Dissertations / Theses on the topic '1940-1989 Criticism and interpretation'
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Strazds, Robert. "Contemporary Russian Soviet women's fiction, 1939-1989." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60088.
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A number of critics have observed that there is no tradition of women's writing in Russian. The writings of Lydia Chukovskaya, I. Grekova and Tatiana Tolstaya--the principle subjects of the present work--partially contradict this perception, and defy the restrictions imposed by ideological authoritarianism and of gender.All three writers describe aspects of the Soviet, and human, condition, in unique ways. Lydia Chukovskaya's fiction portrays women, paralyzed by the scope of the Stalinist terror, who attempt to survive with dignity and accept their individual responsibility. I. Grekova writes about single women who maintain their autonomy through a balance between their professional and domestic lives. Tatiana Tolstaya's characters inhabit an atmosphere of lyrical alienation from which there is no exit.
This study examines in detail the work of these writers in the context of other Soviet men and women writers, as well as in the light of Western, feminist thought.
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Pupo, Mark. "Homo Faber : Edmund White by Edmund White by Mark Pupo." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0022/MQ50560.pdf.
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Fraser, Graham 1966. "The self-conscious narrator in Beckett's trilogy /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59888.
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This thesis examines Beckett's trilogy as a work of metafiction, approaching each novel through its primary metafictional device, the self-conscious narrator. Since the narrators are aware of their roles as story-tellers, the examination is carried out in light of Beckett's pronouncements on the nature of art and the artist. Not only are the narrators found to meet Beckett's criteria for artists and artistic development, but Beckett's aesthetic is seen virtually to require self-consciousness. In their situations, their relationship to the audience (both reader and narratee) and the nature of their tales, the self-conscious narrators follow the artistic trajectory Beckett maps out in his critical writings. As Beckett's aesthetic is fulfilled, the narrators' increasing self-consciousness intensifies the metafictional aspects of the trilogy. The trilogy is thus a demonstration of Beckett's self-conscious aesthetic--a descent into reflexivity on the part of the narrators, and through the narrators, on the part of trilogy as a whole.
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Mcavoy, Meghan. "Critical nationalism : Scottish literary culture since 1989." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/23242.
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This thesis is a critical study of Scottish literary culture since 1989. It examines and interrogates critical work in Scottish literary studies through a ‘critical nationalist’ approach. This approach aims to provide a refinement of cultural nationalist literary criticism by prioritising the oppositional politics of recent Scottish writing, its criticism of institutional and state processes, and its refusal to exempt Scotland from this critique. In the introduction I identify two fundamental tropes in recent Scottish literary criticism: opposition to a cultural nationalist critical narrative which is overly concerned with ‘Scottishness’ and critical centralising of marginalised identity in the establishment of a national canon. Chapter one interrogates a tendency in Scottish literary studies which reads Scottish literature in terms of parliamentary devolution, and demonstrates how a critical nationalist approach avoids the pitfalls of this reading. Chapter two is a study of two novels by the critically neglected and politically Unionist author Andrew O’Hagan, arguing that these novels criticise an insular and regressive Scotland in order to reveal an ambivalent, ‘Janus-faced’ nationalism. Chapter three examines representations of Scottish traditional and folk music in texts by A. L. Kennedy and Alan Bissett, engaging with the Scottish folk tradition since the 1950s revival in order to demonstrate literature and music’s ambivalent responses to aspects of literary and cultural nationalism. Chapter four examines texts by Janice Galloway, Alasdair Gray and James Kelman, analysing the relationships they construct between gender, nation and class. Chapter five examines three contemporary Scottish texts and elucidates an ethical turn in Scottish literary studies, which reads contemporary writing in terms of appropriation and exploitation.
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Bonk, James Bruce. "Zheng Zhenduo and the writing of literary history in Republican China (1920-1940)." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99358.
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This thesis examines the institutionalization and practice of literary historiography in Republican China through the writings of Zheng Zhenduo (1898-1956). On the basis of a careful reading of Zheng's three book-length histories of Chinese and world literature, written from the early 1920s to late 1930s, the thesis questions the characterization of Republican literary historical scholarship as simply iconoclastic (vis-a-vis Chinese tradition) or derivative (vis-a-vis the West). It shows that Zheng's literary historiography was actually comprised of multiple and sometimes contradictory approaches to the past. These approaches were shaped, on the one hand, by the demands of a professional discipline that was constructed on the ideal of a universal literature but also faced with the task of integrating the Chinese people into history; and, on the other, by a confrontation and creative negotiation with earlier readings and valuations of Chinese literature.
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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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Crous, Matthys Lourens. "Die diskoers van Antjie Krog se Lady Anne (1989)." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/16085.
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Thesis (DLitt)--University of Stellenbosch, 2002AFRIKAANSE OPSOMMING: Die ondersoek in hierdie studie sentreer random die diskoers in Antjie Krog se sewende digbundel, Lady Anne (1989). Die ondersoekprableem is die vraag na die wyse waarop die diskoers van hierdie teks georden en' geproduseer word. Foucault se teorie oor diskoersanalise word as kritiese werktuig gebruik by die beantwoording van hierdie vraag. Foucault (1981) omskryf diskoers onder meer as die sosiale gebruik van taal gesitueer binne bepaalde kontekste en verbonde aan spesifieke instansies. Volgens Foucault vertoon diskoers 'n innerlike orde of formasie wat argeologies opgediep kan word; dit het 'n regulerende funksie wat nie net betekenis afbaken nie, maar betekenis praduseer in die positiewe sin van die woord (Foucault, 1981). Wanneer hierdie regulerende funksie genealogies ontleed word, blyk dit dat diskoers mag uitoefen deur die meganismes van kennis, waarheid en self (Foucault, 1980), Diskoers artikuleer kennis wat die self die waarheid oor die self toe-eien. Dit roep op sy beurt weer die prableem van vryheid en politieke verset op. Die ondersoek fokus op die volgende vraagstukke random die diskoers in Lady Anne: die diskursiewe patrone in die teks; die beperkinge wat op die diskoers geplaas word (Foucault, 1981); die outeursfunksie soos beskryf deur Foucault (1979); die fiksionalisering van die lady Anne Barnard-geskiedenis aan die hand van die genealogiese benadering (Foucault, 1970; 1972). Daar sal ook ingegaan word op die verestetisering van die politieke diskoers in Suid-Afrika, asook op die kwessie in watter mate daar sprake is van stemgewing aan die Ander. Die sentrale vraagstuk wat ondersoek word, is: wat is die posisie van die wit skeppende vrau in Suid-Afrika en hoe word hierdie posisie ingeskryf in die diskoers van die Afrikaanse letterkunde? In samehang hiermee word gelet op kwessies soos subjektiwiteit, beskrywing van die objek, asook die subjek se posisie met betrekking tot die tradisie waarin sy die teks inskryf.
ENGLISH ABSTRACT: This dissertation centers on the discourse in Antjie Krog's seventh volume of poetry, Lady Anne (1989). The central thesis of the dissertation is to analyse the way in which the discourse of the text under discussion is being ordered and produced. The theoretical approach is based on Foucault's discourse analysis. Foucault (1981) defines discourse as, among others, the social usage of language within specific contexts and as part of specific institutions. According to Foucault, discourse has an internal order or formation which one can reveal by way of an archaeological approach; it also has a regulatory function which not only delineates meaning, but produces meaning in the more positive sense of the word (Foucault, 1981). If one analyses this regulatory function by way of a genealogical approach, it appears as if discourse exercises power over mechanisms such as knowledge, truth and self (Foucault, 1980). Discourse articulates knowledge that the self claims as a particular truth. This calls to mind issues such as the problem of freedom and political resistance. This dissertation focuses on the following issues pertaining to the discourse in Lady Anne: the discursive patterns in the text, the limitations placed on the production of discourse (Foucault, 1981), the author function as used by Foucault (1979), the fictionalization of the history of Lady Anne Barnard by means of a genealogical approach (Foucault, 1970; 1972). Another pertinent issue that will be analysed is the aestheticisation of the political discourse in South Africa, as well as the manner in which a voice is given to the so-called Other. The central issue of this investigation is the following: What is the position of white creative women in South Africa and how is this position being inscribed into the discourse of Afrikaans literature? Concomitantly, issues such as subjectivity, the description of the object, as well as the subject's position within the literary tradition will be analysed.
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Buis, Johann S. "Hindemith and early European music in the United States (1940-53)." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833671.
