilidades” y “Correio feminino”. Cada página era firmada por un seudónimo, “Tereza Quadros”, “Helen Palmer” y la ghost writer “lka Soares”, respectivamente. Sus textos tratavan de asuntos relacionados al universo femenino, donde era posible mirar la cultura y el comportamiento social donde la mujer de eso tiempo estava viviendo. Esa tese se propone a leer esos textos por la vía de la ironía, buscando comprobar que és posible leer como contradiscurso al sistema patriarcal, conservador y opressor presente en la sociedad de entonces.
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Simkin, Stephen John. "Gerard Manley Hopkins : critical perceptions of his relation to poetic tradition to 1970." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/15092.
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The aim of this thesis has been to make an accurate assessment of the developments in Hopkins criticism up until 1970, with overriding emphasis on perceptions of his relation to poetic tradition. The chosen methodology involves a chapter by chapter discussion of Hopkins' perceived relation to individual poets or groups of poets. Generally, each chapter opens with an examination of Hopkins' published correspondence, scrutinizing his own criticism of the poet or poets in question, and proceeds in a chronological survey of the ways in which critics and reviewers have related him to the predecessor in question. Material covered in the thesis includes major published works on Hopkins; articles and reviews in scholarly periodicals, as well as more popular journals and some newspapers; and other critical works where Hopkins receives some degree of attention. The 'cutoff' point of this study is 1970, although a final chapter has been appended with a less detailed survey of the developments from 1970 to the present day. On certain occasions, I have ventured to investigate more fully some areas of Hopkins' literary genetics that seem not to have received the attention they deserve. In general, however, the focus of the thesis is upon the perceptions of the critics, and attempts are made to assess the ways in which Hopkins' fluctuating critical standing has altered these perceptions and vice versa. One of the most frequently recurring demands has been the need to try and determine why Hopkins has been related to different poets and different poetic traditions at different times. To provide a more 'three-dimensional' perspective, two chapters are devoted to exploring the ways in which Hopkins has been perceived as an influence on twentieth century poetry, in general terms, and in specific cases. In conclusion, a 'map' of the territory of Hopkins' criticism charting the perceived relations between his oeuvre and poetic tradition is proposed. And, with a necessary emphasis on the provisional (particularly with the post-1970 study taken into account), some suggestions are made for new directions in this area of study.
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Butler, Ian. ""All vistas close in the unseen" : a study of the transcendent in the fiction of E. M. Forster." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001826.
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From introduction: It has become something of a commonplace among critics to remark Forster's relative lack of success in offering an alternative to the world which he satirises with such wit and humour. His comic treatment of the suburban absurdities of the Edwardian Englishman is, on the whole, far more compelling and memorable than the often vague, symbolic gestures by means of which he implies the possibility of something better. With the exception of his last and greatest novel, A Passage to India, his "alternatives" are largely factitious and contrived. Worse, the reader senses a fundamental uncertainty on the part of the author: his characteristic ambivalence in itself an indication of a perceptive and discriminating mind -- all too often suggests lack of conviction rather than an intelligent awareness of the infinitude of human possibilities.
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Ten, Hacken Hilde. "Self-definition through poetry in the work of Gloria Fuertes and Pilar Paz Pasamar in the period 1950-1970." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/421.
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Stander, Aletta Sophia. "Taal wat stamel, stotter en struikel : Marlene van Niekerk se "Die sneeuslaper" (2010) as mineurletterkunde." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20061.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: The focus of this study will be on the unique way in which language is used in Marlene van Niekerk‟s collection of short stories, Die sneeuslaper (2010). When reading Die sneeuslaper it is impossible not noticing the number of Dutch words, as well as words and phrases from other foreign languages, as Bargoens, Rotwelsch, German, French, Italian, Hebrew, Greek and Maltese. Some of the characters‟ speech, as well as so called sound poems (or nonsense verses) are characterised by a number of newly invented words. However, the meaning of some of these words or phrases remains unclear. Other themes in the four short stories which will be analysed are the so called political responsibility of the artist, as well as music, rhythm and bird-noises. As a theoretical basis of this study, Deleuze and Guattari‟s Kafka Toward a Minor Literature will be used. In Kafka Toward a Minor Literature Deleuze en Guattari formulate their ideas regarding minor literature. They describe a major language as a language of dominance and power, while a minor language is a language without any power. According to them the three characteristics of minor literature are: the minor deterritorializes the major, minor literature is always political, and minor literature always has a collective function. Deleuze and Guattari‟s, as well as Bogue‟s writing regarding the territorialization and deterritorialization of the refrain, is also explored briefly. Deleuze en Guattari‟s theories regarding minor literature is used in this study to read Die sneeuslaper. In the end it is concluded that the unconventional use of language in this short story collection can be associated with the political nature of some of the stories. The unique usage of language in Die sneeuslaper, the way in which Afrikaans is transformed into a language that stammers, stutters and mumbles, can be seen as a subtle form of political protest. Therefore this collection of short stories can be seen as a form of minor literature.
AFRIKAANSE OPSOMMING: Hierdie studie fokus op die vreemde wyse waarop taal in Marlene van Niekerk se kortverhaalbundel, Die sneeuslaper (2010), aangewend word. Met die lees van Die sneeuslaper is die hoeveelheid Nederlandse woorde, asook enkele woorde en frases uit ander vreemde tale, soos Bargoens, Rotwelsch, Duits, Frans, Italiaans, Hebreeus, Grieks en Maltees, opvallend. Verder is daar in die karakters se spraak, sowel as in klankgedigte (of onsinverse), vele nuutskeppings waarvan die betekenis nie altyd so duidelik blyk nie, teenwoordig. Ander temas wat in die vier verhale figureer en ondersoek sal word is kunstenaarskap, die sogenaamde politieke verantwoordelikheid van die kunstenaar, asook musiek, ritme en voëlgeluide. As teoretiese vertrekpunt vir die studie word Deleuze en Guattari se Kafka Toward a Minor Literature, waarin hul idees oor mineurlettekunde geformuleer word, gebruik. Deleuze en Guattari onderskei tussen ‟n dominante majeurtaal en ‟n mineurtaal wat sonder mag is. Volgens Deleuze en Guattari is daar drie kenmerke van mineurletterkunde, naamlik dat die mineur die majeur deterritorialiseer, dat mineurletterkunde altyd polities is, en laastens dat mineurletterkunde altyd kollektief van aard is. Bykomend word daar ook kortliks gekyk na Deleuze en Guattari, sowel as Bogue, se skrywe oor territorialisering en deterritorialisering in die refrein. Deleuze en Guattari se teorie oor mineurletterkunde word in hierdie studie as ‟n agtergrond gebruik om Die sneeuslaper te lees. Daar word uiteindelik tot die gevolgtrekking gekom dat die onkonvensionele taalgebruik in die kortverhaalbundel wel geassosieer kan word met deterritorialisering en dat dit aansluit by die politieke aard van sommige van die verhale. Die wyse waarop Afrikaans in Die sneeuslaper getransformeer word na ‟n taal wat stamel, stotter en struikel, kan dus as subtiele, politieke protes gesien word en daarom kan dié kortverhaalbundel inderdaad as ‟n vorm van mineurletterkunde beskou word.
