Dissertations / Theses on the topic '1941-1996 Criticism and interpretation'
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1
Brûlé, Michel 1964. "Partie critique: Réflexion sur "L'art du roman" de Virginia Woolf ;Partie création: ... Dent pour dent." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59534.
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In the first segment of the critical part of my thesis, my thought lays on "L'art du roman" of Virginia Woolf. In the second part, while recognizing certain qualities in the critical work of the English writer, I take side in favor of the literary theories of Celine and Sartre. In the last part of this text, I am exposing my views according to which the Quebec's literature would have greater advantage of being more "engage". The creating part of my thesis takes shape as a "roman engage". The story is about a disillusioned nationalist Quebecer, graduate and unemployed, who decides to change his personality to be like an English Canadian to better start his career in Toronto. Though all the sustained efforts he made to become Canadian, he realizes that he is first and above Quebecer. In ... Dent pour dent, the political message plays a fundamental role, but the esthetical aspects like humor, repetition and rythm are in the first place.
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Sautter, Sabine. "Irrationality and the development of subjectivity in major novels by William Faulkner, Hermann Broch, and Virginia Woolf." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ55379.pdf.
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Elnitsky, Svetlana. "The conflict of the lyric hero and reality in the poetic world of Tsvetaeva = Konflikt liricheskogo geroi︠a︡ i deĭstvitelʹnosti v poėticheskom mire T︠S︡vetaevoĭ." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76527.
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The study has two main aims: it presents an overview of Tsvetaeva's poetic world and it analyses one of her major themes, that of the conflict between the lyric hero and reality.Close reading of Tsvetaeva's entire oeuvre reveals a system of invariant themes, motifs and their concrete manifestations; this system is hierarchically organized.
The study describes the structure of Tsvetaeva's artistic universe: its mutually opposed worlds ("this", non-authentic, and "the other", authentic) and its different types of characters.
Particular attention is given to the peculiarities of Tsvetaeva's lyric hero, notably intensity, the "two-fold nature", and the predilection for conflict. Analysis focuses on various forms of conflict of the lyric hero--with the world, with life, and with the self. This demonstrates the total disharmony of Tsvetaeva's universe.
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Vézina, Anne-Marie. "La femme dans l'oeuvre de Colette et de Virginia Woolf /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65916.
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Polychronakos, Helen. "Reflecting Woolf : Virginia Woolf's feminist politics and modernist aesthetics." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30201.
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No study of Virginia Woolf can do justice to the complexity of her life and work without taking into account the numerous contradictions present in her thought. Though Woolf is recognized as a revolutionary contributor to the development of modernism, it is also important to remember that she was born in 1882 and that the nineteenth century also left its mark on her. The first chapter will examine this double sensibility. The second chapter will trace the development of Woolf's modernist aesthetic. She was obviously rebelling against the realism valued by her Victorian and Edwardian predecessors when she conceived of a literary style capable of abstracting from purely formal elements a more "profound reality" than that captured by objective and representational descriptions. Despite this revolutionary tendency, she constructs a hierarchy of "realities" that is somewhat elitist in its mysticism and runs counter to the revolutionary feminist and Marxist thought evident in so much of her work. The last chapter will examine the contradictions that riddle Woolf's feminist writings.
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Stewart, Janice 1966. "Violent femmes : identification and the autobiographical works of Virginia Woolf, Radclyffe Hall, and Emily Carr." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36712.
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The questions posed and examined in Violent Femmes take their genesis from psychoanalytic arguments which contend that identity is not a stable monadic thing but rather a continuing process of engagement and negotiation between the self and others. Sigmund Freud, Melanie Klein, D. W. Winnicott, and Christopher Bollas, amongst others, have noted the temporary, coalitional, and provisional nature of the ways in which identity is apprehended and experienced. This thesis expands upon such a theoretical framework of identity formation to specifically question the ways in which the formation and maturation of an artistic identity may, in part, be predicated upon the psychological capacity to enact violence within the realm of the imaginary. Violent Femmes examines the complex relationship between psychological violence and artistic identity as that relationship is recorded in the autobiographical writings of Virginia Woolf, Radclyffe Hall, and Emily Carr.This project traces the written vestiges of Woolfs, Hall's, and Carr's individual internalised struggles to formulate an artistic identity in specific relationship with an already established 'model' of artistic creativity and identity. Woolfs, Hall's, and Carr's struggles to claim a personal artistic identity, in some ways from their individual model of the artist, are waged within the minds of the authors themselves. However, the violence enacted within their imaginations---the violence perpetrated against the models of the artist---is thrust into the external world, not only within the writings of these three women, but also by the ways in which each author resolves or fails to resolve her own violent conflict with her imaginary model of the artist.
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Weber, Undine S. "Wolfgang Koeppens auseinandersetzung mit der tradition: aspekte der intertextualität in der so genannten nachkriegs‐trilogie." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020833.
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Wolfgang Koeppen’s three post‐war novels have often been called a trilogy, purely based on their publication in rapid succession in the early 1950s. This study establishes a connection between the works by looking at their roots in Irish, Anglo‐American, French and German modernism, and shows up links between Wolfgang Koeppen, James Joyce, E.E. Cummings, Charles Baudelaire and Thomas Mann. This comparative analysis concludes, by integrating socio‐political factors of life in West Germany after World War II, that Koeppen transcends the modernist tradition – the fact that modernism has become tradition, i.e. it has become “classic”, in contradiction to being “modern”. Koeppen’s texts do not only allude to and build on classic texts and refer to stylistic and narrative modernist elements such as stream‐of‐consciousness and sketching a fragmented society in turmoil; the very act of recurring to myths and texts of the Western canon in order to depict the disaffected individual is an almost post‐modern one.
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Sandison, Jennifer Madden. "Reflections of self : the mirror image in the work of Virginia Woolf." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64108.
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Christodoulides, Nephie J. "Out of the cradle endlessly rocking : Sylvia Plath as mother-creator in light of Julia Kristeva's theory of subject formation." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/3467.
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This introductory chapter aims to briefly address the theoretical approach used in my dissertation, situating Julia Kristeva in relation to Sylvia Plath's work, as well as to place my work among particular psychoanalytic studies of Plath. 'Initiation' further continues by briefly discussing the way primary and secondary data are utilized in the dissertation and developing the rationale behind juxtaposing biographical material (mostly journals and letters) and creative work, life and art. The chapter finishes by giving an overview of the dissertation organization. The purpose of this dissertation is to discuss the notion of motherhood in Sylvia Plath's work in light of Julia Kristeva's theory of subject formation. For Kristeva, as subjects, we are never the absolute masters of our own experiences, but split subjects divided between unconscious and conscious motivations, inhabiting both nature and culture. The subject is not only split, but is also a 'subject in process' ( sujet en proces); s/he is always on trial, tested in a way against his/her various contexts (Revolution in Poetic Language 22,58,233 ). Kristeva is concerned with discourses that call up a crisis in identity and for her the discourse of motherhood is such a discourse. Motherhood is also characterized by an instability as it takes place at the level of the organism, not the subject : 'It happens but I'm not there' ( 'Motherhood According to Giovanni Bellini' 237 ). The maternal body is a place of splitting; it is more of a filter than anything else - a thoroughfare where nature meets culture ( ibid. 238 ). Neither parturition nor the birth itself are final. They are, as it were, beginnings of something other than themselves - the onset of maternity for the woman, the beginning of life for the child (Robbins 138 ).
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Dale-Jones, Barbara. "An examination of dreams and visions in the novels of Virginia Woolf." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002266.
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This thesis explores the importance of the visionary experience in five novels by Virginia Woolf. In her fiction, Woolf portrays the phenomenal world as constantly changing and she uses the cycles of nature and the passing of time as a terrifying backdrop against which the mutability and transience of human life are set. Faced with the inevitability of change and the fact of mortality, the individual seeks moments of permanence. These stand in opposition to flux and lead to the experience of a visionary intensity. Woolf's presentation of time as a qualitative phenomenon and her stress on the importance of memory as a function which allows for the intermingling of past and present make possible the narrative rendering of moments which contradict perpetual change and the rigours of sequential time. Moments of stillness 'occur in the midst of and in spite of process and allow for individual contact with an experience that defies the relentless progression of time. Necessary for this experience is not only memory but also the imagination, a faculty which has the power to perceive patterns of harmony in the midst of the chaos that characterises the phenomenal realm. Fundamental to Woolf's writing, however, is the acknowledgement that visions are fleeting, as are the glimpses of meaning that emerge from them. Therefore, while several of her novels describe the artistic effort to create a structured order as a defense against change, Woolf uses the artist's struggle as a metaphor for the difficulties attached to describing the enigma that is life. None of her artist figures is able to formulate a construction that either sums up life or provides a permanence of vision. This study presents a chronological examination of the novels in order to demonstrate that the changing forms of Woolf's fiction trace the evolution of a style that accurately portrays both the workings of the human mind and the insubstantial and fragmentary nature of life. The chronology also reveals that her novels develop in terms of their presentations of the visionary experience. Woolf's final novel incorporates into its central vision the paradoxical fact of the permanence of time's progression and acknowledges that, beyond the individually mutable life, is a continuum that links pre-history to the future. This notion, which is explored in part in the earlier novels, but developed completely in Between the Acts, suggests that consolation can be found in the greater cycles of existence despite the fact of individual mortality.