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Paul Hindemith (1895-1963)--composer, teacher, and performer of early music--was one of the inaugurators of the early music revival in the United States. During his tenure at Yale University (1940-53) Hindemith directed concerts of primarily medieval and Renaissance music in 1941 (Tanglewood), 1945-47 (Yale), 1948 (Yale and the Metropolitan Museum of Art), 1950 (Harvard), 1951 and 1953 (Yale and the Metropolitan Museum of Art). He participated in a concert of 17th-century music at Yale in 1943. The success of these performances gave Hindemith national recognition. He was able to establish these concerts as the result of self-education and relentless determination. Although he was not part of the burgeoning collegium musicum movement in Germany he directed the Yale Collegium Musicum unhindered, for the most part, by the disastrous effects of World War II. Neither before nor after his tenure at Yale did early music performance form a significant part of his life.Chapter 1 focuses on relevant issues in Hindemith's background while in Germany. Using Stephen Hinton's analysis of the idea of Gebrauchsmusik, this chapter shows that although Hindemith denounced the term "Gebrauchsmusik" as a slogan, his early music performances emerged from the same Gebrauchsmusik, (music-for-amateurs) philosophy. The term "Gebrauchsmusik" appears in this a dissertation as a favorable "pre-Nazi/Weimar Republic" concept; a philosophical construct which formed the basis of Hindemith's early music performances in the United States.Chapter 2 deals with Hindemith's advocacy of early music in the United States. This chapter also includes discussions on the public reception of Hindemith's early music programs, as well as the work of contemporaries during that phase of the early music revival in the United States. The following chapter is an evaluation of Hindemith's recordings of two Yale Collegium Musicum concerts, his use of historical instruments and his performance scores. The evaluation of Hindemith's performance scores centers primarily around French dances which he performed on period instruments in 1948 and their adaptation for modern instruments in his Suite franzoesischer Taenze (1958). The final chapter is a reflection upon the issues of Gebrauchsmusik, and historicity in Hindemith's early music performances. The appendices contain programs, personnel and repertoire lists.School of Music
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Kok, Marina Susan. "An investigation of masculinity in J. M. Coetzee's disgrace (1999)." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/783.
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The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.
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Makhanya, Phylacia Nozipho. "Ucwaningo olunzulu ngemvunulo yezinkondlo zika-D.B.Z. Ntuli, encwadini ka L.T.L. Mabuya: Ilaka lokulangazelela." Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/1124.
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Submitted to the Faculty of Arts in fulfillment of the requirements of the Honours Degree in the Department of African Languages at the University of Zululand, South Africa, 1997.Lolu cwaningo luhlose ukukhanyisa ukuthi ubunkondlo butholakala kanjani enkondlweni. Luzophawula ngezinyathelo ezithathwa umhluzi uma ehluza inkondlo. Lolu cwaningo luzobheka nokubumbeka kwengaphandle lalezi zinkondlo ezilandelayo : Inhlekelele YaseCoalbrook, Sithi Halala, Kuyona Ie ngabadi. Luhlose ukuveza izinto ezithatha amehlo abafundi. Igama elithi izinto liqondise ezigabeni ezakha inkondlo. Uma uzibheka zibunjwe ngezindlela ezahlukene. Libuye liqondise emigqeni eyakhe inkondlo. Le migqa yakhiwe ngenani elahlukene lamagama. Uma weqisa amehlo esakhiweni salezi zinkondlo, uthola ukuthi izinhlamvu ezakhe amagama nazo zehlukene ngamanani. Ekujuliseni amehlo uyakubona ukuvumelana nokuxhumana komsebenzi wale mbongi.
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Panjvani, Cyrus. "Rule-following : conventionalism, scepticism and rationality." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/12950.
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The thesis argues, in lie main, for both a negative and positive agenda to Wittgenstein's rule-following remarks in both his Philosophical Investigations and Remarks on the foundations of Mathematics. The negative agenda is a sceptical agenda, different than as conceived by Kripke, that is destructive of a realist account of rules and contends that the correct application of a rule is not fully determined in an understanding of the rule. In addition to these consequences, this negative agenda opens Wittgenstein to Dummett's charge of radical conventionalism (a charge that also, but differently, applies to certain mid-period views and this is addressed in the first chapter). These negative consequences are left unresolved by Kripke's sceptical solution and, notably, are wrongly assessed by those that dissent from a sceptical reading (e.g., McDowell). The positive agenda builds on these negative considerations arguing that although there is no determination in the understanding of a rule of what will count as a correct application in so far unconsidered situations, we are still able to follow a rule correctly. This seems to involve an epistemic leap, from an underdetermined understanding to a determinate application, and, in respect of this appearance, involves what Wittgenstein calls following a rule "blindly" in an epistemic sense. Developing this view, of following a rule blindly, involves developing an account of an alternative rational response to rule instruction, one that need not involve a role for interpreting or inferring, but all the same allows for correctness in rule application in virtue of enabling agreement in rule application.
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Hellman, Thomas. "Beckett, Babel et bilinguisme, suivi de, Espaces." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79945.
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Critical essay. Soon after the end of the Second World War, Samuel Beckett began producing French and English versions of each of his works. This raises interesting questions concerning the relationship between two languages and two texts within one literary work. Bilingualism is an essential dimension of Beckett's "oeuvre" which pushes the very limits of literature and explores essential aspects of language, identity and creation.Creative writing. I was born in Montreal of a French mother and a father from Texas. My work in creative writing consists of six short stories set between the three geographical poles of my existence: Quebec, the United States and France. I also wrote a French and English version of my short story entitled The Ghost of Old Man Beck. These stories explore, on a more personal and creative level, the questions of bilingualism, identity and creativity raised in my critical essay.
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Brown, Peter Robert 1963. "Narrative, knowledge and personhood : stories of the self and Samuel Beckett's first-person prose." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35856.
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This dissertation offers both a theoretical investigation into the relationships between narrative, knowledge and personhood and a literary critical analysis of a group of Samuel Beckett's works in which narrative, knowledge and personhood are the central themes.I present an account of the notion of narrative and explore the nature of justified narrative assertions. I then turn to skeptical and anti-realist arguments about the ability of narratives to represent truthfully the world. Such arguments are widespread in postmodernist and poststructuralist circles, and in order to evaluate them, I consider particular arguments of Jean-Francois Lyotard, Christopher Norris and Hayden White, all of whom question the ability of narratives to be true. The positions of these theorists rely upon deep conceptual confusion, and, after sorting out their claims, I conclude that they offer no compelling reasons to doubt that narratives can accurately and truthfully represent the world.
Next, I offer an analysis of the relationship between the notion of personhood and narrative. I argue against postmodernist and poststructuralist critiques of subjectivity, and, drawing on the work of various contemporary philosophers, I defend notions of subjectivity and selfhood while acknowledging and examining the essentially narrative nature of such phenomena. The concept of a "personal history" receives detailed analysis, as does the notion of a "situated self." While agreeing with particular criticisms of what is often called the "modern self," I argue that there are specific normative projects of modernity, namely autonomy and self-realization, that are worth preserving.
Finally, I explore the themes of narrative, knowledge and personhood in the nouvelles of Samuel Beckett. These works represent crises of narrative and personhood, and they depict the epistemic and ethical difficulties encountered by persons under conditions of modernity, conditions in which individual lives often lack narrative unity and meaning. I read Beckett as a critic of culture whose work, while deeply critical of certain trends in modern culture, points to the need for individual subjects to find true and meaningful narratives in which they can participate as co-authors.
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Broadfoot, Lisa. "Allegory and the ruins of Walter Benjamin." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60616.
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Walter Benjamin's critical and historical method addresses the problem of conceptualizing a discontinuous history. In The Origin of German Tragic Drama he proposes allegory as an appropriate form for the representation of the past because it drains images of life so that they may be re-presented with the meaning endowed by the allegorist. In a similar way, literary criticism and historical materialism are involved in the process of mortification so that, from the distance of time, truth may be glimpsed. Benjamin privileges the fragmentary form of representation in allegory over the false unity of the artistic symbol. Whereas truth may be fleetingly revealed by the symbol, allegory forces the extended contemplation of history. Benjamin's method is always negative, looking back rather than forward, and his two main preoccupations, Messianism and Marxism, reflect this desire to reclaim the past. Over and above these interests, however, is his profound sense of nihilism in his study of the ruins of human history.
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Vázquez-Medina, Olivia. "Cuerpo presente : imaginería corporal, representación histórica y textura narrativa en Yo el Supremo (1974), Noticias del Imperio (1987) y el General en su Laberinto (1989)." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670014.
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Adam, Huguette. "Les romans préhistoriques de J.-H. Rosny Aîné /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65470.
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Tucker, Amanda. "Godot in Earnest: Beckettian Readings of Wilde." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4248/.
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Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.
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Suzuki-Martinez, Sharon S. 1963. "Tribal Selves: Subversive Identity in Asian American and Native American Literature." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/565575.
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Hamilton, Grant A. R. School of English UNSW. "Beyond representation : Coetzee, Deleuze, and the colonial subject." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22310.
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This thesis concerns the colonial subject, subjectivity, and resistance in postcolonial theory and literature. It argues that contemporary attempts within the practice of postcolonial theory to retrieve a colonial subject from a representation that issues from a dominating colonial discourse can only be met with failure. Thus, this thesis follows Spivak's claim that the colonial subject is merely a production of positions granted by its very representation, which is to say, a given. However, this thesis also recognises that Spivak's assertion cannot account for moments of resistance to colonial discourse that abound in postcolonial literature. As such, this thesis claims that the colonial subject is not wholly given; that if one approaches the colonial subject through Gilles Deleuze's re-writing of subjectivity, demonstrated in the concept of 'the body without organs', then a transcendent configuration of the colonial subject is revealed. In elucidating this claim, this thesis turns to the fiction of South African academic and novelist, J.M. Coetzee. It is argued that Coetzee writes the Other by 'staging it', that is by testing the limits and eventually going beyond the authoritarian regime of representation. Thus, this thesis is constructed by three main chapters that offer both a rethinking of postcolonial theory in light of the work of Deleuze, and a reading of a selected cynosure of texts authored by Coetzee. The first chapter is a reading of Coetzee's Dusklands that concentrates on the body as a site of resistance to the manoeuvres of representation, demonstrating it to be a site that takes authority in the production of truth from the 'objective', structured methodology of reason, while the second chapter offers a reading of Coetzee's Waiting for the Barbarians that interrogates the postcolonial concern with 'space'. It is in this novel that Coetzee renders space in terms of its dynamic relationship with the nomad, which ultimately problematises the colonial endeavour to organise, represent, and thereby, 'know' the world. The final chapter engages Coetzee's Foe by way of a sustained critique of the operation of language, and demonstrates how Coetzee manages to test the boundaries of representation through language use. As such, each chapter offers a specific account of an entire programme that tends towards the transgression of the binds organised by the operation of representation.