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Kaze, Douglas Eric. "The environmental imagination in Arthur Nortje’s poetry." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/58024.
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This thesis seeks to contribute to the conversations in the humanities about the treatment of the physical environment in the context of a global ecological fragility and increased scholarly interest in the poetry of Arthur Nortje, a South African poet who wrote in the 1960s. While previous studies on Nortje concentrate on the political, psychic and technical aspects of his poetry, this study particularly explores the representations of the environment in Nortj e’s poetic imagination. Writing in the dark period of apartheid in South Africa’s history, Nortje’s poetry articulates a strong interest in the physical environment against the backdrop of official racialization of space and his personal nomadic life and exile. The poetry abounds with constant intersections of nature and culture (industrialism, urbanity and the quotidian), a sense of place and a deep sense of dislocation. The poems, therefore, present a platform from which to reevaluate conventional ecocritical ideas about nature, place-attachment and environmental consciousness. Drawing mainly on Felix Guattari’s ideas of three ecologies and transversality along with other theories, I conduct the study through what I call a transversal postcolonial environmental criticism, which considers the ecological value of the kind of assemblages that Nortje’s works represent. The first chapter focuses on conceptualizing a postcolonial approach to the environment based on Guattari’s concept of transversality to lay the theoretical foundation for the whole work. The second chapter analyses Nortje’s poetic imagination of place and displacement through his treatment of the private-public tension and the motif of exile. While the third chapter examines Nortje’s depiction of nature as both an everyday and urban phenomenon, the fourth chapter turns to his direct treatment of environmental crises handled through his imagination of the Canadian urban spaces, exile memory of apartheid geography, war and ecocide and the human body as a subject of environmental degradation. The fifth chapter, which is the conclusion, takes a brief look at the implication of Nortje’s complex treatment of the environment on postcolonial environmentalism.
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Heterick, Garry R. (Garry Raymond) 1965. "Dethroning Jupiter : E.M. Forster's revision of John Ruskin." Monash University, English Dept, 1998. http://arrow.monash.edu.au/hdl/1959.1/8604.
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Senior, John. "Spirituality in the fiction of Henry Rider Haggard." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002252.
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Neither an unquestioning support for British imperialism nor a personal pre-Jungian philosophy were the driving forces behind Rider Haggard’s beliefs or his literature. These two concerns were secondary to the author’s fascination with the supernatural, a theme prominent in his era, but less so in our own. A declining faith in European religion provided the dominant focal point in Haggard’s work. Although there are important overtones of imperial concern and indeed points of Jungian significance in the texts, these are generally subservient to an intensive wide-ranging spiritual discourse. The place of Haggard’s work in history and its literary merit are thus misunderstood when his spiritualism is not taken into account. No analysis of the author’s work can be complete without first coming to terms with his spiritual ideas and then with their impact on other topics of significance to both the author and audiences of his day. The spiritual or religious aspect of his writing has been largely ignored because of its subtle nature and its relative unfashionability throughout most of the twentieth century in the critical and intellectual climate of the Western world. However, in the Victorian era, under the materialist impact of Darwin, Marx and industrialization, Europe's Christian God was pushed from centre stage, creating widespread spiritual hunger and anguish. In the resulting religious vacuum Haggard's overtures were of particular significance to his audience. In fact, when considered in terms of his immense contemporary popularity, the pervasive presence of spirituality throughout Haggard's works and in his personal writing gives some indication of the subject's enormous importance not only to the author, but to late Victorian society as a whole. In light of this Victorian significance, the spiritual element rises, by its constant presence and persistent foregrounding, to subvert not only the imperial and the Jungian, but even Haggard's overt adventure text by dealing directly with the underlying metaphysical crisis in Western society.
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Carstens, Johannes Petrus (Delphi). "Uncovering the apocalypse : narratives of collapse and transformation in the 21st century Fin de Siècle." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85700.
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Thesis (PhD)-- Stellenbosch University, 2013.ENGLISH ABSTRACT: This dissertation examines the idea of apocalypse through the lens of science fiction (sf) written during the current fin de siècle period. I have dated this epoch, known as the information era, as starting in 1980 with the advent of personal computing and ending in approximately 2020 when the functional limits of silicon-based digital manufacturing and production are expected to be reached. By surveying the field of contemporary sf, I identify certain trends and subgenres that relate to particular aspects of apocalyptic thought, namely, conceptions of the ‘terror of history,’ the sublimity of accelerated techno-scientific advance, the ‘affective turn’ in media-culture and posthuman philosophy. My principal method of inquiry into how the apocalypse is imagined or ‘figured’ in sf is the concept of hyperstition – a neologism (combining the words ‘hyper’ and ‘superstition’) coined by the Cybernetic Culture Research Unit (CCRU). Hyperstition describes an aesthetic response whereby cultural fictions – principally, ideas relating to apocalypse – are imagined as transmuting into material realities. I begin by scrutinizing two posthumanist works of theory-fiction (theory written in the mode of sf) by the CCRU and 0rphan Drift which anticipate immanent human extinction and imagine the inception of a new evolutionary cycle of machine-augmented evolution This sensibility is premised on the sociallydestabilising cycles of exponential growth that characterise information-era technological developments, particularly in the digital industries, as well as the accelerated human impact on the natural environment. Central to my argument is the romantic materialist philosophy of Deleuze and Guattari and their concepts of accelerationism, schizoanalysis and Bodies without Organs (BwO’s). Their ontology is constructed around the idea that exponential rates of development necessitate a new aesthetic paradigm that ventures beyond philosophies of human access. The narrative of apocalypse, approached from this perspective, can be interpreted in catastrophic or anastrophic terms; either as a permanent ending or as the beginning of something radically new. Using hyperstition, I also investigate the sf of Russell Hoban, Michael Swanwick, Brian Stableford, Charles Stross, Dan Simmons, M. John Harrison and Paul McAuley to see not only how these authors interpret the concept of cultural acceleration, but also to identify common threads. Countering the catastrophic ‘death of affect’ postulated by theorists such as Jean Baudrillard and Paul Virilio with the anastrophic rejoinder of cyberdelic information-era countercultures, I conclude by investigating the new ‘affective turn’ in contemporary media theory. The works of theoretical fiction and sf that I investigate are informed, as I demonstrate, by the Situationist techniques of psychogeography, dérive and detournement, as well as by the literary tropes of 18th and 19th century fin de siècle Gothic and dark Romantic fiction.