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Baldwin, Ruth Margaret Anne. "Redeeming flesh : portrayals of women and sexuality in the work of four contemporary Catholic novelists." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ46315.pdf.
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Van, der Merwe Stephen Gareth. "Generic engineering : a study of parody in selected works of Oscar Wilde, James Joyce and Tom Stoppard." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49971.
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Thesis (MA)-- Stellenbosch University, 2004.Full text to be digitised and attached to bibliographic record.
ENGLISH ABSTRACT: The following thesis develops a theory of parody as a multifunctional practice in relation to selected works of Oscar Wilde, James Joyce and Tom Stoppard. The study discusses parody as a mode of generic engineering (rather than a genre itself) with ideological ramifications. Based on an understanding of literary and non-literary genres as social institutions, this thesis describes the practice of parody as one of engineering generic or discursive incongruity with a particular cultural purpose in mind. In refiguring generic conventions, the parodist simultaneously reworks their implicit ideological premises. Parody hence comes to serve as a means of negotiating with "the world" through generic modification, and the notions of parodic social agency and cultural work are consequently central to this thesis. Focusing on The Picture of Dorian Gray and The Importance of Being Earnest respectively, Chapters Two and Three discuss Wilde's use of parody, and especially parodic "word-masks", for subverting the aesthetic and social conventions of Victorian England, and covertly propagating a gay subculture through parodic injokes. Word-masks - central to Wildean parody - entail the duplicitous use of an object text / genre as a cover under which a parodist hides other meanings. If Wildean parody might be described as claiming a covert agency, Joycean parody must, in contrast, be acknowledged as expressing deep-seated political ambivalence. Chapters Four and Five of this thesis discuss Joyce's Ulysses with specific reference to his use of parody to conflate, relativize and problematize the dominant aesthetic and Irish nationalist discourses of the early twentieth-century. Joycean parody also demonstrates parodic ambivalence and this is especially evident in what might be called his "parodic patriotism". In contrast to Wilde's and Joyce's use of parody for the expression of subversive or progressive political views, Stoppard's parodies confirm conservative English values not only in their reification of the English canon but also in terms of the ideological premises with which they invest their hypotexts. Chapters Six and Seven examine how parody can serve as one of the ways in which modem artists have managed to come to terms with tradition. Focusing on Stoppard's Rosencrantz and Guildenstern Are Dead and Travesties respectively, these chapters explore parody's capacity to function as tribute or homage to the writers of the past being parodied. Ultimately this thesis aims to demonstrate the continuum of parodic cultural work or effects of which parody, as a mode of generic engineering, is capable.
AFRIKAANSE OPSOMMING: In hierdie tesis word daar - met verwysing na geselekteerde werke van Oscar Wilde, James Joyce en Tom Stoppard - 'n teorie van parodie as multi-funktionele praktyk ontwikkel. Parodie word bespreek as 'n vorm van generiese manipulasie (eerder as 'n genre op sigself) met ideologiese implikasies. Op die basis van 'n vertolking van literêre en nie-literêre genres as sosiale instellings, beskryf hierdie tesis die praktyk van parodie as die bewerkstelling van generiese en diskursiewe ongelyksoortigheid met 'n besondere kulturele oogmerk in gedagte. In die herfigurering van generiese konvensies is die beoefenaar van parodie terselfdertyd besig om hulle geïmpliseerde ideologiese aannames te herbewerk. Parodie word dus 'n metode om met behulp van generiese modifikasie in omgang met "die wêreld" te verkeer; en die idee van die sosiale agentskap en kulturele aksie van parodie staan dus ook sentraal tot hierdie tesis. Hoofstukke Twee en Drie fokus onderskeidelik op The Picture of Dorian Gray en The Importance of Being Earnest. In hierdie twee hoofstukke word Wilde se gebruik van parodie bespreek, met besondere aandag aan sy parodiese "woordmaskers" om die estetiese en sosiale konvensies van Victoriaanse Engeland te ondermyn, asook sy bedekte propagering - deur middel van parodiese binne-grappe -- van 'n gay subkultuur. Sentraal tot Wilde se parodie is woordmaskers wat 'n dubbelsinnige gebruik van teks en genre inspan as 'n dekmantel waaronder die beoefenaar van parodie ander betekenisse verskuil hou. As Wilde se parodie beskryfkan word as bedekte bemiddeling oftussenkoms (covert agency), moet Joyce se parodie - as teenstelling - identifiseer word as 'n uitdrukking van diepliggende politiese ambivalensie. In Hoofstukke Vier en Vyf word Joyce se Ulysses bespreek met spesifieke verwysing na sy gebruik van parodie om dominante estetiese en Ierse nasionalistiese diskoerse van die vroeë twintigste eeu saam te voeg, te relativiseer en te bevraagteken.. Joyce se parodie illustreer ook parodiese ambivalensie - 'n aspek wat duidelik blyk uit wat sy "parodiese patriotisme" genoem kon word. In teenstelling met Wilde en Joyce se gebruik van parodie as uitdrukking van ondermynende of pregressiewe gesigspunte, bevestig Stoppard se parodie konserwatiewe Engelse waardes nie net in hulle vergestalting van Engelse kanoniese tekste nie, maar ook in terme van die ideologiese aannames wat hulle aan hul hipotekste toeskryf. Hoofstukke Ses en Sewe ondersoek hoe parodie kan dien as een van die weë waarlangs moderne kunstenaars daarin geslaag het om hulleself te versoen met tradiese. In Hoofstukke Ses en Sewe - waar daar onderskeidelik op Rosencrantz and Guildenstern Are Dead en Travesties gefokus word - word ook aandag geskenk aan die vermoë van parodie om te funksioneer as huldeblyk of eerbetoon aan skrywers wie se werke geparodieer word. Hierdie tesis poog om die kontinuum van parodiese kulturele werk te illustreer waartoe parodie, as 'n vorm van generiese manipulasie, in staat is.
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De, Santa Jessica E. "Accounting for taste : the poetics of food and flavour in Virginia Woolf’s novels." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11825.
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This thesis argues that tasting appears as an act of creative empathy and of knowledge acquisition in Virginia Woolf's writing. First contextualising my discussion within Woolf's own reading of the aesthetic and literary history of ‘taste', I then use Cixous' essay ‘Extreme Fidelity' (renamed ‘The Author in Truth') as a theoretical entryway to passages from The Voyage Out, Jacob's Room, A Room of One's Own, Mrs Dalloway, To the Lighthouse, The Waves, and Orlando which centralise the role of gustatory pleasure in creativity and epistemology. Cixous elaborates an oral, ‘poetic' and feminine ontology rooted in a receptivity to sensual pleasure, a concept that assists my reading of Woolf in several aspects. I suggest that in Woolf, both literal and figurative experiences of taste contribute to physical and psychic repletion, consequently eliciting empathy with the other (Cixous' term). This empathy which originates in the body constitutes an epistemological source distinct from intellectual or emotional intelligences, but one equally integral to the creative process. I assert that empathy features in Woolf as an extension or enlargement of the imagination through which a subject incorporates knowledge of alterity, but without consuming the other - as in the act of tasting. This ideation differs from notions of empathy as an analogical mapping or projection of self onto other. I discuss the ways in which a ‘gustatory epistemology' informs Woolf's approach to her craft, shapes the interrelationships of her characters, and materialises stylistically in her development of a ‘poetic' prose language.
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Campbell, Christopher Darnell. "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2130.
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De, Coning Alexis. "Perversity on paper taboo, abjection and literature: Iain Banks' The wasp factory, Ian McEwan's The cement garden, and Irvine Welsh's Marabou stork nightmares." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002247.