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Chung, Ook 1963. "Le discours prophétique dans l'oeuvre de J.M.G. Le Clézio /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34929.
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The objective of this dissertation is to demonstrate the existence of a prophetic discourse in the work of the French writer J. M. G. (Jean-Marie-Gustave) Le Clezio. Within the period of his first books (1963--1973), from Le proces-verbal (The interrogation) to Les Geants (The Giants), Le Clezio systematically adopts a prophetic discourse conveying his personal view of the world.We intend to show that these works form a complete cycle within the broader scope of Le Clezio's writings. At the forefront of these earlier works we find a questioning on the nature of language and the process of writing, the latter being at times disputed and scorned, at others celebrated and inflated. We shall see the profound ambivalence that Le Clezio has towards language, the language being perceived both as a degradation of man's being as well as the sole mean to express the "adventure of being alive".
The first chapter recaps succinctly the evolution of the prophetic terminology up to the modern times, in which it is no longer the pure domain of godly matters. In the following chapters, each of which pertains to a specific work according to their sequence, we aim to show that (1) the prophetic discourse in Le Clezio's earlier works operate as a set of literary devices---narrative strategies, addresses, invocations, sacred themes---and that (2) this discourse takes the shape of a trajectory. As for content, we win demonstrate that (3) Le Clezio's prophetic discourse is the expression of a phenomenological approach positing the individual's consciousness in face of the absolute.
It is this threefold dynamic that we will analyze in the first works of Le Clezio and that we have gathered under the notion of prophetic discourse.
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Cox, Nathalie. "Les passions d'Annie Ernaux : de la biographie a l'âecriture." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5080.
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Dans les livres d'Emaux la quete de la liberte joue un role important et en suivant l'histoire, on decouvre une tragedie dans la vie des personnages. Cette these va examiner les rapports familiaux et le langage d 'Annie Emaux. Par I' autobiographie les romans revelent I' angoisse dans le present de la narratrice qui existe dans le texte par le courant de conscience et coincide avec l'histoire. Les experiences et le vecu sont retransmis par I' ecriture qui recree la realite du temps de sa jeunesse. On pourra demontrer que Annie Emaux a reussit a relier les images au vivant, tout au long de sa carriere. Dans le premier chapitre, on verra comment quelques faits historiques ont influences la societe fran~ise en transition des annees 1914 a 1980 et sont refletes dans la vie des personnages sur trois generations. Nous examinerons le passage de la narratrice a travers l'histoire et le monde intellectuel. Puis, nous verrons qu' elle a ete la seule de toute sa famille a reussir. Dans le deuxieme chapitre une etude psychologique de la famille de la narratrice sera fatte. Dans son enfance le renversement de role des parents et leur limitation sociale a pousse la narratrice vers un detachement familial durant son adolescence et a change son attitude avec les autres. Puis, une alienation s'est developpee en elle durant sa passion avec un inconnu. Dans le troisieme chapitre on etudiera I' evolution intellectuelle de la narratrice a tr avers ce qu' elle apprend et a tr avers les institutions de l 'ecole et l'universite. Dans le quatrieme chapitre, l 'abandon familial et la difference sociale montreront le detachement de la narratrice et son alienation. Puis, elle trouvera un refuge dans l 'ecriture. Dans le cinquieme chapitre le langage oral et ecrit seront analyses. Le style plat transmet par l 'amalgame des mots et des liens linguistiques un nouveau sens linguistique au langage d 'Annie Emaux. Les metaphores, par exemple, le jardin du pere ou les aliments dans I' epicerie sensualisent les mots par une correspondance entre les matieres et les sens.
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Hickey, Sean. "The Vichy regime and its National Revolution in the political writings of Robert Brasillach, Marcel Déat, Jacques Doriot, and Pierre Drieu La Rochelle." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61117.
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This thesis examines the campaign waged against Vichy's National Revolution by Robert Brasillach, Marcel Deat, Jacques Doriot, and Pierre Drieu La Rochelle. It explores the particular issues of contention separating Vichy and the Paris ultras as well as shedding light on the final evolution of a representative segment of the fascist phenomenon in France.
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Slater, Jennifer. "Direct experience of God in contemporary theology." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1016265.
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'Direct experience of God' is a term frequently used by theologians without adequate clarification regarding its meaning. The understanding thereof has become increasingly complicated by the process of secularization. In the 1960's, it was repeatedly asserted that modern people could not have direct experiences of God, albeit that one could still live by faith and by commitment to the way of Jesus in a world in which, it was asserted, "God is dead". This claim, although long predominant, has been challenged by the upsurge of interest in mysticism, both Eastern and Western, and the burgeoning of Pentecostalism and the Charismatic movement, in which circles direct experience of God was frequently claimed. If direct experience of God is something natural to humanity, interpretation of it will vary in exactly the same way as interpretation of all other human experiences. This could be a possible reason for it being so very poorly integrated into everyday life, resulting in the loss of meaning and value.
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Maloney, Cahill B. Claire. "Samuel Beckett and the Irish grotesque tradition." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22606.
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By fusing many of the established hypotheses on the source of the grotesque in Irish literature, this study establishes that these writers' impatience with all boundaries and limitations, physical or mental, led them to exploit the indeterminacy of the grotesque to achieve their particular aesthetic and epistemological objectives.After an initial chapter on the relevant theoretical and national considerations, the prodigious cloacal visions of Beckett and Joyce are compared, with emphasis on their use of the grotesque to demythologize the creative process. A fourth chapter compares O'Brien's and Beckett's exploitation of the grotesque to undermine hegemonic philosophical and epistemological systems.
Like most writers of the grotesque tradition, Joyce and O'Brien assume a degree of moral responsibility by affirming, explicitly or implicitly, some traditional or utopian values and standards, while Beckett's deliberations on the complex relationship between Nature, the mind and the body end in negation, impotence and the hope of silence.
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Hewitt, Avis Grey. ""Myn owene woman, wel at ese" : feminist facts in the fiction of Mary McCarthy." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/862262.
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This study examines Mary McCarthy's three major female-protagonist works of fiction--The Company She Keeps (1942), A Charmed Life (1955), and The Group (1963)--in terms of the author's attitude towards femaleness. It confronts Elizabeth Janeway's assessment in Harvard Guide to Contemporary American Writing (1979) that McCarthy's works need not be reviewed in a survey essay on "Women's Literature" because they are "essentially masculine even if not conventionally so" (345). The thesis is that McCarthy's fiction receives a pattern of criticism faulting its lack of imagination and its inability to create "living" characters precisely because she maintained a high degree of self-censorship and control over parts of her awareness that were not male-identified. She was not free to imagine in areas that might unleash the horrors beneath what Norman Mailer has called "the thin juiceless crust" upon which McCarthy's "nice girls" live their lives.Each novel finds the protagonist at a different stage of modern womanhood and using a variety of male-identified responses. Meg Sargent of Company is a young New York sophisticate dealing with divorce, employment, travel, social life, political activism, casual sexual encounters, and the resolution of childhood trauma through psychoanalysis. Martha Sinnott of Charmed is a married woman returning with her second husband to the bohemian artists' community of her first husband in order to resolve the conflict of literary mentorship and patriarchal dominance that had marked the old relationship. In The Group Kay Strong and eight other Vassar Class of '33 females serve as literary embodiments of the social ailment that Betty Friedan cited in her 1963 polemic, The Feminine Mystique.McCarthy's three autobiographies--Memories of a Catholic Girlhood (1957), How I Grew (1985), and Intellectual Memoirs (1992)--illuminate many reasons for and consequences of her male-identified approach to living and writing. Social context for such a fate stems in part from having come of age in the 1930s, being a member of what Elaine Showalter refers to as "The Other Lost Generation." McCarthy's texts provide literary illustration of a common response to patriarchy.Department of English
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Bernier, Frédérique 1973 Apr 11. "La voix et l'os : poétiques du dépouillement chez Saint-Denys Garneau et Samuel Beckett." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115636.
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This thesis is concerned with the poetics of impoverishment as found in the works of Saint-Denys Garneau and Samuel Beckett. It seeks to shed light on the reactivation of a Christian ascetic heritage within modern writing forms (poetic and narrative) and also, more specifically, to develop a novel analysis of these works from the perspective of their points of overlap. This thesis presents analysis of the relationships between voice and body (part I), of the doppelganger and self-generation figures (part II), of prayer, desert and image motifs (part III) throughout the totality of both corpuses. The comparative reading of the works of Beckett and Garneau highlights the complex relationship they entertain with certain Christian schemes (incarnation, sin, asceticism, kenosis) which they put into play on a properly literary level. This investigation also reveals that, within both works, these Christian schemes echo the aesthetic concerns of modernity (auto-foundation of the subject, authenticity, autonomy and purification of forms).Key terms: Saint-Denys Garneau, Samuel Beckett, literary modernity, asceticism, poverty, doppelganger, Christianism, French-Canadian literature, French literature, Irish literature
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Kuxdorf, Stephanie. "Love in a machine age : gender relationships in the novels and short stories of F. Scott Fitzgerald." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59896.