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die idee van apokalips deur die oogpunt van wetenskap fiksie (wf) soos geskryf gedurende die huidige ‘fin de siècle’ tydperk. Ek dateer hierdie epog, bekend as die inligtings-era, as die tydperk wat in 1980 begin met die koms van persoonlike rekenaars en nagenoeg eindig in 2020, wanneer die funksionele limiete van silikon gebaseerde digitale vervaardiging en produksie na verwagting bereik sal word. Deur die veld van kontemporêre wf in oënskou te neem, identifiseer ek sekere neigings en sub-genres wat vergelyk met sekere kenmerke van apokaliptiese denke, naamlik: begrippe soos die ‘verskrikking van geskiedenis’, die verhewendheid van versnelde tegno-wetenskaplike vooruitgang, die ‘emosionele omkeer’ in media-kultuur en post-humanistiese filosofie. My primêre metode van ondersoek van hoe die apokalips voorgestel of ‘beskryf’ kan word in wf, is die begrip van hiper-bygelowigheid - ‘n neologisme (samevoeging van die woorde ‘hiper’ en ‘bygeloof’) soos geskep deur die Kubernetiese Kultuur Navorsings-Eenheid (KKNE) en Nick Land, medestigter van die KKNE. Hiper-bygelowigheid beskryf die proses waarvolgens kulturele versinsels - hoofsaaklik opvattings met betrekking tot apokalips – in materiële realiteite omgeskakel kan word. Ek ondersoek ek twee post-humanistiese werke van teorie-fiksie (teorie geskryf volgens die wf metode) deur KKNE en 0rphan Drift, wat inherente menslike uitwissing verwag en die ontstaan van ‘n nuwe evolusionêre siklus van masjien-toename voorstel. Hierdie proses is gebaseer op die sosiaal-destabiliserende siklus van eksponensiële groei wat kenmerkend is van die inligtings-era se tegnologiese ontwikkelinge, veral in die digitale industrie, sowel as versnelde menslike impak op die natuurlike omgewing. Die kern van my beredenering is die goties-materialisties-teoriese standpunt soos deur Land ingeneem, sowel as die romanties-materialistiese filosofie van Deleuze en Guattari. Hierdie gevalle van neo-materialistiese (of objek-georiënteerde) filosofië word toegelig deur ‘n apokalipties-teoretiese basis bekend as akseleerasionisme. Hierdie uitgangspunt is ontwikkel rondom die idee dat die eksponensiële tempo van ontwikkeling ‘n klimaks sal bereik in ‘n evolusionêre ‘wipplank punt’ en dat ‘n nuwe estetiese paradigma nodig is wat dit bokant die filosofie van menslike vermoë kan waag sodat daar oor hierdie waarskynlikheid geteoretiseer kan word. Die beskrywing van apokalips, soos vanuit hierdie oogpunt beskou, kan vertolk word in beide katastrofiese of anastrofiese terme of as ‘n permanente einde of as die begin van iets wat radikaal nuut sal wees. Deur gebruik te maak van die hiperbygelowigheidsteorie, wat ‘n onderafdeling is van akseleerasionisme, ondersoek ek WF van Russell Hoban, Michael Swanwick, Brian Stableford, Charles Stross, Dan Simmons, M. John Harrison and Paul McAuley ten einde vas te stel hoe hierdie skrywers die konsep van kulturele akseleerasie interpreteer, maar ook om gemeenskaplike leidrade te identifiseer. Met teenargumentering ten opsigte van die katastrofiese ‘dood van affek’ gepostuleer deur teoretici soos Jean Baudrillard en Paul Virillio met die anastrofiese samevoeging van kuberdeliese inligtings-era-kontra-kulture, ondersoek ek die nuwe ‘gemoedsomkeer’ in kontemporêre mediateorie. Die werke van teoretiese fiksie, sowel as baie van die ander gevalle van wf wat ek ondersoek en soos deur my gedemonstreer, word toegelig deur Situasienistiese tegnieke van psigo-geografie, dérive en detournement, sowel as deur die literêre menigtes van die 19de eeu ‘fin de siècle’ donker Romantiese en Gotiese fiksie.
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Langwith, Mark J. "'A far green country' : an analysis of the presentation of nature in works of early mythopoeic fantasy fiction." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/313.
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This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.
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Christoffersen, Rikke. "Narrative strategies in the novels of Erich Maria Remarque : a focus on perspective." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/197.
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This study analyses and presents the formal qualities of the novels of Erich Maria Remarque. The aim is to show that these works cannot justifiably be classified as lowbrow literature or Trivialliteratur, a negative criticism which has adhered to Remarque’s name since he wrote Im Westen nichts Neues in 1929. As a result, Remarque has rarely been the subject of scholarly interest; his name is, in fact, seldom found even in general works on modern German literature. The relatively few studies which have been carried out on Remarque and his oeuvre mostly express surprise about this author’s continued exclusion from academic discourse, but although these studies voice their disagreement with the labelling of Remarque as an author of Trivialliteratur, no serious attempts have, thus far, been made to create an argument against this tag. By analysing Remarque’s narrative strategies in depth, this study seeks to establish such an argument. Particular attention will be paid to the narrative perspective, although other aspects of form – structural and textural – will be incorporated in the examination. Due to the interdependence which exists amongst not only the individual formal elements, but also between the form as a whole and the novels’ contents, the strategies Remarque employs will be considered in the context of the novels in their entirety. The analysis will furthermore form the basis for the consideration as to whether Remarque’s narrative techniques remain comparatively unvarying throughout the novels – does the author adhere to an Erfolgsrezept? – or whether they reflect some degree of development. Although Remarque experimented with several literary genres in addition to the novel – short stories, poems, plays and film scripts – this study essentially focuses on the major novels which comprise what may be termed his Hauptwerk. It was on the basis of this part of his oeuvre that Remarque gained fame, but subsequently also the part that instigated the accusation of triviality. When evaluating the validity of the widespread condemnation of Remarque’s authorial abilities, it is thus of limited relevance to examine relatively unknown aspects of his oeuvre. Such material is therefore largely excluded, although it is used for comparative purposes where appropriate. For the sake of general clarification, but also in order to identify signs of development, the novels are analysed chronologically. The range of works on the topic of literary interpretation and assessment is extensive. This study, although acknowledging also other approaches, especially favours the comprehensive and logical method proposed by Boa and Reid’s in Critical Strategies. The opening chapter of this study offers a brief outline of Remarque’s life and oeuvre. It thus serves as an introduction to the author and his work. The chapter proceeds to explore different definitions of the term Trivialliteratur, but also considers the various factors which led to this widespread and persisting classification of Remarque. This chapter furthermore considers the relatively few studies which can be found on Remarque, and stresses especially those relating to his narrative strategies. Their limited number testifies to the level of neglect in this area and which Remarque’s work in its entirety has continued to be subjected to. The six chapters comprising the main body of the study each analyse one or two of Remarque’s major novels. Aside from the point-of-view, they examine the author’s most striking utilization of other narrative tools in relation to the individual novels. These tools, of course, vary in accordance with the themes and messages of the books. Throughout the study, the narrative strategies are considered against the reception of Remarque’s novels which, in addition to comparisons to the work of other authors, serve to place Remarque in the context of his literary contemporaries and the time at which he wrote his novels.