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This thesis explores the notion of perversity in literature, specifically with regard to representations of taboo and abjection in Iain Banks‟ The Wasp Factory, Ian McEwan‟s The Cement Garden, and Irvine Welsh‟s Marabou Stork Nightmares. Julia Kristeva‟s Powers of Horror: An Essay on Abjection, as well as her notion of revolt, constitute the central theoretical framework for my analysis. However, I also draw upon the concepts of monstrosity, grotesqueness and the uncanny in order to explicate the affect of abject fiction on the reader. I posit, then, that to engage with literary works that confront one with perversity, abjection and taboo entails exposing oneself to an ambiguous or liminal space in which culturally established values are both disrupted and affirmed. The subversive and revolutionary potential of the aforementioned novels is discussed with reference to the notion of the perverted Bildungsroman since, in their respective transgressions of taboos, the narrators of these novels disrupt social order, and their narratives end on a note of indeterminacy or the absolute finality of death, rather than self-actualisation. Moreover, in exposing the binaries of sex and gender as arbitrary and fluctuating, these narrators‟ perverse sexual and gender performativities gesture towards alternative modes of being (beyond social sanction), and invoke Kristeva‟s notion of individual revolt as a „condition necessary for the life of the mind and society‟.
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Stokes-King, Lisa. ""Lovely shapes and sounds intelligible" : Kristevan semiotic and Coleridge's language of the unconscious." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99394.
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Romantic literature's preoccupation with subjectivity, and the nature of the self, is recognised as influential on modern conceptions of consciousness, and in particular as a precursor of psychoanalysis. This thesis examines Coleridge's understanding of consciousness, as expressed in his prose, to demonstrate that he theorised a language of the unconscious; a non-arbitrary, authentic language that remains inaccessible. By comparing this idea with Julia Kristeva's theory of Semiotic language, the thesis will show that this language is indeed recognised in her psychoanalytic theory as a product of the unconscious. Most importantly, it will show that while Coleridge's supernatural poetry laments the inaccessibility of unconscious language, Kristevan theory demonstrates it to be present in that very poetry.
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Grimes, Linda S. "William Butler Yeats' transformations of eastern religious concepts." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/530371.
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This study addresses the issue of William Butler Yeats' use of Upanishad philosophy in his poetry. Although many analyses of Yeats' art vis-a-vis Eastern religion exist, none offer the thesis that the poet transformed certain religious concepts for his own purpose, thereby removing those concepts from the purview of Eastern religion. Quite the contrary, many of the analyses argue a parallel between Yeats' poetry and the religious concepts.In Chapter 1 this study gives a brief overview of the problem and proposes the thesis that instead of paralleling Eastern religious concepts, Yeats transformed those concepts; such transformations result in ideas which run counter to the yogic goal as expounded in the Upanishads.Chapter 2 summarizes yogic sources which help elucidate the concepts of Upanishad thought. Also Chapter 2 introduces various the critical analyses which present inaccurate conclusions regarding Yeats' use of Eastern religion.Chapter 3 explains certain Eastern religious concepts such concepts as karma and reincarnation and asserts that the goal of the discipline of yoga is self-realization.Chapter 4 discusses the poems of Yeats' canon which have been analyzed critically in terms of Eastern religious concepts and have erroneously been considered to parallel certain Eastern concepts. This chapter argues that Yeats' transformations resulted in an art which is chiefly based on the physical level of being, whereas the goal of yogic discipline places its chief emphasis on the spiritual level of being. Also it is argued that Yeats cultivated imagination, whereas the Eastern religious devotee cultivates intuition.Chapter 5 details the critical analyses which have erroneously argued the Yeatsian parallel to Eastern religion, showing how these critics have sometimes failed to understand concepts adequately and thus have misapplied them to Yeats' art.Chapter 6 contrasts Yeats' poetry with that of Rabindranath Tagore. Yeats failed to realize Tagore's motivation when Tagore referred to God. Yeats claimed that all reference to Cod was vague and that he disliked Tagore's mysticism. This lack of understanding on Yeats' part, I suggest, further supports the thesis that Yeats' use of Eastern religion constitutes transformations which do not reflect Upanishad philosophy but instead reflect a Yeatsian version of those concepts--a version which many critics have not clearly elucidated.Department of English
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Collett, Rachel Joan. "Turning back : continuity and difference in modernist and postmodernist reflexivity." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4256.
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Thesis (MA VA (Visual Arts))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: The primary function of paintings and novels in Western culture has historically been considered the depiction or description of reality. Over the course of the last century, however, the inherent reflexivity of both art and literature has become progressively more insistent and programmatic, in such a way as challenges the relationship between form and the world. A re-thinking of the role of representation is thus central to both modernism and postmodernism. This thesis is an investigation into the relationship between modern and postmodern reflexivity. Through the close examination of four artists who serve as case studies, I argue that literary and artistic modernism‟s emphasis on form and subjectivity, as well as the tendency of postmodern art and writing to flaunt its own status as rhetoric/fiction, are different facets of a continuous response to a rapidly changing world. Using the insights of post-structuralist theory, I suggest that whereas modernism‟s reflexive drive is directed towards truth and self-knowledge, postmodern reflexivity is centrally concerned with the elusive, continually shifting nature of meaning. What emerges in the light of the practice of individual artist and authors, however, is that the modern and postmodern reflexive modes are not necessarily mutually exclusive, but can co-exist, producing a vital and necessary tension.
AFRIKAANSE OPSOMMING: Beskrywing en uitbeelding van die werklikheid word geskiedkundig as die kernfunksies van skilderye en die roman in die Westerse kultuur beskou. Gedurende die laaste eeu het die inherente refleksiwiteit van beide kuns en letterkunde toenemend meer programmaties en sistematies geword. Dit het geskied op „n wyse wat die verhouding tussen vorm en die wêreld uitdaag. „n Herbesinning van die rol van uitbeelding of representasie is gevolglik van sentrale belang vir beide modernisme en postmodernisme. Hierdie tesis is „n ondersoek na die verwantskap tussen moderne en postmoderne refleksiwiteit. Deur „n noukerige ondersoek van vier kunstenaars se werk, stel ek voor dat die letterkundige en artistieke klem van modernisme op vorm en subjektiwiteit, sowel as die gebruiklike kenmerk van retoriek/fiksie, verskillende aspekte is van „n voortdurende weerkaatsing op „n vinnig veranderende wêreld is. Deur die teoretiese perspektiewe van post-stukturalisme toe te pas, stel ek voor dat modernistiese refleksiwiteit neig na die waarheid en selfkennis, terwyl postmoderne refleksiwiteit fokus op die onbepaalde en veranderlike aard van betekenis. Nietemin, uit my kritiese beskouing van die kreatiewe praktyk van afsonderlike kunstenaars en skrywers blyk dit dat die modernistiese en postmodernistiese refleksiewe benaderinge nie noodwendig mekaar uitsluit nie, maar saam kan bestaan en „n dinamiese en noodsaaklike spanning skep.
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Griffin, Lisa Myfanwy. "'Imperfect adumbrations' : boys, men, and masculinities in the work of Virginia Woolf." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11907.
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This thesis will suggest how Woolf scholarship's rich exploration of Virginia Woolf's representations of girls, women and femininities may be complemented by more systematic feminist study of constructs of masculinities, as they appear in her work. Elaborating the concept of the ‘private brother', the figure of a form of maleness that the daughters of educated men ‘have reason to respect', but that Three Guineas' narrator stipulates is ‘sunk' by men's exposure to society and replaced by the ‘monstrous male', my thesis will focus particularly on the representations of boys, men and masculinities in To the Lighthouse, Between the Acts and Woolf's biography Roger Fry, though I will additionally use material from Woolf's essays, diaries and letters, as well as from Mrs Dalloway, The Years and The Pargiters. The first section of my thesis will supplement feminist critiques of the education received by upper-middle-class English boys in Woolf's texts by exploring her representations of young male (inter)subjectivities in the process of being ‘sunk.' In the second section, I will complicate the narrative trajectories often indicated for these characters in Woolf criticism by proposing that Woolf understood this sinking process as always incomplete: I will argue that Woolf's adult male characters, even her patriarchs, professors and otherwise educated men, vacillate continually between stances that might be characterised as monstrous maleness and private brotherliness–in both ‘public' and intimate settings–as one of the preconditions of social existence.
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Yeung, Siu Yin. "Modernist fiction and self: representing women and solitude in selected works by Virginia Woolf and Katherine Mansfield." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/180.