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The primary purpose of this study is to examine the effects of the social and cultural revolution in post-World War One American society on gender relationships in F. Scott Fitzgerald's novels and a selection of his short stories. In his fictional works, Fitzgerald becomes a kind of social and cultural historian, reflecting the fundamental changes that began to occur in the 1920s. There were many factors that contributed to this Jazz-Age revolution in "manners and morals": the emancipation of women, giving rise to the American New Woman; the influence of Freud and his psychoanalytic theories on the already blossoming sexual revolution; and the mechanization and commercialization of all aspects of life in the machine age, drastically altering the way men and women had traditionally thought, behaved, and, communicated with one another.
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Prothero, James. "The influence of Wordsworth on twentieth-century Anglo-Welsh poets." Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683327.
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Hornby, Catherine Muriel. "A history of confession: the dialogue between cynicism and grace in selected novels of J.M. Coetzee." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1002232.
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In introducing the four novels under discussion as a “History of Confession”, this study explores the resistance to the dominant discourse of ‘history’ offered by the sustained confessions of individuals. In examining Coetzee’s oeuvre it is possible to delineate the outline of a dialogue between cynicism and grace, and the effects of these on the process of confession in each of the works Chapter One, dealing with Age of Iron, draws on Levinas’ theory of ‘the Other’ in order to elucidate the role played by the interlocutor or confessor in the process of confession.The recognition of the passage of the self through the Other is integral to the attainment of a state of grace, without which confession cannot be brought to an end The countermanding claims of the writer's will-to-write and duty to society are illuminated as a source of cynicism which overwhelms the intervention of grace. The Master of Petersburg, discussed in Chapter Two, is a confession of the guilt and despair faced by the writer who sacrifices his soul to answer the urge to write. Chapter Three, which examines Coetzee’s excursion into autobiography, represents a continuation of the confessional trend. The distance between the narrator and protagonist of Boyhood illustrates the convolutions of self-deception in the process of confession. The chapter which deals with Disgrace identifies a new trend in Coetzee’s writing:the concern with animals. Levinas’ theory, which identifies the encounter with the Other as necessary to precipitate an intervention of grace, is again useful in explaining how Coetzee has postulated the unassimilable otherness of animals as primary to human ethical development. This chapter also concludes that Disgrace represents a high point in the recovery of both grace and agency in Coetzee’s oeuvre.The concluding chapter suggests that the accumulation of meanings to the term ‘grace’enables its definition as a semi-religious abstraction. Coetzee suggests that belief in its existence has the power to affect interactions on the physical plane, especially those between the self and the Other.
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Wulf, Catharina. "Desire in Beckett : a Lacanian approach to Samuel Beckett's plays Krapp's last tape, Not I, That time, Footfalls and Rockaby." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59554.
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This thesis argues that desire is a major theme in Samuel Beckett's dramatic works. Central to our analysis is Jacques Lacan's concept of the Desire for the Other, as the outcome of the human subject's division. We will investigate how desire is expressed at the level of Beckett's characters' utterance. The characters' attempts at and inability to achieve a reconciliation with their speech correlate with the impossibility of reunifying Lacan's split subject. The first part of our discussion focuses upon desire-as-paradox--the lack of will to desire and the continuation of desire--in Not I, Footfalls and Krapp's Last Tape, whereas Rockaby and That Time are indicative of the regression of desire leading toward the characters' death. The second part emphasizes the dramatic presentation of these plays, except for Footfalls. It will become clear that desire affects the performance and the audience, thus preventing them from attaining a unified perception of self and other.
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Preuss, Rosemary J., and University of Lethbridge Faculty of Arts and Science. "John Clark : transformation and the void : with a catalogue raisonné." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1994, 1994. http://hdl.handle.net/10133/59.
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The intent of the thesis is twofold: interpretive and documentary. Volume 1 focuses on the work John Clark considered to be his mature oeuvre. The general structure is chronological, with the first three chapters devoted to formative influences, and a further chapter to what Clark had to say about meaning in his own work and that of others. The remaining four chapters offer an interpretation of the mature paintings in terms of two concepts: trasformation and the void. Annotated bibliographies and exhibition lists are included. The catalogue raisonne, volume 2, is an ongoing project to provide as complete a chronological record of Clark's known works as is possible: paintings, drawings (including working studies), prints, and reporduction histories are included. Appendices record missing and destroyed works, a bibliography of Clark's personal library, transcripts of three interviews and a lecture.29 cm.
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Berger, Aimee E. "Dark Houses: Navigating Space and Negotiating Silence in the Novels of Faulkner, Warren and Morrison." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2732/.
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Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.
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Deschamps, Bernard. "Das Nichts der Offenbarung : Sprache und Schrift in der Kafka-Deutung Gershom Scholems und Walter Benjamins = The nothingness of revelation : language and text in the Kafka interpretations of Gershom Scholem and Walter Benjamin." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30158.
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Le present essai propose en premier lieu une analyse de la theorie linguistique de Walter Benjamin telle qu'enoncee dans son essai de 1916, Uber Sprache uberhaupt und uber die Sprache des Menschen. Dans un meme temps, il propose aussi une analyse de la theorie linguistique de la Kabbale telle qu'elaboree par Gershom Scholem tout au long de sa vie, dans un nombre non negligeable de publications, theorie dont il chercha a faire la synthese dans son essai de 1970, Der Name Gottes und die Sprachtheorie der Kabbala.Cet essai se propose ensuite de demontrer comment Scholem et Benjamin ont trouve dans l'oeuvre de Franz Kafka l'expression litteraire de leurs theories linguistiques.
En conclusion, cet essai se propose de demontrer comment Scholem et Benjamin, a partir de leurs theories linguistiques respectives, et malgre la proximite indeniable de celles-ci, en sont venus a interpreter Kafka d'une facon diametralement opposee. Scholem, en effet, voyait dans cette oeuvre l'expression d'une des theories les plus nihilistes de la Kabbale: Die Unvollziehbarkeit der Offenbarung, une negation de la Revelation divine; Benjamin voyait pour sa part chez Kafka l'expression d'une tres mince possibilite de redemption.
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Smuts, Merriman Eckard. "Embedded subjectivity in the work of J.M. Coetzee." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/18698.
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Thesis (MA)--University of Stellenbosch, 2007.ENGLISH ABSTRACT: This thesis is the result of an immersion in the work of J.M. Coetzee. I have taken various of Coetzee’s novels, namely Elizabeth Costello: Eight Lessons, Disgrace, The Master of Petersburg, Foe, Life & Times of Michael K and Slow Man, and constructed readings of these novels from the inside out. The overarching concern of the dissertation is the notion of subjectivity and Coetzee’s methods of representing subjectivity. It is my contestation that the experience of authentic subjective awareness arises from the process of reading itself. It is not a state of being that is described by the text, but rather a layered constellation of substitutive exchanges that emerges from the process of textual relation. The notion of embeddedness serves as a description of the way in which the text materializes this experience of subjectivity. The structure of exploration in each chapter has taken as its paradigm a conceptual concern arising from the text itself. In the first chapter (Elizabeth Costello) the concern is with structure itself. The character of Elizabeth struggles against the limitation inherent in the process of representation; this struggle is read as an indication of authentic subjective experience in the face of reduction to a system of codes. The second chapter (Disgrace) attempts to formulate the dynamic of subjective awareness in romantic terms. I construct a reading of Lurie’s predicament in terms that arise from his conceptual environment, in order to indicate the primacy of textual materiality as the locus of subjective awareness. The notion of the classic informs the third chapter (The Master of Petersburg). I use an essay by Coetzee to delineate a conception of the classic, which is then applied as a theoretical framework for an exploration of Dostoevsky’s pursuit of his stepson. The fourth and last chapter (Foe, Life & Times of Michael K and Slow Man) focuses on Coetzee’s use of the body as a figure for embedded subjectivity. It emerges that the body as a trope of embeddedness forms an important aspect of Coetzee’s work throughout his career. As such it is a very suitable figure for describing the dynamics of embeddedness as a mode of representation that aligns itself with the textual materiality of subjective being.