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Casagrande, Giuliano Tommasini 1980. "Deus, a alma imaterial e a dúvida global : as ¿Meditações¿ cartesianas à luz da crítica de Schlick e Carnap aos enunciados metafísicos." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281922.
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Orientador: Enéias Júnior ForlinDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T09:43:32Z (GMT). No. of bitstreams: 1 Casagrande_GiulianoTommasini_M.pdf: 1136464 bytes, checksum: 6be19fea15ce2b7bb7c42051ab9192b0 (MD5) Previous issue date: 2013
Resumo: Nas Meditações, Descartes faz uso de todos os argumentos céticos imagináveis com o objetivo de abalar as crenças em que se baseia a visão natural de mundo e descobrir se há alguma verdade infensa à dúvida. Após constatar a existência indubitável do eu pensante e determinar sua natureza, Descartes procura salvar, por meio da demonstração da existência de um Deus veraz, o valor objetivo das idéias sensíveis. Neste trabalho, partindo da premissa de que o único subjetivismo autêntico é originário de uma dúvida cética como a cartesiana, investigaremos a hipótese de que tal solo da subjetividade é desprovido de sentido porque a atitude crítica de avaliação do conhecimento de que ele resulta pressupõe uma ordem de generalização e de abrangência naturalmente insustentáveis. Para tanto, utilizaremos a crítica de Schlick e Carnap às proposições externas (globais). Com efeito, a dúvida cartesiana não diz respeito a uma parcela do mundo, mas ao mundo em sua totalidade. O problema estaria na extensão da dúvida e no caráter espiritual atribuído ao ego. De maneira análoga, o conceito de um Deus metafísico (indiferente aos elementos do sistema do mundo empírico) estaria sujeito à mesma acusação de falta de sentido formulada por Schlick-Carnap
Abstract: In his Meditations, Descartes employs all imaginable skeptical arguments in order to shake the beliefs that ground the natural worldview and to find if there is some truth beyond doubt. After discovering the indubitable existence of the thinking self and determining its nature, Descartes tries to save, by demonstrating the existence of a truthful God, the objective value of sensible ideas. In this work, assuming that the only genuine subjectivism comes from a skeptical doubt like Descartes', we will investigate the hypothesis that such subjectivism is devoid of any sense, because the critical attitude of evaluation of knowledge from where it results presupposes a naturally unsustainable generalization and scope. In order to do that, we will employ the critique of external (global) propositions developed by Schlick and Carnap. Indeed, the Cartesian doubt is not related to a part of the world, but to the world as whole. The problem would lie in the extent of doubt and in the spiritual character assigned to the ego. In the same way, the concept of a metaphysical God, indifferent to the elements of the empirical framework, would be subjected to the same accusation of lack of sense formulated by Schlick-Carnap
Mestrado
Filosofia
Mestre em Filosofia
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Tsai, Tsung-Han. "Hearing Forster : E.M. Forster and the politics of music." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4424.
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This thesis explores E. M. Forster's interest in the politics of music, illustrating the importance of music to Forster's conceptions of personal relationships and imperialism, national character and literary influence, pacifism and heroism, class and amateurism. Discussing Forster's novels, short stories, essays, lectures, letters, diaries, and broadcast talks, the thesis looks into the political nuances in Forster's numerous allusions and references to musical composition, performance, and consumption. In so doing, the thesis challenges previous formalistic studies of Forster's representations of music by highlighting his attention to the contentious relations between music and political contingencies. The first chapter examines A Passage to India, considering Forster's depictions of music in relation to the novel's concern with friendship and imperialism. It explores the ways in which music functions politically in Forster's most ‘rhythmical' novel. The second chapter focuses on Forster's description of the performance of Lucia di Lammermoor in Where Angels Fear to Tread. Reading this highly crafted scene as Forster's attempt to ‘modernize' fictional narrative, it discusses Forster's negotiation of national character and literary heritage. The third chapter assesses Forster's Wagnerism, scrutinizing the conjunction between Forster's rumination on heroism and his criticism of Siegfried. The chapter pays particular attention to Forster's uncharacteristic silence on Wagner during and after the Second World War. The fourth chapter investigates Forster's celebration of musical amateurism. By analysing his characterization of musical amateurs and professionals in ‘The Machine Stops', Arctic Summer, and Maurice, the chapter discusses the gender and class politics of Forster's championing of freedom and idiosyncrasy.
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Blanc, Marie Thérèse 1960. "Another face of justice : interpretative debates within the Canadian trial novel after 1970." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84478.
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This study examines Canadian works of fiction that contain historical trial narratives and that enact an adversarial trial of their own for an implied reader who acts as 'appellate judge.'' Included are four Canadian novels published after 1970 that fictionalize the circumstances leading to notorious criminal trials: Margaret Atwood's Alias Grace (1996), Lynn Crosbie's Paul's Case: The Kingston Letters (1997), and Rudy Wiebe's The Temptations of Big Bear (1973) and The Scorched-Wood People (1977). They represent commentaries on the justice or injustice done to convicted murderer Grace Marks (whose trial took place in 1843), to rebel Cree chief Big Bear and Metis leader Louis Riel (1885), and to serial rapists and killers Karla Homolka and Paul Bernardo (1993, 1995).Each work reproduces excerpts from the original trial yet also represents a response to the historical trial's unfolding. This adversarial response takes the form of a trial-like narrative (or counternarrative) that engages with the original trial. Consequently each of these works is what I call a 'trial novel' that raises fundamental questions about justice and citizenship.
Chapter One analyzes Atwood's Alias Grace and lays bare the fictional constructs included in a trial narrative. Chapter Two looks at Crosbie's Paul's Case and pits the judicial system's claim to sober neutrality against a more populist version of justice based on affect and revenge. Finally, Chapter Three, which is devoted to Wiebe's novels, studies the conflict of normative universes implicit in trials for treason and posits that rebel nomoi are as coherent as the dominant ones that quash them.
Three communities are implicit in these novels and enter into a debate with one another: at the core of each work is a historical community of persons (the accused, attorneys, the judge, jurors, and members of the Canadian public) mobilized around an actual crime. This original community and its judgment provide the inspiration for the fictional community of the novel, which grapples with its own version of the crime and trial. Finally, an imaginative community of readers deliberates upon the questions raised both by the original trial and by the 'trial novel'.
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Hennequet, Claire. "L'identité poétique de la nation. Walt Whitman, José Marti, Aimé Césaire." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030085/document.