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Solitude and self have been common topics for discussion and scrutiny by philosophers, scholars and writers. However, it was not until the turn of the twentieth century, with women 's enlightenment, that one notices women writers ' interest in understanding their selves in moments of solitude. Women who were conscious of drastic social changes often examined their lives and explored their selves in solitude. Katherine Mansfield and Virginia Woolf represent women writers of their time who shared a common interest in portraying women's quests for self in solitude. The present study shows how the solitary state is a significant precondition for modern women to reflect on their lives or explore their selves at a time when society was undergoing drastic changes. A close study of Katherine Mansfield 's "Frau Brechenmacher Attends a Wedding" (19 l 0), "Kezia and Tui" (1916), "Prelude" ( 1918), "At the Bay" ( 1922), and "All Serene!" (1923) shows that Mansfield always offers her women characters punitive consequences in the endings because of their compromise with their mundane conditions even though they have gained some sense of the self through contemplation and meditation. In the case of Virginia Woolf, she situates her women characters in isolation and contemplation, and often presents her women characters as active seekers of self through meditation and alienation. Autonomy, authenticity, and vision define these women's emerging self in such novels as Night and Day ( 1919), Orlando ( 1928), and To the Lighthouse ( 1927). The present study reveals Katherine Mansfield and Virginia Woolf as two exemplary women writers who examine women in moments of solitude through the interplay of social and psychological reality. Solitude is a recurrent condition and theme in their fiction that is often presented in "contrapuntal" manner (Dunbar ix). The contrast between women 's public and performative existence and their private and unmasked self characterises the fiction of Mansfield and Woolf, allowing the two writers to examine patriarchal oppression of women's acquisition of self against the backdrop of modernity. Mansfield and Woolf's treatment of solitude is particularly important as it sheds light on their shared views and friendship. Solitude is treated as a critical state, a condition, a private space, an attitude, or a refuge from performativity for women in their texts. Yet they have adopted distinct writing strategies in dealing with the subject owing to their difference in experience and literary outlook. Mansfield creates heroines who are more practical and modest in their approach to the subject of self-construction. Woolf creates women characters who often resort consciously to solitude to challenge and reflect upon gender norms, gain a better sense of their selves, and deploy various means to attain self-realisation.
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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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Garman, Brian Donald. "The new Africans: a textual analysis of the construction of 'African-ness' in Chaz Maviyane-Davies' 1996 poster depictions of the Universal Declaration of Human Rights." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001844.
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In 1996, Zimbabwean graphic designer Chaz Maviyane-Davies created a set of human rights posters which represent several articles of the Universal Declaration of Human Rights, from what he calls an “African perspective”. In this study I investigate how Maviyane-Davies has constructed ‘African-ness’ and probe what he refers to as the “alternative aesthetic” that he is trying to create. I use a visual social semiotic approach to examine the discourses he draws on to re-image and re-imagine Africa and Africans in a manner that contests the stereotypical representations found in political, news and economic discourses about Africa, paying particular attention to the ways he uses images of the body. My analysis of the posters shows how complex and difficult it can be to contest regimes of representation that work to fix racialised and derogatory meanings. In response to the pejorative stereotypes of the black body, Maviyane-Davies uses images of strong, healthy, and magnificent people (mostly men) to construct a more affirmative representation of Africa and Africans. Significantly, he draws on sports, touristic, traditional and hegemonic discourses of masculinity in an attempt to expand the complexity and range of possible representations of African-ness. In so doing he runs the risk of reproducing many of the stereotypes that sustain not only the racialised and gendered (masculinist) representations of Africa, but also a sentimentalisation and romanticisation of a place, a people and their traditions. Apart from women in prominent positions, other conspicuous absences from these images include white people and hegemonic references to Western modernity. I do not believe he is discarding whites and modernity as un-African, but is rejecting the naturalisation of whiteness as standing in for humanity, and particular icons of Western modernity as significations of ‘modernity’ itself
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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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王靖. "許地山香港時期創作論 = Studies of XuDishan's composition during the Hong Kong period." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2485471.
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Cotter, Cynthia Ann. "Buffoons and bullies: James Joyce's priests in "Stephen Hero" and "A Portrait of the Artist as a Young Man", a study of revision." CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/731.
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Sriratana, Verita. ""Making room" for one's own : Virginia Woolf and technology of place." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3458.
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This thesis offers an analysis of selected works by Virginia Woolf through the theoretical framework of technology of place. The term “technology”, meaning both a finished product and an ongoing production process, a mode of concealment and unconcealment in Martin Heidegger's sense, is used as part of this thesis's argument that place can be understood through constant negotiations of concrete place perceived through the senses, a concept based on the Heideggerian notion of “earth”, and abstract place perceived in the imagination, a concept based on the Heideggerian notion of “world”. The term “technology of place”, coined by Irvin C. Schick in The Erotic Margin: Sexuality and Spatiality in Alteritist Discourse (1999), is appropriated and re-interpreted as part of this thesis's adoption and adaptation of Woolf's notion of ideal biographical writing as an amalgamation of “granite” biographical facts and “rainbow” internal life. Woolf's granite and rainbow dichotomy is used as a foreground to this thesis's proposed theoretical framework, through which questions of space/place can be examined. My analysis of Flush (1933) demonstrates that place is a technology which can be taken at face value and, at the same time, appropriated to challenge the ideology of its construction. My analysis of Orlando (1928) demonstrates that Woolf's idea of utopia exemplifies the technological “coming together”, in Heidegger's term, of concrete social reality and abstract artistic fantasy. My analysis of The Years (1937) demonstrates that sense of place as well as sense of identity is ambivalent and constantly changing like the weather, reflecting place's Janus-faced function as both concealment and unconcealment. Lastly, my analysis of Woolf's selected essays and marginalia illustrates that writing can serve as a revolutionary “place-making” technology through which one can mentally “make room” for (re-)imagining the lives of “the obscure”, often placed in oblivion throughout the course of history.
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Salles, Ana Lúcia. "Relações entre as significações do espaço ficcional e a representação das identidades femininas em A audácia dessa mulher, de Ana Maria Machado." reponame:Repositório Institucional da UCS, 2016. https://repositorio.ucs.br/handle/11338/1383.
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A revolução tecnológica e os movimentos feministas ocorridos durante o século XX, somados ao fenômeno da globalização do início do século XXI, resultam na alteração da identidade dos indivíduos e a ressignificação de seus espaços de habitar, especialmente, no que diz respeito à condição a que estiveram submetidas as mulheres, sob a égide da dominação masculina. Este trabalho investiga como ocorrem as formas de representação dos espaços de habitar ficcionais em suas dimensões regionais, naturais e domésticas e a condição da identidade feminina, na literatura de escrita feminina contemporânea, tendo como objeto de estudo a obra literária A audácia dessa mulher (1999), de Ana Maria Machado. A partir de uma abordagem culturalista, utilizamos os conceitos de subjetividade dos espaços ficcionais, além de aspectos da filosofia fenomenológica e da geografia humanista, bem como pressupostos da crítica literária feminista, estabelecendo relações com o contexto sócio-histórico representado no romance, examinando como as personagens femininas e seus respectivos espaços de habitar se relacionam. Também verificamos como cada espaço se constrói a partir de determinada condição histórica, social e cultural, culminando na constituição de ambientes simbólicos ricos em significações, a partir das identidades impostas e/ou assumidas, dependendo da época de existência das personagens, cada uma em seus momentos específicos de vivência.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-11-23T15:49:58Z No. of bitstreams: 1 Dissertacao Ana Lucia de Salles.pdf: 1055119 bytes, checksum: cc5656f36168cee54005a491286bf756 (MD5)
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The technological revolution and the feminist movements that happened during the 20th century, added up to the globalization phenomena in the early 21st century, result in the change of identity of individuals and in resignification of the spaces of inhabiting, especially, when it comes to the conditions which women had been through under the aegis of male domination. This project investigates how the ways of representation of fictional spaces to live occur in their regional, natural and domestic dimensions, and the condition of the female identity in the contemporary female written literature, having as study object the literary work A audácia dessa mulher (The boldness of this woman) (1999), by Ana Maria Machado. From the culturalist approach, we used the concepts of fictional spaces subjectivity, besides aspects of phenomenological philosophy and humanist geography, as well as assumptions of feminist literary critics, establishing relations with the socio-historical context represented in the romance, examining how the female characters and its spaces of inhabiting relate. We also verify how each space is built from an specific historical, social and cultural condition, culminating in the constitution of symbolic environments rich in signification, from the imposed and/or assumed identities, depending on the existence time of the characters, each one in their specific moments of living.
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Regoczy, Lucia Graciela, and n/a. "Espiritu de subversion : la construccion del discurso de la mujer en la narrativa posmoderna hispanoamericana." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070927.141659.
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This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse.
Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment.
Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque.
Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing.
Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse.
Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society.
Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women.
Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.
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Batista, Miguel. "Bildung and initiation : interpreting German and American narrative traditions." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.
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This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.
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"朱屺瞻(1892-1996)晚期繪畫研究." 2014. http://library.cuhk.edu.hk/record=b6115625.