AFRIKAANSE OPSOMMING: Hierdie tesis het ontstaan as die gevolg van ‘n noukeurige ondersoek na die werk van J.M. Coetzee. Ek het myself laat begelei deur die inhoud van verskeie van Coetzee se boeke, naamlik Elizabeth Costello: Eight Lessons, Disgrace, The Master of Petersburg, Foe, Life & Times of Michael K en Slow Man, om intensiewe lesings van hierdie boeke te konstrueer. Die oorkoepelende bemoeienis van die verhandeling is die konsep van subjektiwiteit en Coetzee se metodes van subjektiewe voorstelling. Ek beweer dat die ervaring van outentieke subjektiewe gewaarwording gesetel is in die leesproses. Dit is nie ‘n toestand van wese wat deur die teks beskryf word nie, maar eerder ‘n verweefde raamwerk van substituwe wisseling wat kom uit die proses van tekstuele relasie. Die konsep van inlywing (“embeddedness”) dien as 'n beskrywing van die manier waarop die teks hierdie ervaring van subjektiwiteit konkretiseer. Die struktuur van ondersoek in elke hoofstuk neem as paradigma 'n konsepsuele vraagstuk wat reeds gesetel is in die teks. In die eerste hoofstuk (Elizabeth Costello) is die bemoeienis met struktuur as sodanig. Elizabeth se karakter stry teen die inperking wat noodwending saamgaan met die proses van voorstelling; hierdie stryd word gelees as 'n aanduiding van outentieke subjektiewe ervaring teenoor die druk van vermindering tot 'n stel kodes. Die tweede hoofstuk (Disgrace) poog om die dinamiek van subjektiewe bewustheid te formuleer in terme wat afkomstig is van die romantiek. Ek konstrueer 'n lees van Lurie se toestand in terme wat kom van sy konsepsuele omgewing, om sodoende die voorrang van tekstuele materialiteit as die lokus van outentieke subjektiwiteit aan te dui. Die konsep van die klassieke belig die derde hoofstuk (The Master of Petersburg). Ek gebruik 'n essay van Coetzee om 'n begrip van die klassieke te formuleer, wat dan toegepas word as 'n teoretiese raamwerk waarbinne Dostoevsky se soeke na sy stiefseun ondersoek word. Die vierde en laaste hoofstuk (Foe, Life & Times of Michael K en Slow Man) fokus op Coetzee se gebruik van die liggaam as 'n figuur vir ingelyfde subjektiwiteit. Dit blyk dat die liggaam as 'n figuur van inlywing 'n prominente aspek van Coetzee se werk vorm deur sy loopbaan. As sodaning is dit 'n baie handige figuur om die dinamiek van inlywing te beskryf as 'n modus van voorstelling wat sigself koppel aan die materialiteit van die teks.
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Divett, Andrew Brennan. "Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston Hughes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955012/.
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Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.
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Springer, Michael Leicester. ""Form fading among fading forms" death, language and madness in the novels of Samuel Beckett." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002240.
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The primary thesis of this dissertation is that the development of narrative strategy and technique through the course of Samuel Beckett’s fictional oeuvre enacts a parody of the Cartesian method of doubt, in which the search for first principles, instead of providing grounds for certainty, is a hopeless, grotesque quest for a self which eludes any and every assertion. My chief concerns are thus, firstly, to explicate and elucidate the nature of such narrative strategies and techniques, and how these can be said to parody epistemological procedure; and secondly, to interrogate the implications of this parody for the epistemological and interpretative endeavour of which the human sciences are comprised. These two issues are explored by way of an examination of Beckett’s earliest novel, Murphy, and the narrative impasse that arises from the contradiction between this work’s largely realist form and quasi-postmodern content. I thereafter argue that the later fiction, most particularly the Trilogy, achieves formal and stylistic solutions to the aesthetic and epistemological challenges raised by the earlier work. Beckett’s fictional oeuvre, I contend, can best be construed as an attempt to attain that which exceeds and escapes narrative in and through narrative, namely madness or death. The achievement of either would entail the obliteration of the possibility of narrating at all, and the novels, engaging in a self-deconstructing endeavour, thus occupy a profoundly paradoxical position. Any attempt to interpret a body of work of this nature can only respond in an analogous manner, by trying to make meaning of the subversion of meaning, and deconstructing the assumptions that inform its procedures. This dissertation argues that it is precisely in the way in which it necessitates such selfreflexive discursive analysis that the import of Samuel Beckett’s fiction lies, and extrapolates the significance of this for an understanding of discourse, literary criticism, and epistemological procedure.
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Crous, Matthys Lourens. "Presentations of masculinity in a selection of male-authored post-apartheid novels." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1672.
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Ayivor, Moses Geoffrey Kwame. "Africa's golden age debunked: a study of the sources of select black African historical novels." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002275.
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The main thesis of this dissertation is that even a casual analysis of African writing reveals that contemporary African literature has and is still undergoing a distinctive metamorphosis. This change, which amounts to a significant departure from the early fifties, derives its creative impulse from demonic anger and cynical iconoclasm and is triggered by the mind-shattering disillusion that followed independence. The proclivity towards tyranny and the exploitation of the ruled in modern Africa is traced by radical African creative writers to an ancient source: the legendary and god-like rulers of precolonial Africa. Ouologuem's Bound to Violence and Armah's Two Thousand Seasons and The Healers hypothesize that past sins begot present sins. The legendary warrior heroes of the past, whose glory and splendour were once exalted in African writing, are now ruthlessly disentombed and paraded as miscreants and despots, who not only brutalized and sold their people into slavery but also ideologically fabricated their own legends and myths in order to maximize their tyrannical power. The preoccupation of these works is, therefore, to divest the ancient heroes of their false glory. contemporary critics tend to perceive this anti-traditional posture purely as a modern trend in African literature. The truth of the matter, however, is that the literary foundations of this anti-nativist/anti-Afrocentric literary tradition were laid by Thomas Mofolo and Sol Plaatje, whose Chaka (1925) and Mhudi (1930) are the precursors. The five primary works in this study parody and veer away from the generally accepted traditional African epic heroism and recorded history towards a communal heroic ideal which celebrates the larger community instead of the single epic heroes normally romanticized in African legendary tradition. These novelists, while dismantling the European and African myths about Africa's Golden Age, also disfigure the often glorified ancient historical landmarks and the fabled heroes of Africa's oral and recorded history. The rationale behind this investigation is the fact that though these works have innovated, assimilated, and parodied the African oral arts, particularly traditional African epic heroism, no detailed study has been made to explore the literary transformation these texts have undergone as written works. Treating African texts only as appendages of Western literature may undermine the ability of the critical evaluations which go into the heart of these texts and unravel their deeper meanings. The outcome of this kind of approach is that pertinent issues of style and theme originating from negro-African metaphysics, oral traditions, and iconography could thereby be left unexplored. Besides, the bulk of the current body of criticism on African literature, particularly on colonial Africa, tends to concentrate on colonialist Christian values and Western literary production models. One of the overriding concerns of this research, therefore, is to veer away from merely rehashing Eurocentric pronouncements on European influences and literary modes parodied by these works, by taking a fresh. look at the texts from the perspective of Afrocentrism and in particular from the point of view of the traditional African oral bards. To this end, therefore, the dissertation is divided into six main chapters and a short concluding chapter: Chapter 1, A Survey of Black Representations of Pre-colonial Africa, functions as an introduction, sketches the European image versus the Black counter-discourse, and locates the study within the current debate on the concept of pre-colonial Africa's Golden Age. Chapter 2, Thomas Mofolo's "Inverted Epic Hero", the nucleus of the study I analyzes the anti-epic and ironic modes manipulated by the text and also maps out the epic generic framework which structures the whole dissertation. Chapter 3, Traditional African Epic Heroism Revised, discusses Plaatje's Mhudi, paying special attention to the text's deployment of the African epic genre as well as the caricaturist and the anti-heroic modes. In Chapter 4, Yambo Ouologuem's Bound to Violence is examined under the title A World Trapped in an Orgy of Violence, Barbarism and Servitude. African oral art is used as the hermeneutic key in unlocking the complexities of Ouologuem's novel. Chapter 5, The African Anti-Legendary Creative Mythology, scrutinizes Armah's Two Thousand Seasons, highlighting, among other topics, Armah's daring innovative stylistic experimentation. Chapter 6, entitled The Akan Iconic Forest of Symbols, deals with Armah' s The Healers, concentrating on the Akan iconographic backdrop which shapes and informs this work. And finally, The Metamorphosis of Traditional African Epic Heroism, the title of the concluding chapter, sums up this dissertation.
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Graham, Lucy Valerie. "The use of the female voice in three novels by J.M. Coetzee." Thesis, Rhodes University, 1997. http://hdl.handle.net/10962/d1002267.
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This study investigates J.M. Coetzee's use of the female voice in In the Heart of the Country, Foe and Age of Iron, and is based on the premise that Coetzee's position as a male author using a female voice is important for readings of these novels. Although the implications of Coetzee's strategy are examined against the theoretical background of feminist or gender-related discourses, this study does not attempt to claim Coetzee for feminism, nor to prove him a misogynist. Instead, it focuses on the specific positional and narrative possibilities afforded by Coetzee's use of a female voice. Chapter One comments on the fact that Coetzee's strategy of "textual cross-dressing" has not been given much critical attention in the past, observing that research on South African literature has largely been limited to studies of racial and colonial problematics. This introductory chapter mentions that the different female narrators in Coetzee's novels articulate aspects of a discourse in crisis, resulting in profound ambivalence in their representation. Chapter Two observes that the female voices in Coetzee's novels invoke the textual illusion of a speaking/writing female body, and explains that this is useful in expressing aspects of what Coetzee refers to as the suffering body. Although Coetzee appropriates a female narrative position and employs certain subversive textual elements associated with "the feminine", attempts made by certain critics to label Coetzee's writing as ecriture feminine are rejected as highly problematic. Instead, the study contends that the femaleness of the narrators relative to "masculine" discursive power enables Coetzee to perform a critique of power "from a position of weakness". Furthermore, the presence of certain "feminine" elements within these narrators suggests Coetzee's affiliation with characteristics derided within phallocratic discourses, and becomes a strategic means of fictive self-positioning, of figuring his own position as a dissident. Chapter Three is a study of In the Heart of the Country, and proposes that Magda is represented as a typical nineteenth century hysteric. Her hystericized narrative is linked to certain avant-garde narratives, such as the nouveau roman and "New Wave" cinematography, both cited by Coetzee as influences on the novel. Furthermore, the novel provides insight into the ambiguous role of the hysteric and dramatises the position of the dissident: on a discursive level Magda's narrative is subversive, and yet in terms of social "reality" her revolt is ineffectual. Chapter Four addresses the issue of author-ity in Foe, and draws on Coetzee's affiliation with Susan Barton, the struggling authoress, whose narrative reveals the levels of power and authority operating within, novelistic discourse when she asks "Who ,is speaking me?". The study observes that Foe also performs a critique of the power-seeking project of liberal feminism, as the novel sets Susan's quest for authorship against the background of a more radical "otherness", that of Friday. Chapter Five asserts that Age of Iron exploits the ethical possibilities of a maternal discourse. Tracing parallels between images of motherhood in psychoanalytic feminism and in Age of Iron, this chapter argues that Kristeva's theory of abjection is relevant for a reading of Elizabeth Curren's position as a mother who has cancer. The childbirth metaphor as it appears in Age- of Iron becomes an alternative and profoundly ethical way of figuring the process of novel writing.