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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 collectifIn 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
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Hanor, Stephanie. "Jean Tinguely: useless machines and mechanical performers, 1955-1970." Thesis, 2003. http://hdl.handle.net/2152/625.
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Hallis, Robert Harry. "Reevaluating the compositional process of Anton Webern, 1910-1925." Thesis, 2004. http://hdl.handle.net/2152/2007.
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Roth, Maria Victoria. "A mystory [sic] about Wilson Duff : northwest coast anthropologist." Thesis, 1999. http://hdl.handle.net/2429/9208.
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An electronic (HTML) thesis on late University of British Columbia professor
Wilson Duff, an anthropologist central to the construction of Northwest Coast art
in the 1960s and 1970s. It brings together textual fragments (historic and
contemporary, archival, interview transcripts) within a framework which attempts
to balance truth (original authorial intent and the context and academic debates
of that period) with the impossibility of truth (the notion of partial, situated truths
and critical, presentist re-readings of Duffs work some twenty-five years later).
The narrative structure is simultaneously linear and pure hypertext, depending on
the reader's choices. No two paths will be the same.
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Kgalane, Gloria Vangile. "Black South African women's poetry (1970-1991) : a critical survey." Thesis, 2012. http://hdl.handle.net/10210/6649.
Full textAbstract:
M.A.This dissertation investigates the work of black women poets in South Africa during the period 1970 - 1991, within the context of race and gender politics. The period 1970 - 1991 represents the approximately two decades in which black poetry became recognised as an important development in South African literary studies. Although several studies of the work of black male poets have been written, hitherto no substantial study of the writings of black women poets, in particular, has been undertaken. Although relatively few black women poets published their work during this era, when compared to their male counterparts, this critical survey will attempt to give a broad overview of the poetry black women produced. Focusing on poetry written in English, this dissertation will argue that the majority of black women poets writing during this period harnessed their writing to the anti-Apartheid or liberation struggle in South Africa. Many of these poets regarded their writing as a 'cultural weapon' which could contribute to political transformation, and although few regarded themselves as 'feminist' poets, their poetry reveals a deep concern with gender oppression as well as racial and class oppression. Chapter one, the introduction, focuses on the way in which black South African women poets have been largely ignored, neglected and 'silenced' by the majority of critics. This chapter will also consider some of the factors that may have prevented more black women from producing and publishing poetry: social factors such as education, literacy and access to publication will be explored. The second chapter explores the emergence of South African 'protest poetry', and focuses on the poetry of Jennifer Davids and Gladys Thomas in relation to the 'protest' tradition. It will be argued that while poet Gladys Thomas defined her writing in terms of 'protest' literature, Jennifer Davids produced a more introspective, personal poetry that was primarily concerned with the difficulties of 'finding an individual voice' in the South African environment. The third chapter focuses on the more intensified phase of 'protest poetry' which was produced after 1976 by the growing culture of literary activism in the black townships, and will show how women poets write of the suffering specific to township women. This chapter will also focus on an analysis of gender oppression within the poets' own homes and communities, as well as celebrations of political activities by women. In particular, this chapter concentrates on women's poetry published in the literary magazine, Staffrider, established to promote the work of black writers. The Trade Union Movement was a major influence on literary production during this time, as we shall see from the 'worker poetry' produced by many women in the 1980s. Chapter four will concentrate on the poetry produced by black South African women in exile, most of whom were active in the ANC. It will be argued that rather than producing introspective poetry about the condition of exile, these women harnessed their writing to `the struggle'. This poetry can broadly be defined as 'resistance' or 'liberation' poetry. Some of these poets also explore the issue of gender in relation to liberation politics.
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Hare, Belva Jean. "The uses and aesthetics of musical borrowing in Erik Satie's humoristic piano suites, 1913-1917." Thesis, 2005. http://hdl.handle.net/2152/2441.
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Lawrence, James Alexander. "Abdication in an artistic democracy : meaning in the work of Barnett Newman and Donald Judd, 1950-1970 (and thereafter)." 2006. http://hdl.handle.net/2152/11945.
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"樊籬與跨越: 論陳雪小說的酷異家庭景觀." 2007. http://library.cuhk.edu.hk/record=b5896722.
Full textAbstract:
黃愛倫."2007年9月".
論文(哲學碩士)--香港中文大學, 2007.
參考文獻(leaves 151-159).
"2007 nian 9 yue".
Abstract also in English.
Huang Ailun.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007.
Can kao wen xian (leaves 151-159).
摘要 --- p.iv-v
Chapter 一、 --- 導論 --- p.1-18
Chapter 1.1 --- 關於台灣酷兒文學的一些觀點
Chapter 1.2 --- 陳雪的小說時光
Chapter 1.3 --- 硏究背景與方向：台灣家庭景觀
Chapter 1.4 --- 理論架構
Chapter 1.5 --- 發展異色論述：酷兒、家庭與酷兒家庭的關係
Chapter 1.6 --- 章節安排
Chapter 二、 --- 從《惡女書》的十年論爭 回顧九〇年代台灣同志/酷兒小說發展 --- p.19-50
引言
Chapter 2.1 --- 陳雪與酷兒文學：由〈尋找天使遺失的翅膀 〉 開始
Chapter 2.1.1 --- 酷兒發妖
Chapter 2.1.2 --- 酷兒與酷兒文學
Chapter 2.1.3 --- 看見/看不見：建構同志/酷兒文學史
Chapter 2.2 --- 九〇年代的時空脈絡
Chapter 2.2.1 --- 建構在地酷兒政治：台灣同志/酷兒運動
Chapter 2.2.2 --- 學院裡的另類顛覆：張小虹與「金童玉女」
Chapter 2.3 --- 酷兒的十年論爭
Chapter 2.3.1 --- 《惡女書》何惡之有？
Chapter 2.3.2 --- 反對序言的聲音
Chapter 2.3.3 --- 代言：有必要爲陳雪辯護嗎？陳雪代表了酷兒？
小結：二千年的酷兒版圖
Chapter 三、 --- 禁色之愛：酷異家庭羅曼史 --- p.51-80
引言：慾望之規條´ؤ´ؤ家庭成員之間的緘默
Chapter 3.1 --- 彼此牽纏的三個槪念：異性戀、家庭戀和同性戀
Chapter 3.2 --- 呈現家庭戀的作品
Chapter 3.3 --- 〈色情天使〉：不能排拒的兄妹性愛閱讀經驗
Chapter 3.4 --- 被現實消音的戀母情慾：〈尋找天使遺失的翅膀〉 和〈夜的迷宮〉
Chapter 3.4.1 --- 不能嵌入寫實文學體裁
Chapter 3.4.2 --- 建構虛擬場景
Chapter 3.4.3 --- 宇宙只有我和你：回歸/貼近母親身體的温柔
Chapter 3.5 --- 〈兒子〉：改寫家庭戀的宿命
Chapter 3.5.1 --- 寫在前面的夢境
Chapter 3.5.2 --- 寫在後面的性愛和分娩場景
小結
Chapter 四、 --- 自訂親屬關係：探索同性家庭的可能 --- p.81-107
引言：兩位男生的一場婚禮
Chapter 4.1 --- 社會爭辯之點：婚姻與家庭
Chapter 4.2 --- 如遠若近的核心家庭
Chapter 4.3 --- 後現代酷兒家庭
Chapter 4.4 --- 台灣酷兒家庭的狀況
Chapter 4.4.1 --- 〈蝴蝶的記號〉：家的多重意義和經驗
Chapter 4.4.2 --- 人來人往：《愛情酒店》的自選家人組合
Chapter 4.4.3 --- 〈異色之屋〉的封閉與荒蕪
小結
Chapter 五、 --- 總結 --- p.108-115
Chapter 5.1 --- 世俗的小說
Chapter 5.2 --- 撰文過程中的自身觀照
Chapter 六、 --- 附錄一、陳雪訪談文字記錄 --- p.116-150
Chapter 七、 --- 參考書目 --- p.151-159
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Mitchell, Rachel Elice 1976. "An examination of the integration of serial procedures and folkloric elements in the music of Roberto Gerhard (1896-1970)." 2009. http://hdl.handle.net/2152/18458.