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本文環繞1892至1996中國歷史背景，以「晚期風格」概念為樞紐，藉以探討當代水墨畫家朱屺瞻（1892-1996）晚期創作的形成原因和特色，並提出「遊戲身心觀」以思考現今水墨繪畫藝術的歷史轉變。朱氏早年專攻油畫，曾東渡日本學習，晚年以水墨為主要創作媒介，文革時專注臨摹古畫，其後風格大變，是為「衰年變法」。本文分析形成朱屺瞻晚期繪畫的歷史與人文因素，風格分期與特色，對比上海畫派的風格流變，探討朱氏作品的繼承與出新之處，並指出朱氏《癖斯居畫譚》與現代畫論的關係，綜觀朱氏繪畫的藝術史意義與人文價值。
引言部分縷述中國書畫藝術古代文獻中的「風格」意涵，提出個人風格與時代風格結合研究的方法，重視在歷史事實和創作者思想發展歷程中探尋「畫意」的根源，並說明「晚期風格」的定義。第一章陳述朱屺瞻早年學習油畫和水墨繪畫的經驗，及至日本進修所受到同儕影響，藉以探討留日藝術界對畫史問題的認識狀況。另外，朱屺瞻藉由早期書畫活動建立起國族意識，此意識在其晚年繪畫中得以深化。第二章分析五、十年代中朱屺瞻回應繪畫政治化與去政治化的問題，以及在寫生中參考古人技法，並運用不同的社會題材抒發個人的感思。第三章提出「勞動性」的概念分析六、七十年代中朱屺瞻如何運用老人身體顛覆英雄化的肖像繪畫，並在六法論與個人風格的繪畫研究史上，進一步深化繪畫理論的思考，為《癖斯居畫譚》的背景。另外，本文從風格上分析朱屺瞻在寫生活動中發展出運用對比色、黃藍綠合色呼應楊升沒骨山水傳統、重視日光與季節的表現，及運用文學題材。在七十年代時臨習古畫奠下晚年變法的根基，其後探索哲理題材，使格調一新。八十年代的新藝術環境底下，圖與史有了新的定義，而朱屺瞻以悼念國族的方式來抒寫戰時感懷。他於晚年通過與社會各階層的互動，確立了海派畫家的地位。本文探討賀壽活動在中國水墨繪畫中特殊文化意義。第四章評說朱氏與海派繪畫的關係與繼承，並分析朱氏的書法學習過程，紀錄他與收藏家的交流，曾到訪的美術館等文化活動。其於美國、英國、香港及新加坡等地的事蹟更促進中西繪畫的融合及國族間的文化互動，可見他在水墨繪畫「現代化」過程中的貢獻。第五章分析朱氏畫論《癖斯居畫譚》的緣起、內容和評價，審視他於晚年對「風格」概念的總結，從其理論中提出「遊戲身心觀」來分析當今水墨繪畫的精神內涵。
由「西畫」走向「中畫」，朱氏的創作歷程，反映八十年代，中國新藝術誕生的轉捩點，藝術家對「真實」的重構是其中一大命題。朱氏晚年創作，承載着傳統中哪些藝術觀？怎樣從現實環境中發掘內心的「真實」，開創水墨繪畫的新道路？本文嘗試縷述分析。
By examining the historical background from 1892 to 1996 in China, this paper adopts the concept of "later style" to discuss the artistic development and characteristics of the pictures created by the contemporary painter Zhu Qizhan. The author also proposes the idea of "playfulness in body and mind" as a vision to reflect the historical change of modern ink paintings.
Zhu Qizhan studied oil painting in Japan in his early years and returned to ink painting in his old age. During the period of Cultural Revolution, he put a lot of effort on analyzing and studying traditional paintings. He successfully established his personal style after 1980s. This paper describes the historical and cultural aspects on Zhu’s late year paintings. With comparison to various creation periods, the problem of how Zhu succeeded and broke through traditional painting techniques, the reflection of stylistic change of the Shanghai School and the relationship between Zhu’s painting theory with the modern one are being elaborated. The author tried to give an account for Zhu’s contributions to the Chinese art history and cultural value.
The preface tries to explain "style" in terms of ancient texts of Chinese painting and calligraphy, and proposes to combine the analytic method of individual style and period style. It stresses on tracing the historical fact and the mind development of the artist in order to define "later period style". Chapter one describes Zhu’s experience on learning oil painting and ink painting in his early years, and the influence of peer during his study in Japan so as to explore the common concerns and general problems on painting history at that time. Besides, Zhu Qizhan established the concept of nationality during his early writing and drawing activities and reinforced this concept in his late years paintings. Chapter two analyzes Zhu’s response to the politicalization and depoliticalization during 50s and 60s period. He interested in the techniques from the ancient paintings, and applied them to various social themes in order to express his personal feeling. Chapter three proposes the concept of "labour" to explain how Zhu Qizhan used the body of old man to redefine heroism in figure paintings. He developed his own painting theory on the basis of theory of six principles of painting and the research of painting history of individual style. The publication of Pi Si Ju Hua Tan summarized his thoughts. Moreover, this article analyses the aspects of using contrast color, the combination of yellow, blue and green colors as the echo of Yang Sheng’s "mo-ku" landscape tradition, the emphasis of light and season and the use of literal theme in Zhu Qizhan’s life paintings. During the 1970s, Zhu built up a firm foundation for late year’s reform by imitating ancient paintings, after that, he tried to develop a new style through his exploration based on philosophical themes. In the 1980s, the new definition of picture and history arose, Zhu Qizhan expressed his grieve of war period and mourn for the nation under the new artistic environment. He interacted with different social stratum and established his position as a Shanghai School painter. This article discussed the cultural significance of birth celebration activities in the circle of Chinese ink painters. Chapter four comments on the relationship and succession of Zhu and Shanghai School by analyzing the learning process of Zhu’s calligraphy and recording his interaction with collectors and the experiences gained from visiting museums. His visit to America, Britain, Hong Kong and Singapore accelerated the integration of Eastern and Western paintings and the cultural interaction between different nations. This was part of his contribution during the process of "modernization" of ink painting. Chapter Five analyses the background of Zhu’s painting theory Pi Si Ju Hua Tan and introduces its content and comment. It summarizes Zhu’s viewpoint on "style" in his late years, and uses the concept of "playfulness of body and mind" to analyze the possible spirit inside contemporary ink paintings.
Zhu’s creation experience reflects the turning point of Chinese art in the 80s. The struggle of Western and Eastern art has never been stopped. The definition of "reality" is one of the prominent propositions. In Zhu’s later paintings, what are the elements constituting the traditional art value? How did he express the "reality" in his mind and engaging in the new path of ink paintings? This paper tries to solve these problems by focusing on the modern historical context.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
戴淑芳 = Study of Zhu Qizhan's (1892-1996) late years paintings / Tai Suk Fong.
Thesis (Ph.D.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 293-332).
Abstracts also in English.
Dai Shufang = Study of Zhu Qizhan's (1892-1996) late years paintings / Tai Suk Fong.
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"基督敎與二十世紀中國小說---郁達夫、茅盾、許地山的小說." 2001. http://library.cuhk.edu.hk/record=b5890933.
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陳志傑."2001年6月"
論文 (哲學碩士)--香港中文大學, 2001.
參考文獻 (leaves 117-123)
附中英文摘要.
"2001 nian 6 yue"
Chen Zhijie.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001.
Can kao wen xian (leaves 117-123)
Fu Zhong Ying wen zhai yao.