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Ribeiro, Daniel Melo. "Limiares da cartografia: deambulação, arqueologia e montagem no mapeamento de lugares." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21589.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This research deals with communicative and semiotic properties of maps. We investigate alternative mapping practices that encourage new ways of perceiving space, revealing features that are not treated by traditional maps. Considering this motivation, we raise the following question: Which aspects of space could be communicated on a map when the cartographic conventions are questioned? As a corpus, we selected four trends that challenge the cartographic language: map art, locative media, literary cartography, and deep mapping. The selected mapping examples are analyzed through the semiotics of Charles S. Peirce. After this analysis, the research focuses on a trend known as deep mapping, in order to investigate a methodological discussion about mapping places. We propose a model based on three steps: walking, archaeology, and montage. The development of these steps was inspired by the philosophy of Walter Benjamin. We consider that the critique of Modernity developed by Benjamin is linked to the interpretation of urban material culture, whose narrative potential is latent in archaeological fragments. Mapping these fragments begins with a walking exercise, goes through an archaeological reading, and is arranged in a montage procedure. Therefore, the main objective is to propose a model that stimulates the creation of cartographic representations addressing three general properties of deep mapping: the body experience with space (walking), the historical dimension (archaeology) and the critical reading (montage). Based on the arguments developed by Benjamin, we support the hypothesis that the alternative mapping approach underlines the threshold experiences. These experiences are related to the liminal spaces of transition and hybridism, a form of resistance against the cartographic dispositif
Esta tese trata de propriedades comunicacionais e semióticas dos mapas. Investigamos práticas alternativas de mapeamento que incentivam outras maneiras de perceber o espaço. Diante dessa motivação, colocamos a seguinte pergunta: Quais aspectos do espaço poderiam ser comunicados em um mapa a partir do questionamento do código e das convenções da cartografia? Como corpus, selecionamos quatro tendências que exploram os limites da linguagem cartográfica: a map art, as mídias locativas, a cartografia literária e o mapeamento profundo. Os exemplos de mapeamento selecionados são analisados à luz da semiótica de Charles S. Peirce. Após essa análise, a pesquisa destaca a área conhecida como mapeamento profundo, a fim de promover uma discussão metodológica sobre mapeamentos de lugares. Propomos um modelo de mapeamento baseado em três etapas: a deambulação, a arqueologia e a montagem. O desenvolvimento dessas etapas foi inspirado na filosofia de Walter Benjamin. Consideramos que a crítica à modernidade desenvolvida por Benjamin está ligada à interpretação da cultura material urbana, cujo potencial narrativo se encontra latente em fragmentos e indícios de caráter arqueológico. O mapeamento desses fragmentos inicia-se por um exercício de deambulação (ou flânerie), passa por uma leitura arqueológica e se consolida num processo de montagem. Portanto, o objetivo principal é propor um modelo que estimule a criação de representações cartográficas evidenciando três propriedades do mapeamento profundo: a experiência corporal com o espaço (deambulação), a dimensão histórica (arqueologia) e a leitura crítica (montagem). Por fim, fundamentados nos argumentos desenvolvidos por Benjamin, defendemos a hipótese de que os mapeamentos alternativos resgatam as experiências limiares, ligadas aos ambientes de transição e hibridismo, apresentando-se como formas de resistência ao dispositivo cartográfico
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Gagas, Jonathan. "Late Modernist Schizophrenia: From Phenomenology to Cultural Pathology." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/263194.
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EnglishPh.D.
My dissertation demonstrates how representations of schizophrenic characters in novels can combat widespread misuses of psychiatric terms and help readers empathize with mentally ill people if we read these novels with some understanding of psychiatry and the psychoanalysis that influenced them. I undertake a critical genealogy of the schizophrenia concept's migration from the mental health professions to fiction, concentrating on the period from the German invasion of Paris in June 1940 to the events of May 1968, with some attention to contemporary uses of the schizophrenia concept by cultural theorists. Experimental novelists writing during the apogee and aftermath of National Socialism from the 1940s to the 1970s represent schizophrenia as they understood it to express the painful emotions produced by World War II's challenge to the value of experimental writing. In the postwar fiction of Samuel Beckett (1906-1989) and Georges Perec (1936-1982), imitating schizophrenia results in careful disclosures of disintegrating life-worlds: in Beckett's case, the dissolution of the James Joyce circle and the communities of modernist exiles it exemplified, which the German invasion of Paris destroyed; in Perec's case, the deaths of his parents in the defense of France and the Holocaust, and the annihilated six million Jews including his mother. Reading Beckett and Perec's novels develops readers' abilities to empathize with both schizophrenic people and the loved ones of Holocaust victims. While those who avoided the concentration camps like Perec did not experience their horrors firsthand, losing relatives and other loved ones transformed their lives, just as losing two thirds of its Jewish population devastated European culture despite reticence to acknowledge the Holocaust's monstrous effects in the postwar years. Late modernist fiction can thus both help readers understand the Holocaust's cultural impact and foster the skills necessary to understand experiences of severe mental disorder. Such empathic understanding is more humane than romanticizing or stigmatizing schizophrenia or other mental illnesses, and it helps us register the Holocaust's degradation of humanity anew rather than walling off this event in the past or regarding it solely as a Jewish issue. Late modernist fiction provides a more precise, caring alternative to the romanticizing/stigmatizing binary perpetuated by postwar cultural theorists because, from the 1930s to the 1970s, the fiction gradually transitions from reinforcing that binary to enabling empathy for traumatized and mentally ill people. Such fiction anticipated recent phenomenologies of schizophrenia - real experiences of distress and impairment rather than socially constructed concepts of madness - and traumatic shame, an emotional experience of oneself or one's community as inadequate in response to failure, especially the Holocaust as a failure of European culture and modernity. Both traumatic shame and severe mental disorder can make the body conspicuous, alienate people from their cultures, and disintegrate structures of salience and belonging that make sustained relationships and projects possible. Recent existential-phenomenological theories of mental disorder enable reintegrating schizophrenia representation in fiction into the history of literary modernism, especially its concern with historical forces disrupting the minds of individuals. These theories explain changes in mentally ill people's sense of possibilities for developing themselves and relating to others, from the way they experience their bodies to the way they use language. Hence I use these theories to demonstrate how knowledge of schizophrenia enabled post-Holocaust novelists to travesty and transform earlier novelists' uses of fictional minds to interrogate cultural change.
Temple University--Theses
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Melo, Gedivânio Feitosa Mateus. "Caligrafia apagada = silêncio na escrita de Esperando Godot." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284351.
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Orientador: Mario Alberto de SantanaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Considerando o Silêncio como um elemento inerente aos processos de criação do teatro moderno, esta pesquisa dedica-se à investigação do Silêncio na obra "Esperando Godot", de Samuel Beckett, construindo cuidadosa reflexão sobre a sua presença em categorias específicas da dramaturgia beckettiana. As inquietações que surgiram ao longo da pesquisa convergiram para que essa análise se configurasse a partir da seguinte proposição: o Silêncio que subsiste em "Esperando Godot" não se restringe à partitura das rubricas e ao dialogismo pautado na palavra, mas na dialética construída a partir da linguagem de seus elementos cênicos inseridos na escrita e no visual estético. Por ora, esta pesquisa denomina "Caligrafia Apagada" o Silêncio aqui investigado
Abstract: Considering the Silence as an inherent element to creation processes of Modern Theater, this research is devoted to research the Silence on the Play "Waiting for Godot" by Samuel Beckett, building careful reflection on its presence in specific categories in the Beckettiana dramaturgy. The concerns that arose during the research have converged to make this analysis shaped by the following proposition: The Silence that remains in "Waiting for Godot" is not restricted to the punctuation of the rubrics and dialogism based on the word, but in the dialectic constructed from the language of their scenic elements inserted in the writing and the visual aesthetic. For now, this research is called "Off Calligraphy" Silence here investigated
Mestrado
Artes Cenicas
Mestre em Artes
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Lau, Garfield Chi Sum. "The ubiquity of terror: reading family, violence and gender in selected African Anglophone novels." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/262.