Full textAbstract:
Roberto Gerhard was a twentieth-century Spanish composer known for his unique treatment of the twelve-tone system. A student of the Spanish nationalist composer, Felipe Pedrell in Barcelona and also a pupil of Arnold Schoenberg in both Vienna and in Berlin, Gerhard's musical trajectory led to a synthesis of these disparate compositional traditions. In this dissertation I will explore the development of Gerhard's compositional procedures. Here, his first string quartet, composed between 1950 and 1955, becomes a useful tool to illustrate how he made the transition from one musical style to another. Gerhard's first string quartet, composed between 1950 and 1955 exhibits various experimental formal procedures but is governed by a single twelve-tone row. The work is composed in the twelve-tone idiom, but nationalist elements decorate the musical surface. The first movement follows the classical model of sonata-allegro form, while mathematical proportions govern durations and formal elements in later movements. I will first investigate Gerhard's musical language and pitch material and then consider the challenges raised by implementing sonata form outside of a tonal idiom. I will then examine his unique mathematical approach to formal design in the third movement. In addition to the string quartet, I will explore Gerhard's treatment of form in such works as his Wind Quintet (1928) and Metamorphoses--Symphony no. 2 (1957-59).text
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McDermott, Joshua. "Terayama Shuji and the Emperor Tomato Ketchup : the children's revolution of 1970." Thesis, 2005. http://hdl.handle.net/10125/11971.
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"N.P. van Wyk Louw en D.J. Opperman in intertekstuele gesprek." Thesis, 2015. http://hdl.handle.net/10210/14720.
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Regan, Christine Majella. "The Rimbaud of Leeds : a contextual study of the politics of Tony Harrison's poetry 1970-1985." Phd thesis, 2011. http://hdl.handle.net/1885/150435.
Full textAbstract:
The Rimbaud of Leeds is a literary contextual study of the political meanings of important poems by the Leeds poet Tony Harrison (1937- ). It is based on an examination of Harrison's non-dramatic original poetry that appears in The Loiners (1970), The School of Eloquence (1978-81), and the separately published v. (1985). Reference is made to other germane works and to Harrison's account of his work in interviews and prefaces. The principal focus of the thesis is the political character of the poetry. The poems selected for examination are exemplars of what I argue is Harrison's radical humanist and republican poetic, and of how issues of class and colonialism are interrelated in the poetry. The thesis locates the works in previously unnoticed or neglected contexts, and shows the critical importance of history for understanding the poems. It reveals Harrison's detailed engagement with the politics and history of England and Africa in particular. New contextual information necessary for understanding the political, historical, biographical and literary references in the poems is offered in this study. This dissertation attempts to sketch the key political and aesthetic features of the poetry. For the first time in Harrison scholarship, his poetry is seen as presenting an entwined biographical and political mythology for the Northern English working class. Harrison is here interpreted as a cosmopolitan Leeds poet whose Northern working{u00AD}class background, education and travels are the empirical materials of a highly cultured poetry of place. He emerges as a partisan political poet whose poems draw critical attention to an unequal relationship, in literature and in history, between the North and South in Britain. It is shown that an internationalist humanist sense of fraternity between the working class in the North of England and colonized peoples past and present suffuses the poetry. Particular attention is accorded to the presence in Harrison's political poetry of the poets John Milton (1608-74) and Arthur Rimbaud (1854-91). Milton is especially important for Harrison as a great republican poet. Rimbaud is of the first importance for Harrison's idea of himself as a poet. The significance of the life and work of Rimbaud has not been recognized in the scholarship on Harrison. This study seeks to illuminate Harrison's elective affinity with Rimbaud, and to show how Rimbaud haunts his imagination. This study argues that Harrison's political convictions and literary elective affinities have been consistent across the fifteen year span of the poetry selected for examination. This thesis indicates the dense allusive fields of the poetry and attends to the political and literary histories that enrich it. The aim in the thesis is to offer the first fully detailed contextual account of these remarkable poems and their politics.
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Marie, Annika. "The most radical act: Harold Rosenberg, Barnett Newman and Ad Reinhardt." Thesis, 2006. http://hdl.handle.net/2152/3456.
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Van, Tonder Wessel Johannes Arnoldus. "N.P. van Wyk Louw as literêre kanttekenaar." Thesis, 2014. http://hdl.handle.net/10210/10637.
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Beneke, Johannes Jacobus Petrus. "Heerser en humanis as spanningspaar in die werk van N.P. van Wyk Louw." Thesis, 2015. http://hdl.handle.net/10210/15013.
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Elyono, Dwi. "Harry Aveling's and Willem Samuels (John H. McGlynn)'s English translations of Pramoedya Ananta Toer's novel Perburuan : a descriptive study of literary translation." Phd thesis, 2014. http://hdl.handle.net/1885/151077.