Chapter 第一章 --- 導言 --- p.1
Chapter 1.1 --- 基督教與中國現代小說的研究
Chapter 1.2 --- 郁達夫、茅盾、許地山的獨特之處
Chapter 1.3 --- 郁達夫、茅盾、許地山三人的硏究檢討
Chapter 1.4 --- 硏究構想與槪念簡釋
Chapter 1.5 --- 材料與方法
Chapter 1.6 --- 史料搜集與論證過程
Chapter 1.7 --- 各章簡介
Chapter 第二章 --- 時代巨變中的中國：「啓蒙與救亡」 --- p.25
Chapter 2.1 --- 吾人覺悟與啓蒙
Chapter 2.2 --- 「啓蒙與救亡」的一脈相承
Chapter 2.3 --- 救亡壓倒啓蒙
Chapter 2.4 --- 小結
Chapter 第三章 --- 普遍皇權崩潰：「以耶補儒」 --- p.34
Chapter 3.1 --- 皇權崩潰下的真空
Chapter 3.2 --- 陳獨秀對基督教的理解與認同
Chapter 3.3 --- 小結
Chapter 第四章 --- 由傳統轉向現代的「文以載道」與郁達夫的啓蒙 --- p.40
Chapter 4.1 --- 文學革命
Chapter 4.2 --- 沉淪與重新
Chapter 4.3 --- 《南遷》的諷刺與肯定
Chapter 4.4 --- 小結
Chapter 第五章 --- 茅盾的政治寓言小說 --- p.54
Chapter 5.1 --- 審查下的創作
Chapter 5.2 --- 在桂林的《新舊約全書》
Chapter 5.3 --- 《耶稣之死》的政治暗喻
Chapter 5.4 --- 小結
Chapter 第六章 --- 我們要甚麼樣的宗敎：許地山 --- p.76
Chapter 6.1 --- 許地山與宗教
Chapter 6.2 --- 我們要甚麼樣的宗教
Chapter 6.3 --- 基督教「人格救國」
Chapter 6.4 --- 聖賢基督徒《商婦人》、《缀網勞蛛》
Chapter 6.5 --- 處於民族主義與基督教的《玉官》
Chapter 6.6 --- 小結
Chapter 第七章 --- 郁達夫、茅盾、許地山與基督敎 --- p.107
Chapter 7.1 --- 郁達夫：向基督的懺悔
Chapter 7.2 --- 茅盾：耶稣的犧牲精神
Chapter 7.3 --- 許地山：耶穌之再現
Chapter 7.4 --- 小結
Chapter 第八章 --- 結論 --- p.115
參考書目 --- p.117
32
Stockton, Judith D. "Rhetorical analysis of feminist critics' references to Virginia Woolf." Thesis, 1992. http://hdl.handle.net/1957/37385.
Full textAbstract:
Virginia Woolf wrote both prose and poetry, both fiction and non-fiction: she was
both a creative writer and a politically conscious reporter. She left a wealth of beautifully
crafted observations and comments that continue to be immensely quotable and influential.
Feminist critics today use Woolf's vocabulary to continue the feminist conversation which
she entered early in her life and consistently influenced as long as she lived and wrote. My
purpose in this essay is to identify some of the ways in which feminists strategically use
references to Virginia Woolf and A Room of One's Own to empower their own perspective
or to develop legitimacy for their own knowledge and discourse.Graduation date: 1992
33
Niwa-Heinen, Maureen Anne. "Relational narrative desire : intersubjectivity and transsubjectivity in the novels of H.D. and Virginia Woolf." 2004. http://hdl.handle.net/1828/342.
Full text
34
Cooklin, Katherine Lowery 1967. "Poststructural subjects and feminist concerns : an examination of identity, agency and politics in the works of Foucault, Butler and Kristeva." 2004. http://hdl.handle.net/2152/12754.
Full text
35
Meda, Marie-Paule. "Identité, déplacement et différence dans trois textes autobiographiques féminins." Thesis, 1995. http://hdl.handle.net/2429/7542.
Full textAbstract:
Les récits autobiographiques modernes se distinguent par
leur hétérogénéité non seulement entre eux rnais à l’intérieur de
chaque texte. Trois textes, de facture autobiographique
équivoque, ont été choisis comme objets de cette étude parce
qu’ils illustrent cette hétérogénéité inter/intra-textuelle.
La Détresse et l’enchantement, de Gabrielle Roy,
représente le récit autobiographique supposérnent conventionnel,
garantissant la ‘véracité’ de son discours narratif par un
certain pacte de lecture; pourtant ce texte révèle une dimension
romanesque. Les Mots pour le dire, par contre, récit à saveur de
confidence de Marie Cardinal, est ambivalent dès le départ quant
à son statut: ii bascule entre des éléments romancés et les
souvenirs vérifiables, “événements vécus”, selon l’auteure.
Enfin, Les Samourals, roman à clefs de Julia Kristeva, s’éloigne
du récit-mémoires, rnais est lu comme une autobiographie à peine
voilée à cause des éléments correspondant à la vie de l’auteure.
La juxtaposition de ces trois récits montre que chaque texte se
situe à un point mobile sur un spectrum entre deux pôles
également impossibles à circonscrire—la fiction ou la ‘vérité’
pure. La fonction plutôt que la structure ou le style du texte
importe ici; esthétique dans le cas de Roy, thérapeutique chez
Cardinal et critique pour Kristeva.
L’autobiographie romancée, genre hybride ou “métissé”, est
privilégiée par ces écrivaines, toutes les trois déplacées
géographiquement et linguistiquement, ayant vécu un “métissage”
culturel. Le déplacement, associé à l’étrangeté, intervient dans
le récit et dans la narration pour engendrer un rnouvement
discursif où la différence entre le même et l’autre, entre l’ici
et l’ailleurs, étoffe la structure du texte. Les trois
écrivaines choisissent d’écrire en français, mais se considèrent
étrangères à la France. Pour ces femmes, leur ‘féminité’ (aussi
bien que leur exil) entre en jeu dans leur projet
autobiographique, cette double altérité se prolongeant dans
l’aliénation du moi/elle que produit la dimension fictive du
récit. L’analyse de ces trois récits montrera d’abord comment la
fiction s’immisce nécessairement dans le discours du ‘moi’
dédoublé et finit par imposer une texture/un métissage inhérent
et essentiel à sa facture. Par ailleurs, l’altérité, envisagée
sous le jour de l’étrangeté des autres et de soi—même, prend une
importance capitale dans le projet identitaire de ces auteures
expatriées. Enfin, l’écriture de ces trois femrnes conscientes de
leur féminité s’avère aussi individuelle que celle des
autobiographes masculins. Les trois parlent de leur rapport à la
mère/la maternité, mais leurs récits révélent des divergences
marquées par leur milieu, leur contexte socio—historique et leur
relation à la psychanalyse. Le passé qu’elles évoquent est
simple, imparfait ou composé, selon la fonction gui prime dans
le texte.
Ce que les trois auteures partagent, cest un désir de se
raconter et une foi dans le texte écrit comme moyen d’atteindre
l’autre à travers soi—même et soi—même à travers l’autre.
36
"論端木蕻良作品中的自我建構(1929-1949)." 2002. http://library.cuhk.edu.hk/record=b6073831.
Full textAbstract:
熊志琴.論文(哲學博士)--香港中文大學, 2002.
參考文獻 (p. 262-314).
中英文摘要.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Xiong Zhiqin.
Zhong Ying wen zhai yao.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (p. 262-314).
37
"文學硏究會四個男作家短篇小說中的女性: 以1921-1931的《小說月報》為依據." 1994. http://library.cuhk.edu.hk/record=b5895437.
Full textAbstract:
四個男作家指王統照, 許地山, 葉聖陶及鄭振鐸論文(哲學碩士)--香港中文大學硏究院中國語言及文學學部,1994.
參考文獻: leaves 322-342
陳亞鳳.