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Terror in the African Anglophone novels of Chinua Achebe, Doris Lessing, J.M. Coetzee and Laila Lalami originated as a consequence of a breakdown in the family structure. Traditionally, conventional patriarchy, in addition to securing the psychological and material needs of the family, has served as one of the building blocks of tribes and nations. Since the father figure within narrative is allegorized as a metonym of the state, the absence of patriarchal authority represents the disintegration of the link between individuals and national institutions. Consequently, characters may also turn to committing acts of terror as a rejection of the dominant national ideology. This dissertation aims to demonstrate how the breakdown of the family and the conventional gendering of roles may give rise to terrorist violence in the African setting. To recontextualize the persistence of the Conradian definition of terror as an Anglo-European phenomenon brought to Africa, I contrast the ways in which the breakdown of the family affects both indigenous and Anglo-European households in Africa across generations. I suggest that, under the reinvention of older gender norms, the unfulfilling Anglo-European patriarchy exposes Anglo-European women to indigenous violence. Moreover, I theorize that the absence of patriarchal authority leads indigenous families to seek substitutions in the form of alternative family institutions, such as religious and political organizations, that conflict with the national ideology. Furthermore, against the backdrop of globalized capitalism, commodity fetishism emerges as a substitute to compensate for the absent father figure. Therefore, this project demonstrates the indisputable relationship between the breakdown of the family structure and individual acts of terror that aim at the fulfillment of capitalist fetish or individual desire, and at the expense of national security. Finally, the rhetorical dimension of terror against family and women in Africa will be proven to be the allegorized norm of globalized terror in the twenty-first century.
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Jennings, Hope. "Journey towards the (m)other : myth, origins and the daughter's desires in the fiction of Angela Carter." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/148.
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Moira, Amara 1985. ""Dubliners" / "Dublinenses" : retraduzir James Joyce." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269967.
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Orientador: Fabio Akcelrud DurãoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O fato de existirem sete traduções do "Dubliners" de James Joyce poderia indicar duas situações diametralmente opostas: de um lado, que é possível já existir uma versão cujo brilho seria capaz de apagar, pelo menos temporariamente, a necessidade de se retraduzir os quinze contos; de outro, que há algo neste livro que resistiu e segue resistindo às mais obstinadas tentativas de tradução. O estudo destas traduções, entretanto, demonstrará que poucas são as divergências nas propostas que as animam, diferindo entre si tão-somente no grau de ousadia com que buscaram recriar o "Dubliners" em português: no geral, todas as sete (quatro brasileiras e três lusitanas) seriam filhas dum mesmo desejo de preservar a camada superficial de sentido a qualquer custo, mesmo que isto implique em apagar algumas das características mais intrigantes da prosa joyceana (a saber, a possibilidade de usos verbais dos personagens inadvertidamente despontarem na voz do narrador, as experiências coloquiais que abundam em qualquer dos contos [desvios da norma culta, expressões que não conhecem registro nos principais dicionários da língua, giros lexicais de sentido obscuro, peculiaridades do inglês falado na Irlanda, falas vazias de significação ou demasiado vagas, etc.] e as repetições que criam uma teia de sentidos dentro da obra). Pensando nisto e munido de um conhecimento minucioso tanto do texto inglês quanto do das versões em nosso idioma, empreendi uma nova tentativa de tradução do "Dubliners", tradução de viés acadêmico por vir acompanhada de notas e de um arcabouço teórico sólido, mas que não coloca em segundo plano a necessidade de se recriar a instigância do original irlandês. No que toca à obra joyceana, o crítico Hugh Kenner será uma das pedras de toque do projeto, enquanto que, no tocante à teoria da tradução, Walter Benjamin servirá como iluminador de caminhos. A versão castelhana de Guillermo Cabrera Infante, o genial escritor cubano e um admirador de Joyce, será um modelo de possibilidades criativas: não temos uma versão que se lhe equipare, uma versão que se proponha a criar uma obra rigorosa e de fato literária. Eis o desafio a que me proponho nesta dissertação
Abstract: The fact that there are seven translations of James Joyce's "Dubliners" could indicate two diametrically opposite situations: on the one hand, that it is possible that the splendour of one of these versions would be able to suppress, temporarily at least, the need for another translation; on the other, that there is something in this book that resisted and keeps resisting to the most obstinate attempts of translation. However, the analysis of these translations will show that there are few differences between their proposals: in general terms, all them ( four Brazilians and three Lusitanians) descended from the same desire of preserving at any cost the superficial layer of sense, even when it deletes some of his most intriguing characteristics (as some idioms of the characters appearing in the narrator's voice, or the numerous coloquial experiences, or the repetitions that create a web of signifiers inside the work). With that in mind and provided with a thorough knowledge of the English text as well as of the Portuguese translations, I undertake another attempt to translate it, an academic attempt with plenty of notes and a solid framework but bringing also to foreground the necessity of recreating a literary work, a work that deserves to be called literature. Hugh Kenner will be the touchstone regarding the Joycean criticism, while Walter Benjamin will illuminate new paths in translation studies. Guillermo Cabrera Infante, the bright Cuban writer and an admirer of Joyce, was my model of creative possibilities: we do not have a version as good as this one. This is my challenge with this dissertation
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Hauswedell, Tessa C. "The formation of a European identity through a transnational public sphere? : the case of three Western European cultural journals, 1989-2006." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/789.
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This thesis analyses processes of discursive European identity formation in three cultural journals: Esprit, from France, the British New Left Review and the German Merkur during the time periods 1989-92, and, a decade later, during 2003-06. The theoretical framework which the thesis brings to bear on this analysis is that of the European Public Sphere. This model builds on Jürgen Habermas’s original model of a “public sphere”, and alleges that a sphere of common debate about issues of European concern can lead to a more defined and integrated sense of a European identity which is widely perceived as vague and inchoate. The relevancy of the public sphere model and its connection to the larger debate about European identity, especially since 1989, are discussed in the first part of the thesis. The second part provides a comparative analysis of the main European debates in the journals during the respective time periods. It outlines the mechanisms by which identity is expressed and assesses when, and to what extent, shared notions of European identity emerge. The analysis finds that identity formation does not occur through a developmental, gradual convergence of views as the European public sphere model envisages. Rather, it is brought about in much more haphazard back-and-forth movements. Moreover, shared notions of European identity between all the journals only arise in moments of perceived crises. Such crises are identified as the most salient factor which galvanizes expressions of a common, shared sense of European identity across national boundaries and ideological cleavages. The thesis concludes that the model of the EPS is too dependent on a partial view of how identity formation occurs and should thus adopt a more nuanced understanding about the complex factors that are at play in these processes. For the principled attempt to circumscribe identity formation as the outcome of communicative processes alone is likely to be thwarted by external events.
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Pestana, Fernanda Cristina Martins 1985. "Objetos e afetos." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268934.
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Orientador: Susana Oliveira DiasDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Objetos e afetos propõe a criação de um livro-objeto composto por três cadernos que esboçam, entre escritas e materialidades, a possibilidade de uma pesquisa-desenho. Uma proposta de inventar com a obra Vinte e um veleiros (s/ data), do artista brasileiro Arthur Bispo do Rosário (1909-1989), modos de habitar os objetos e o mundo. Traçar também junto a presença de Bispo na Trigésima Bienal de São Paulo ¿ a iminência das poéticas (2012) as problemáticas que envolvem a crítica e a divulgação cultural das artes visuais. Arte e loucura: palavras que constituem uma figura-Bispo que contorna as tentativas da crítica, entre biografias e bibliografias, de decifrar sua personalidade, encontrar em seus objetos possíveis narrativas que os fixem no compromisso com a representação de um mundo interno e pessoal. Essa pesquisa nasce da inquietação diante desse modelo com o qual a crítica e a divulgação cultural lidam com os feitos das artes visuais. Papel, linha e palavra são os materiais com os quais essa pesquisa pretende transbordar as margens dos dizeres que amarram artista e obra, e desenhar passagens para habitantes outros, entre sentidos e sensações, que movimentem as condições que estabilizam a existência dos objetos. Uma proposta de esboçar nos cadernos desse livro-objeto possibilidades em que os Veleiros, como compostos de sensações, possam ficar de pé sozinhos, independentes de determinações que os fixem a alguma identidade, temporalidade ou territorialidade dada. Investigar os vãos, as passagens, os respiros nos objetos; as vidas que podem acontecer, no encontro das linhas inesperadas e desconhecidas que desenham as páginas dos cadernos. Experimentar tomar o desenho como procedimento de pesquisa, em que a palavra torna-se matéria de experimentação, e escrita/leitura mantêm-se como gestos que rascunham passagens pelas quais seja possível perceber/potencializar uma misteriosa imensidão que atravessa a materialidade dos objetos ¿ afetos, brancos, vazios, silêncios, (in)dizíveis... Uma tentativa de pesquisa-desenho que quer, com a composição desses cadernos, despir os objetos em uma conversa na qual suas materialidades possam dizer-nos de segredos indescritíveis por palavras, ou ainda gotejar fragmentos de textos por/entre aberturas, texturas, plasticidades... Secar significações na possibilidade de compor uma vida outra com a escrita e a materialidade das coisas. Uma vontade de vasculhar modos de habitar uma imensidão de possibilidades, entre afetos, objetos e palavras, que compõem este livro-objeto. Transbordar as margens da própria pesquisa, desenhar passagens com as escritas tecidas
Abstract: Objects and affects proposes the creation of an book object composed of three notebooks drafting, between written and materialities, the possibility of a drawing-research. A proposal to invent with the work Vinte e um veleiros (Twenty-one sailboats) (undated), of Brazilian artist Arthur Bispo do Rosário (1909-1989), ways of inhabiting the objects and the world. Tracing also in Bispo presence at Thirtieth Biennial of São Paulo - the imminence of the poetic (2012) the set of problems involving the critical and cultural divulgation of the visual arts. Art and madness: words that make up a figure-Bispo outlining the attempts of criticism, from biographies and bibliographies, to decipher his personality, find in his work and objects possible narratives that determine them upon a commitment with the representation of an internal and personal world. This research comes from uneasiness about this model with criticism and cultural diffusion which deal with the feats of the visual arts. Paper, line and word are the materials with which this research aims to overflow the banks of the wording tying artist and work, and draw passages to habitants, other, between senses and sensations that move the conditions that stabilize the existence of objects. A proposal to draw, in the roll of that object-book, possibilities where sailboats, as compounds of sensations, can stand alone, independent of determinations which fix them to some identity, temporality or territoriality given. Investigate the gaps, passages, vents on objects; lives that can happen at the meeting of the unexpected and unknown lines that draw the pages of notebooks. Try taking the drawing as a research procedure, in which the word becomes matter of experimentation, and reading / writing remain as gestures sketching passages through which it is possible to perceive / enhance a mysterious immensity that crosses the materiality of objects ¿ affections, white, empty, silences, (un)speakable... A tentative of a drawing-research that want, with the composition of these notebooks, undressing objects in a conversation in which their materiality can tell us of unspeakable secrets by words, or dripping fragments of texts by/ between gaps, textures, plasticity... Dry meanings in the possibility of composing another life with writing and the materiality of things. A desire to scour ways of inhabiting a range of possibilities, between affects, objects and words that compose this book object. Overflowing the banks of the research, draw passages with woven written
Mestrado
Divulgação Científica e Cultural
Mestra em Divulgação Científica e Cultural
48
Mfune, Damazio Laston. "My other - my self: post-Cartesian ontological possibilities in the fiction of J M Coetzee." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002289.