Full textAbstract:
This project investigates some segments of Harry Aveling's and John H. McGlynn's English translations of the functional elements of clause-simplex/complex relations, thematic patterns, and coherence related to historical/culture-specific references and culture-specific terms/items employed in Pramoedya Ananta Toer's novel Perburuan. The project aims to establish the translation methods, identify some of the macro factors underlying their choice, and develop a descriptive research framework to carry out these two aims. The project is based on the thesis that concepts and practices of literary translation may be developed and carried out in different ways depending on the underlying macro factors. Source-oriented theories of translation state that literary texts should be translated by preserving the source text, but in actual practice many literary texts have been translated by sacrificing it. Aveling and McGlynn, as shown by a preliminary observation, have translated Perburuan differently, but their translations are both considered acceptable. Most studies of translation between Indonesian and English which claim to be descriptive are actually mainly prescriptive, and in achieving their prescriptive purposes, most of them do not consider the real factors governing the translation. These facts led to the conduct of the project within the framework of descriptive translation studies and the adoption of the thesis and the formulation of the aims as stated above. The project is a descriptive-qualitative case study, based on interpretative epistemology, and applies comparative and causal models of translation. Fifteen segments of translation are analysed with the framework of Systemic Functional Linguistics (SFL) to produce profiles of the functional elements in question employed in the source and target segments. The profiles in Aveling's and McGlynn's target segments are each compared with their original counterparts. The results are analysed with a combination of Nida's and Newmark's classifications to establish the translation methods. To identify some of the macro factors underlying the translators' choice of method, interview and written source data are analysed. The analysis is supported by a combination of the descriptive theories of Polysystem, Descriptive Translation Studies, and Translation as Rewriting, and the prescriptive theory of Skopos. The project establishes that Aveling's and McGlynn's translations have been produced with the methods of formal-semantic translation and dynamic-communicative translation respectively. Aveling's choice of method is influenced by, among other factors, personal aspects, the purpose of the translation, and the type of target readers while McGlynn's choice is influenced by, among other factors, personal aspects, the type of target readers, and the oral quality of Perburuan. These findings support the thesis. The fact that the translation methods and their underlying factors have been successfully established means that the framework developed to establish them has proven to be applicable. The results show that the combination of descriptive and prescriptive theories of translation, the application of the framework of SFL, and the combination of the analyses of interview and written source data are useful for investigating Aveling's and McGlynn's translations. Therefore, the framework developed and applied in the project can serve as a model for other descriptive studies of literary translation.
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Marais, Guillaume François. "M.E.R. se beskouing van die Afrikaner en afrikanernasionalisme vergeleke met die beskouinge van N.P. van Wyk Louw, J.J. Degenaar en J.C. Steyn." Thesis, 1992. http://hdl.handle.net/10500/18122.
Full textAbstract:
Die hooffiguur is mev. Maria Elizabeth Rothmann (1875 1975), in die
Afrikaanse letterkunde alombekend as M.E.R. Die sleutelbegrippe is Afrikaner
en Afrikanernasionalisme. Oor die betekenis van die benaming Afrikaner is
daar meningsverskil, maar hier beteken Afrikaner 'n blanke Afrikaanssprekende.
Afrikanernasionalisme is oor die afgelope eeu deur leiers soos Kruger, Steyn,
Reitz, De la Rey, De Wet, Hertzog, Malan, Strydom en Verwoerd uitgespel.
Die tweede hoofstuk bevat 'n aantal verteenwoordigende skrywers en politici se
beskouinge oor die Afrikaner en Afrikanernasionalisme. In die derde hoofstuk
word M.E.R. se beskouinge in die verband behandel en vergelyk met die menings
van Van Wyk Louw, 'n geslag na haar, en J.C. Steyn, 'n geslag na Louw.
Degenaar, gebore twee dekades na Louw en 13 jaar voor Steyn, word vernaamlik
as klankbord betrek omdat sy siening radikaal verskil van M.E.R., Louw en
Steyn s 'n, hoewel Louw na die begin van die jare sestig veel meer "liberaal"
geword het.
Voorts word M.E.R. se eerstehandse vertellings oor Kruger, Steyn, Hertzog en
Verwoerd aan die aanvaarde kenmerke van goeie biografie gemeet. Waar moontlik
word haar siening met die drietal vergelyk. 'n Volgende hoofstuk gaan oor
M. E. R. se taksering van en deernis vir brandarm Afrikaners, soos vervat in
Deel V B van die Carnegie Verslag. Haar verklaring van die oorsake van
Afrikanerarmoede word uitgespel. Ook haar betrokkenheid by die Afrikanerkind
deur haar talryke kinderboeke word toegelig. Dan volg 'n hoofstuk oor M.E.R.
se siening van die Afrikaner se godsdiens.
die beurt, waarop M.E.R. se My beskeie
Voorts kom volkereverhoudings aan
deel as outobiografie van 'n
Afrikanervrou bespreek word. Die laaste twee hoof stukke gaan oor die viertal
se taal en styl, en~as leermeesters van die Afrikanervolk.
Ten slotte word die vier se beskouinge saamgevat. M.E.R. en Steyn glo aan die
selfbeskikkingsreg van die Afrikaner. Sedert die begin van die jare sestig
het Louw beweer dat die Kaapse bruinmense deel van die Afrikanervolk uitmaak,
maar dat daar gebiedskeiding met die swart volke moet wees. Degenaar bepleit
'n unitere staat met die nodige verskansings van regionalisme, 'n handves van
menseregte en 'n onafhanklike regbank.Pride of place belongs to Mrs Maria Elizabeth Rothmann (1875 - 1975), in Afrikaans literature widely known as M.·E.R. The key conceptions are Afrikaner and Afrikanernationalism. Theye are differing opinions about the meaning of the name Afrikaner, but for our purpose it means an Afrikaans speaking white. Afrikaner nationalism has been defined over the past century by leaders like Kruger, Steyn, Reitz, De la Rey, De Wet, Hertzog, Malan, Strydom and Verwoerd. The second chapter portrays the views of some representative authors and politicians on the Afrikaner and Afrikaner nationalism. In the next chapter M.E.R.'s opinion in this regard is discussed and compared and contrasted with the opinions of Louw, a generation after her, and J.C. Steyn, a generation after Louw. Degenaar, born two decades after Louw and thirteen years before Steyn, is used mainly as resonator because his views differ radically from the other three. although Louw turned more "liberal" since the early sixties. Forthwith M. E .R. 's first-hand narratives about Kruger, Steyn, Hertzog and Verwoerd are tested by the accepted standards of good biQJZraphy. Where L.o.tw) Sbe-1vi ....a ~~tLLy. possible her views are compared with those of the trio,.., The next chapter treats M.E.R. 's estimate of and compassion with desperately poor Afrikaners, as portrayed in her Chapter V B of the Carnegie Commission Report. Her indication of the causes of Afrikaner poverty is noted. Her concern with Afrikaner children by way of her many children's books occupies a subsequent chapter. Then follow her views on the Afrikaner's religion and on racial relations, whereafter her My beskeie deel (My allotted portion) is assessed as the autobiography of an Afrikaner woman. The last two chapters discuss the language and style of the four writers concerned as well as their role as teachers of the Afrikaner nation. In conclusion their views are summarised. M.E.R. and Steyn believe in the Afrikaner's right of self-determination. Since the early sixties Louw has regarded the Cape Coloureds as part of the Af rikanervolk, al though he has advocated territorial separation of the Black peoples. Degenaar is in favour of a unitary state entrenched by regionalism, a human rights charter and an independent judiciary.