提要
Chapter 第一章 --- 緒諭 --- p.1 ´ؤ16
Chapter 第二章 --- 研究的範圍與方法 --- p.17 ´ؤ20
Chapter 第三章 --- 由“人的文學´ح到“婦女解放´ح題材 --- p.21 ´ؤ31
Chapter 第四章 --- 王統照小說中的女性 --- p.32 ´ؤ74
小引 --- p.32
Chapter 第一節 --- 王統照的“愛´ح和“美´ح的美學觀
Chapter 第二節 --- 王統照對婦女的期望 --- p.37
Chapter 第三節 --- 王統照的文學觀 --- p.39
Chapter 第四節 --- 王統照小說中的女性
Chapter 一 --- “美´ح和“愛´ح的化身 --- p.45
Chapter 二 --- 為愛情而自我犧牲的女性 --- p.56
Chapter 三 --- 王統照理想中的妻子 --- p.65
Chapter 四 --- 無夢可紀的霍君素 --- p.69
Chapter 第五節 --- 小结 --- p.73
Chapter 第五章 --- 許地山小說中的女性 --- p.75´ؤ145
小引 --- p.75
Chapter 第一節 --- 許地山的創作三寶 --- p.76
Chapter 第二節 --- 許地山的宗教精神 --- p.79
Chapter 第三節 --- 許地山對愛情的執著 --- p.85
Chapter 第四節 --- 許地山的婦女觀 --- p.89
Chapter 第五節 --- 許地山小說中的女性
Chapter 一 --- 愛情理想的追求者 --- p.96
Chapter 二 --- 理想人生哲學的追隨者 --- p.108
Chapter 三 --- 對男性忠心耿耿的女性 --- p.123
Chapter 四 --- 被“愛父母的民族´ح犧牲的女性 --- p.133
Chapter 五 --- 走上絶路的母親 --- p.139
Chapter 第六節 --- 小結 --- p.142
Chapter 第六章 --- 葉聖陶小說中的女性 --- p.146´ؤ196
小引 --- p.146
Chapter 第一節 --- “真實´ح與“真誠´ح的文學觀
Chapter 一 --- “不能超越認識與理解´ح的創作 --- p.149
Chapter 二 --- 講求創作獨特的作品 --- p.150
Chapter 三 --- 本著真情實感創作 --- p.154
Chapter 第二節 --- 葉聖陶對女子人格的重視 --- p.156
Chapter 第三節 --- 葉聖陶小說中的女性
Chapter 一 --- 體現母愛的女性 --- p.160
Chapter 二 --- 願為男人奴僕的女性 --- p.169
Chapter 三 --- 處在家庭矛盾中的母親 --- p.181
Chapter 四 --- 保持人格獨立的萬女士 --- p.192
Chapter 第四節 --- 小結 --- p.194
Chapter 第七章 --- 鄭振鐸小說中的女性 --- p.197 ´ؤ236
小引 --- p.197
Chapter 第一節 --- 鄭振鐸的“文學為人生´ح的思想體糸
Chapter 一 --- 文學是感情的產物 --- p.200
Chapter 二 --- 表現個性的文學 --- p.203
Chapter 三 --- 血和淚的文學 --- p.205
Chapter 四 --- 推崇悲劇文學 --- p.207
Chapter 第二節 --- 《新社會》旬刊與改革社會的熱忱
Chapter 一 --- 熱忱之火燃於五四運動 --- p.208
Chapter 二 --- 言論涉及婦女解放的《新社會》 --- p.212
Chapter 第三節 --- 鄭振鐸小說中的女性
Chapter 一 --- 追逐理想愛情的女性 --- p.215
Chapter 二 --- 以婚姻為唯一出路的女性 --- p.224
Chapter 三 --- 自願為丈夫犧牲的紫涵 --- p.231
Chapter 第四節 --- 小结 --- p.234
Chapter 第八章 --- 總結 --- p.237 ´ؤ243
〔附錄1〕-〔附錄6〕 --- p.244´ؤ263
第一章注釋-第八章注釋 --- p.264 ´ؤ321
參考書籍 --- p.322 ´ؤ331
參考論文 --- p.332 ´ؤ341
後記 --- p.342
38
Tidmarsh, Angela Helen. "Interpreting the imaginary father : Julia Kristeva's literary interpretative theory." Phd thesis, 1998. http://hdl.handle.net/1885/145715.
Full text
39
Arnott, Jill Margaret. "'Who is the other woman?' : representation, alterity and ethics in the work of Gayatri Chakravorty Spivak." Thesis, 1998. http://hdl.handle.net/10413/5729.
Full textAbstract:
This dissertation analyses a number of key themes in the work of postcolonial theorist and literary critic Gayatri Chakravorty Spivak, and uses her ideas to argue for the usefulness of both deconstructive and postmodern thought in a postcolonial context generally, and in South Africa in particular. The early part of the thesis presents a brief overview of Spivak's work (Chapter 1) and discusses its relationship with Derridean deconstruction and what I have called "progressive postmodern thought". Chapter 2 explores in detail Spivak's use of theoretical concepts adapted from, or closely related to, deconstruction. Perhaps the most important of these is catachresis - the idea that all naming is in a sense false, and the words we use to conceptualise the world must be seen as "inadequate, yet
necessary". The thesis looks at how Spivak foregrounds the methodological
consequences of this insight in her own practice of constantly revisiting and rethinking her own conclusions, and also at the political consequences of recognising specific terms like "nation", "identity" or "woman" as catachrestic. Closely related to this area of Spivak's work are her idea of "strategic essentialism" and her adaptation of Derrida's concept of the pharmakon -- that which is simultaneously poison and medicine. Chapter 3 relates Spivak's work to three key areas of postmodern thought: alterity, and the ethics of the relationship between self and other; Lyotard's notions of the differand and the "unpresentable"; and aporia, or the ethical and political consequences of undecidability. I argue here that all of these emphases are potentially very useful in postcolonial studies, particularly in relation to the predicament - of the gendered subaltern, and that they help to define a progressive postmodern politics. The remainder of the dissertation discusses individual essays at greater length. Chapter 4 focuses in the main on "Can the Subaltern Speak?" (1988) and Spivak's
arguments concerning the nature of subalternity and the politics of representation. Chapter 5 examines Spivak's engagement with French Feminism and her feminist critiques of mainstream deconstruction, arguing that Spivak's use of deconstruction undermines the opposition between linguistic and material forms of oppression and hence between theory and practice. Chapter 6 focuses on Spivak's reading of literary texts and raises issues concerning, inter alia, the production of the first world self at the expense of the third world other; the limits of both metropolitan theories and narratives of national liberation, democracy and development in relation to the experience of the gendered subaltern; reading the text of the subaltern body; the (impossible but necessary) ethical relationship between first world feminist and the subaltern in neocolonial space; rights and responsibility; the need to respect subaltern selfhood; and the possibility of what Spivak calls "learning from below". Finally, I look at the relevance of Spivak's thought to three areas of South African political and academic life: conflicts over representation within the local Women's
movement; notions of national origin and national identity; and debates over deconstruction and the relationship between the academy and society.Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 1998.
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Winters, Yvonne. "Indigenous aesthetics and narratives in the works of Black South African artists in local art museums." Thesis, 2009. http://hdl.handle.net/10413/618.
Full textAbstract:
This dissertation is an amalgam of reformulated essays on artists who had connections with 20-21st century KwaZulu-Natal: They appeared in exhibition catalogues that accompanied the exhibitions; The Azaria Mbatha Retrospective, 1998, The Trevor Makhoba Memorial, 2005 and Cyprian Mpho Shilakoe Revisited, 2006. Chapter 1, the introduction; outlines the chapters, gives the theoretical and broader theoretical framework, history of the region and art therein, literature survey and methodology. Central to the theoretical framework is an attempt to meld the original essays into a coherent whole; by expanding the interpretation of indigenous cultural world-view to include the concept of orality versus literate cultures. Even in the transformation to literacy with westernization and Christianity the African oral mind-set is still operative; thus for instance the early Zulu writers like R.R.R. Dhlomo rendered the Zulu kings‘ oral praise-poems into written form and these became set-works for Zulu schools up until the 1994 new dispensation. Also dealt with are related issues of what therefore constitutes 'Africanness‘ and debates whether it is but the invention of the west in need of the 'Other‘ (something arguably pertinent to the art-collector‘s reasons for collecting), or if there is that own to the African style, like the oral style, which can be termed a 'legitimate Africanness‘ if one will. Further, how this style then exhibits itself in the visual arts as a 'preferred form‘ in terms of medium, colour, patterning and favored technique which best conspire to express these qualities. Chapter 2 (essay 1) and chapter 3 (essay 2), carry forward the assumptions made in the introduction. In modern times the oral genre has developed into an exciting style; namely the development of urban, often migrant musical forms, like isicathimiya, that challenge politics, social-wrongs, racism and taboos. It is argued that an artist like Trevor Makhoba can be considered a social commentator and 'master of the oral genre‘ in that he rendered this style into visual form. Certain of Makhoba‘s works depicting white females and black males are analyzed in this light and it is suggested that the oral genre also draws upon both stereotypical and universal archetypal imagery. Chapter 3 (essay 2) considers Azaria Mbatha‘s use of the older oral story-telling mode, rendered in linocut medium as an echo of earlier indigenous wooden 'pokerwork‘ panels, to transmit a political message in line with concepts of African Christianity, itself a syncretism of the Christian message with African world-view. This allegory was needed in a time where the Nationalist Government would have made open insurrection impossible. Chapter 4 (essay 3) concerns ex-Rorke‘s Drift art-student Cyprian Shilakoe. I analyze his aquatints in the light of his own Sotho cultural ideas on contagion and the ancestors for deeper meaning. The fact of culture change is accepted and mention is made of the artist‘s friend and fellow student, Dan Rakgoathe‘s melding of western esoteric mysticism, like Rosicrucianism, into African thinking and how far this impacted on the more traditional Shilakoe‘s works. The essays are followed by Chapter 5, the conclusion, which serves to come to some resolution. This is then followed by the bibliography.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.
41
Middlemost, Thomas A. "Australian monotypes." Phd thesis, 2012. http://hdl.handle.net/1885/156396.