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The central argument of my study is that, among other matters, in his works, J.M. Coetzee could be said to demonstrate that the known Self is an embodied being and is not autonomous. With regard to the latter contention, Coetzee intimates that any two Subjects are implicated in each other’s subjectivities in a reciprocal process that involves what Derek Attridge has called “irruptions of otherness” (2005: xii) into the Subject’s subjectivity. These irruptions, which happen during the encounter, lead to a double loss of autonomy for each Subject and this phenomenon renders the relationship between Subjects non-dichotomus or non-binaric. In other words, the Subject does not produce the contents of his or her consciousness in a sui generis and ex nihilo fashion, and his or her ontological indebtedness to the Other constitutes his or her first loss of autonomy. As for those Others that do possess consciousness, the Subject is implicated in their consciousness and this constitutes the Subject’s second loss of autonomy. These losses counter the near solipsistic Nagelian neo-Cartesianism and paves the way for imagining both intra- and inter-species “intersubjectivity”. It is my view that this double loss of autonomy accounts for the sympathetic and empathetic imagination that we encounter in Coetzee’s fiction. Following Coetzee’s intimations of intersubjectivity through irruptions of otherness, what I see as my contribution to studies on this author’s work through this study is the link I have established between the physicalist strain within the philosophy of mind (whose central thesis is that consciousness is an embodied phenomenon) and a modified Kantian “metaphysics”, especially Immanuel Kant’s conception of concepts as comprising form and content. I have deployed this conception in demonstrating the Subject’s ontological indebtedness to external sources of the content part of consciousness. And, through the Husserlian concept of intentionality, and Kant’s (1929: 27) observation that we cannot have appearances without something that appears, I have linked the Subject to the sources of his or her content and thereby also demonstrated that the Subject is not eternally separated or alienated from those sources. Instead, the Subject is not simply contiguous but coterminous and co-extensive, albeit in a mediated way, with the external sources of the content part of his or her consciousness. Thus, while accepting the thesis of the Other’s radical otherness, I modify the thesis of the Other’s radical exteriority. Ultimately, then, ontologically speaking, the Coetzeean project could be described as one of embodying and grounding the supposedly autonomous, solipsistic and freefloating/disembodied Cartesian Subject. This he does by alerting this Subject, first and foremost, to its embodiedness and, further to that, pointing out its ontological indebtedness to its Others and its implication in the Others’s consciousnesses and so prevent it from continuing with its imperialistic and ecological barbarities. However, ethically speaking, beyond the reciprocal ethics that arises from mutual ontological indebtedness and implication, it is the selflessness that characterises a cruciform logic that comes across as the epitome of Coetzeean ethics.
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Favari, Odair Aparecido Lourenço 1977. "FHC e LULA : a construção do político ideal através das crônicas de Fausto Wolff no jornal O Pasquim 21." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268879.
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Orientador: Mónica Graciela Zoppi FontanaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho de mestrado tem por finalidade mostrar as diferenças encontradas na formação discursiva ¿ por meio da análise de discurso ¿ da produção textual do jornalista e escritor Fausto Wolff durante a sua colaboração no jornal O Pasquim 21. Dividida em dois momentos, a análise terá início com as crônicas produzidas no ano de 2002 e, em seguida, com as de 2003 e 2004 ¿ divididas igualmente em um montante de 13 textos para cada período. As crônicas serão analisadas de acordo com suas condições de produção levando em conta os preceitos da Análise de Discurso Francesa. Por se tratar de um momento histórico, devido a uma sucessão presidencial disputada por dois grandes partidos (PT e PSDB) que se opunham e tentavam demarcar um lugar nas urnas, o que se pretende com os textos analisados, além de definir o lugar da fala do autor e caracterizar a posição de seu discurso, é revelar através das imagens construídas no discurso de FW o político ideal
Abstract: This paper of Master¿s Degree aims to show the differences found at the discursive formation ¿ through the analysis of discourse ¿ of the textual production by the journalist and writer Fausto Wolff during his collaboration on the O Pasquim 21 newspaper. Split in two moments, the analysis will begin with the chronicles produced in 2002 and then with those from 2003 and 2004 ¿ equally split in an amount of 13 texts for each period. The chronicles will be analyzed according to their conditions of production taking into consideration the precepts of the French Analysis of Discourse. As it is a historical moment, due to a presidential succession disputed by two major parties (PT and PSDB) that were antagonists and tried to take their place at the ballot box, the analyzed texts intend, besides defining the place of the author¿s speech and characterizing the position of his discourse, to reveal the ideal politician through the images built in Fausto Wolff¿s discourse
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural
50
Hedström, Julia. "La marche des morts-vivants : une sociologie praxéologique de la médiation critique." Thesis, Lyon 3, 2013. http://www.theses.fr/2013LYO30008/document.
Full textAbstract:
En remontant à la genèse de la réception de La Nuit des Morts-vivants (Romero, 1968) dans la presse américaine entre 1967-1971, la présente recherche vise à élucider sa trajectoire médiatique et, ce faisant, montrer le caractère progressif de sa consolidation en tant que film culte, œuvre d’art et phénomène digne d’intérêt public. L’investigation cherche ainsi à comprendre comment un film qualifié d’« orgie sadique » par sa première critique nationale dans le magazine Variety devient digne d’une projection au Musée d’Art Moderne à New York et donne naissance à de nombreuses interprétations, lancées en 1970 par sa critique européenne. La Nuit sera compris comme un reflet métaphorique à peine déguisé des conflits internes (tensions raciales, l’affaiblissement du patriarcat traditionnel) et externes (guerre du Vietnam) traversés par la société américaine. Au-delà l’immédiateté de ses images violentes de cannibalisme, son contenu sera jugé comme socialement subversif. Au final, ce petit film d’horreur produit par une équipe d’inconnus de Pittsburgh deviendra partie intégrale du patrimoine culturel des États-Unis et donc de la mémoire nationale. C’est dire que le travail des critiques fait bien davantage que d’informer une communauté de lecteurs, spectateurs, auditeurs, au sujet d’une nouvelle sortie culturelle. La tâche journalistique consistant à informer des publics anonymes est également une opération de médiation. En présentant La Nuit des Morts-vivants comme un miroir de la société, les critiques font de l’imaginaire une source de réflexion sur le vivre ensemble. Ce faisant, ils permettent à une collectivité nationale d’une société démocratique caractérisée par la communication de masse de se donner à voir à elle-même et d’avoir prise sur son passé et ses propres actionsThe present research follows George A. Romero’s Night of the Living Dead’s reception in the American press between 1967 and 1971. The analysis of the film’s media career shows how it progressively becomes consolidated as a public phenomenon, cult film and a work of art. The aim of the investigation is to understand by what means a film qualified by its first national review in Variety as an “orgy of sadism” becomes worthy of projection at New York’s Museum of Modern Art and the object of numerous interpretations, initiated by European critics in 1970. Night will be interpreted as a barely disguised metaphor of interior and exterior conflicts that shook the United States in the late Sixties (racial tensions, weakening of the traditional patriarchy, Vietnam War). Beyond the immediacy of its violent imagery of cannibalism, its content will be seen as socially and politically subversive. In the end, this little horror film made by some Pittsburgh-based amateurs will be integrated into United States’ cultural heritage, i.e. the national memory. This indicates that (film) critics do more than just inform their readership about new cultural releases. A journalist’s job consisting of spreading information to anonymous audiences is also an operation of mediation. By presenting Night of the Living Dead as a mirror of the American society, the critics take up the imaginary as a source for reflection on the commonly shared world. By doing so, they enable a national collectivity of a democratic society characterized by mass communication to see itself and to have control on its own history and actions