Afrikaans & Theory of Literature
D. Litt. et Phil. (Afrikaans)
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Linscott, James Alfred. "Voices form the margins : an analysis of the cultural politics of E.M. Forster's fiction." Thesis, 2002. http://hdl.handle.net/10413/3398.
Full textAbstract:
This thesis seeks to offer an explicitly political reading of E.M. Forster's fiction, focusing on three of his novels (A Room with a View, Howards End and Maurice) and two of his short stories ("The Life to Come" and "The Other Boat"). Throughout I have used a combination of close reading techniques and elements of critical theory to show how Forster's fiction is characterised by a prolonged and ongoing analysis of the political notion of the intersection of mainstream and marginal cultures. In this regard, I argue that the majority of Forster's novels and short stories are concerned
with issues surrounding characters who are somehow marginalised from mainstream power structures and who then have to rebel against the cultural centre in their personal quests for political autonomy. It is this cultural issue, I argue, that gives Forster's novels and short stories their thematic unity and continuity. In probing this theme, I hope to move beyond restrictive (and often reductive) liberal humanist styles
of criticism, which tend to downplay the political implications of Forster's fiction by fore grounding only the metaphysical questions posed by his writing.
However, this thesis is also informed by certain deconstructive theoretical
concepts, which I have loosely drawn upon in tracing the development of this theme. In particular, I argue throughout that the oppositional quality of the novels and short stories identified by the liberal humanist critics is only truly evident in the early novels, such as A Room with a View. In the later novels, I argue, it is evident that Forster had significantly re-evaluated his understanding of the relationship between the dominant culture and its dissident, subordinate subcultural strands, and that he had begun to conceive of the interaction between the two in a vastly more fluid and
pluralistic manner than has been acknowledged by earlier critics. In particular, Forster seems to apprehend in the later works the manner in which a subject can be simultaneously both at the centre and the margins of hislher respective cultural system. It is for this reason that I stress that Forster sees the relationship between mainstream and marginal cultures as an intersection rather than an opposition. I also stress throughout this thesis the fact that the mainstream/marginal theme extends beyond issues raised in the novels and short stories and includes the author himself. As a male homosexual living in a sexually repressive society, Forster was
himself a marginalised member of society, and this cultural positioning must therefore be seen to infonn the themes raised in his writings. However, as a middle-class male, Forster was himself also an empowered subject, and his writing thus also reflects his own complicity in the power structures he was seeking to subvert. This is particularly evident when one considers the recurrent misogyny his novels and short stories display. In addition, Forster's particular historical positioning as an early twentieth
century writer means that his novels resonate with several of the non-literary discourses so prominent in the period, such as feminism and sexology. It is when one considers the manner in which the novels actively engage with these non-literary discourses that the considerable political invective of Forster's writing becomes apparent.
In the light of the issues outlined above, I interpret Forster's novels as an
attempt on the author's part to vocalise the feelings, hopes and aspirations of those groups somehow marginalised from the dominant culture.Thesis (M.A.) - University of Natal, Pietermaritzburg, 2002.
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Bahari, Razif Bin. ""Through our own looking glass" : re-viewing history, language and gender in Pramoedya Ananta Toer's Buru tetralogy." Phd thesis, 2001. http://hdl.handle.net/1885/149765.
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McLennan, Chelsea J. "Guilt and redemption in a national eulogy : President Obama's "Together We Thrive: Tucson and Arizona" address as a call for mortification." Thesis, 2012. http://hdl.handle.net/1957/29510.
Full textAbstract:
On January 8th, 2011 tragedy struck in Tucson, Arizona. A gunman opened fire on Representative Gabrielle Giffords' "Congress on Your Corner" event, wounding thirteen and killing six ("Arizona Shooting"). Four days later, President Obama spoke to a grieving crowd at the University of Arizona's McKale Memorial Center. This study seeks to demonstrate how the dramatistic process and the pentad provide insight into how Obama guides the nation through the process of relieving the guilt. Specifically, Obama's call for mortification instead of scapegoating as the means for victimage is examined in light of the context and organizational structure of the speech. In addition, a pentadic analysis of the speech is conducted, showing Obama's stress on the agent-agency ratio and a corresponding idealist-pragmatist outlook. Finally, conclusions are drawn about what this study adds to the academic literature on national eulogies, the presidency, and rhetorical studies at large.Graduation date: 2012
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Bradley, Jocelyn. "An analysis of interpretations of F.M. Dostoevsky's the devils by soviet literary criticism during glasnost (1985-1991)." Thesis, 2016. http://hdl.handle.net/10539/20895.
Full textAbstract:
A thesis submitted to the Faculty of Arts, University of the Witwatersrand,
Johannesburg, in fulfilment of the requirements for the Degree. of Master of Arts
in Russian Studies.
Joharmesburq, 1995This thesis undertakes to examine the interdependence of ideology and literary scholarship, in particular regarding the legacy of F.M. Dostoevsky, in the Soviet Union; and to investigate the reflection of political and ideological agenda in Soviet literary criticism's interpretations of Dostoevsky's novel, The Devils during the era of glasnost, 1985-1991. I shall isolate, identify and describe the principal, ideological trends reflected in literary critiques and analyses of this novel, published in the Soviet Union during this specific period of time. My thesis will build on and develop previous research conducted around the analysis of Ideological trends in the Soviet Union through a study of literature and official literary criticism. Western commentators, such as B J.Simmons,V. Seduro, and H. Mondry have demonstrated the correlation between. general shifts in Party domestic and international policy and the ideological viewpoints expressed in literature and literary criticism. They have found it to be a valid practice to analyse certain political, social and ideological factors in the Soviet Union through a close study of literature and literary criticism. In continuing this research, I shall demonstrate that Soviet literary criticism during glasnost could still be regarded as a mirror of political and ideological changes in society, and that Soviet criticism's interpretations of Dostoevsky's The Devils could once again be used to help distinguish, delineate and clarify the ideological trends that existed in Soviet Society during this era. I shall begin my analysis with a consideration of the effects of Gorbachev's glasnost reforms on Soviet culture in general, and on literary cd]~'cal practice in particular; and of the role that literary criticism played in Soviet society during this area. I shall then proceed to a brief historical overview of interpretations of The Devils by Russian and Soviet literary critics, from its publication until the eve of the glasnost reforms, This will demonstrate both the manner in which literary criticism has mirrored Ideological trends in the USSR, and the validity of centring my research on this novel. From there, I shall turn to an examination of how interpretations Offered by Soviet literary critics of The Devils, as well as attitudes expressed by them regarding the writer's world outlook, reflected the ideological trends that existed In Soviet society during glasnost. The interpretations to be analysed will be taken from a broad range of Soviet literary periodicals, mono graphs, and discussions, published in the Soviet Union between 1985 and 1992