Full textAbstract:
While much has been published on Australian printmaking, the monotype is generally dealt with in a cursory manner and has never served as the subject of a detailed, dedicated study. This thesis sets out to fill this lacuna, both through a general history of monotypes in Australian art- with a comprehensive investigation of the various clusters of monotype artists that have appeared during the past 120 years of Australian art history-and through three case studies of prominent Australian artists for whom the monotype was an important part of their practice. The selected artists are Rupert Charles Wulsten Bunny (1864-1947), Margaret Rose Preston (1875-1963) and Bruno Leti (b. 1943). These case studies can be found in the Appendices. Four conceptual threads or arguments for the unique nature of the monotype wi ll be explored whilst documenting its history. In this thesis it is argued that there is an inner momentum unique to monotype clusters throughout Australian art history. Secondly, throughout the thesis it is argued that monotype gives an artist the freedom to express their individual sensibility, as a distinct voice, as opposed to other print mediums. Thirdly, the monotype is unique in printmaking because of its precarious balance on the cusp of both painting and printmaking, opening the door for painters to experience and feel comfortable using a print med ium. Lastly, the individual economics of the monotype in printmaking practice is revealed. As a unique print and therefore separate from multiple originals in printmaking, monotypes are aligned with painting and drawing, muddying their identity as prints and rendering their identity in an art market as translucent as 'ghost prints'. While the number of Australian artists who use the medium is extensive, this widespread use is rarely noted. The monotype has an almost invisible exjstence in general accounts of Australian art and even in histories of printmaking. The individual exhibiting histories are described in reference to the artist's oeuvre, their common art practice and their biographies. The purpose is to document an artist's inspiration for commencing or continuing to make monotype prints. Documentation of Australian monotypes is poor even though Australian artists have played and continue to play a significant role in the history of international monotype art. Roger Butler, Senior Curator of Australian Prints, Drawings and Illustrated Books at the National Gallery of Australia (NGA) notes that the best and most complete i nternational catalogue and exhibition on monotypes "is in no way definitive and does not include articles on the subject by the Australian artists Rupert Bunny and A. Henry Fullwood". This thesis marks the beginning of a process for an understanding of the great influence of monotype printmaking on Australian artists and their practice. Future research on monotypes in Australia can use this framework to build detailed studies of Australian artists' monotypes.
42
Nelson, John C. M. "James Joyce's critique of "Faubourg Saint Patrice" : Ulysses, the Catholic Panopticon, and religious dressage." Thesis, 1997. http://hdl.handle.net/1957/34317.
Full textAbstract:
In his works, A Portrait of the Artist as a Young Man (1916) and Ulysses
(1922), James Joyce demonstrates what he perceives to be the paralyzing effects of
those institutionalized religions that sit at the center of cultures. Drawing on Michel
Foucault's analysis of institutional dressage as well as his use of Jeremy Bentham's
Panopticon prison in Discipline and Punish (1981), this thesis argues that Joyce's
portrait of the Catholic Church's influence on Irish culture is his attempt to display its ubiquitous and inextricable power. In both works, Joyce focuses on the internalization of this power which emanates from the physical manifestations of the Church's presence, the strict tenets of its doctrine, and its concept of an omnipotent, omniscient God who, embodied in an individual's conscience, becomes the perfect "surveillant."
Tracing the influence of Catholic dressage on his first protagonist, Stephen Dedalus, who unequivocally abandons the Catholic faith in A Portrait, Joyce reveals the overwhelming power that the Church held over the cultural consciousness of Ireland,
an influence rivaled solely by the British colonial powers. Similarly, in Ulysses, Joyce
introduces Leopold Bloom, the Jewish Other, who stands outside the institutional
structure of the Church and provides a removed but critical perspective on the Catholic
rituals and beliefs which, according to Joyce, were intricately woven into the Irish
Weltanschauung. Indeed, while Joyce's critique of the Church's power is clearly evident in the narrative of the novel, in a larger context this criticism is directed at the stifling effects of all institutional powers on individual consciousness.
Similarly, Foucault's cultural theories examine the intricacies of such power within a culture and their effect on the individual, who, in short, is a product of these elements. This thesis explores these dynamics in Joyce's works to further understand his position as one of the central novelists of the twentieth century.Graduation date: 1997
43
Roothman, Linda. "Transliggaamlikheid, kriptosoölogie en dieresiele in Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) en Dwaalpoort (Alexander Strachan, 2010)." Diss., 2015. http://hdl.handle.net/10500/19690.
Full textAbstract:
Text in AfrikaansIn hierdie studie word die verbandhoudende teoretiese begrippe van trans-liggaamlikheid, kriptosoölogie en dieresiele ondersoek met verwysing na drie magies-realistiese Afrikaanse romans, naamlik Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) en Dwaalpoort (Alexander Strachan, 2010). Die gewaande dualisme tussen kultuur en natuur word in die tekste bevraagteken en vrye interaksie tussen biologiese, klimatologiese, ekonomiese en politieke magte vind plaas in die onderskeie romanruimtes. Die toenemende druk op die omgewing word uitgebeeld en in hierdie opsig sluit die romans aan by ʼn eietydse tendens in die (Afrikaanse) letterkunde waar die klem op ekologiese kwessies val. Hierdie drie kontemporêre romans reflekteer voorts die komplekse interaksie tussen menslike en niemenslike diere en kan beskou word as dierenarratiewe (met ’n mitiese onderbou) waar tradisionele beskouings oor diere in die samelewing deurentyd ondermyn word.
In this research report, related theoretical concepts such as transcorporeality, cryptozoology and animal souls will be explored with reference to the magic-realistic Afrikaans novels Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) and Dwaalpoort (Alexander Strachan, 2010). The perceived dualism of nature versus culture is undermined in the respective novels and the environment is exposed as a space where the interaction between biological, climatological, economical and political forces takes place freely. The novels portray the increasing demands on the environment and in this respect these texts become representative of a current trend in (Afrikaans) literature to reflect ecological issues. The three contemporary novels further reflect the complex interaction between human and nonhuman animals and can be described as animal narratives (underpinned by myths) where traditional perspectives on animals in society are constantly subverted.
Afrikaans and Theory of Literature
M.A. (Afrikaans)
44
Tinsley, Hettie. "Constructions of women in relation to the politics and ideals of androgyny in some of the works of Virginia Woolf, Doris Lessing, Joan Barfoot and Angela Carter." Thesis, 1993. http://hdl.handle.net/2440/110342.
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Bauer, Vanessa M. "The inception of cross-cultural dimensions in the ceramics of the late 1970s onwards, as reflected in the work of Maggie Mikula and her adherents." Thesis, 2004. http://hdl.handle.net/10413/2607.
Full textAbstract:
In this dissertation the incorporation of cross-cultural imagery and its assimilation is focused on the work of Maggie Mikula, a ceramist from KwaZulu-Natal. Producing within the 1970's and 1980's. her work is investigated within the historical context of the socio-political background of South Africa. Syncretism in the visual arts reflects problems associated with identity and authenticity and this dissertation analyses these issues. A reference is made to select artists and ceramists in South Africa who approach their work in this manner, in particular with reference to the influence that Maggie Mikula has had in their work. Chapter One discusses the history of borrowing in South Africa citing examples of work by artists including amongst others Walter Battiss, Alexis Preller and Cecil Skotnes. This is based around the broad political and ideological relationships in the country that framed local art
making. The assimilation and the breakdown of barriers in African/western art in a South African context is argued through a post-colonial reading. The chapter deals with the problems of borrowing related to appropriation and stereotyping from a postmodernist perspective. Chapter Two introduces the history of South African ceramics examining its development and styles, focussing on changing premises within the medium. The second part of the chapter positions Mikula's work, interests, personal history and ideals. Chapter Three deals with the development of Mikula's ceramic work, referring to her
technology, processes and sourcing. The reception of Mikula's work and the attitudes to cross-cultural assimilation in the 1980's, as well as current perceptions are addressed in Chapter Four. Her influence on this creative
medium is shown with specific examples. Personal interviews attempt to contextualise her position and situate her within the ceramic world. Acknowledging that there is a wealth of collections through out South Africa, the ceramic work predominately researched for this paper is from KwaZulu-Natal. It has been sourced both from the immediate family, and from individual collectors, as this was the site of her production. Other collections have been accessed from around South Africa including the Corobrik collection in Pretoria (of which there are two pieces - one which is broken), the large piece is documented photographically (see Fig.22) and referred to on Page 66. The Nelson Mandela Museum, Port Elizabeth, (accessed on-line and via photographs from the artist's records) has a notable collection, but given the nature of this research, these pieces do not demonstrate any significant features over and above those that were already sourced. This paper is not intended as a catalogue, but is meant to show a variety of Mikula's work to
demonstrate her influence and style. Each piece is chosen for its specific aspects and unique features that would support this research. Given the nature of this investigation, the author has been obliged to read widely, including
writers such as Berman, Sacks, Cruise and the complete edition of APSA newsletters and magazines to give a comprehensive over view of the changes in style and influence within South African art and specifically, ceramics.Thesis (M.F.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.
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Trapani, Alex. "Bruce Nauman : the true artist is an absurd fountain." Diss., 2017. http://hdl.handle.net/10500/23276.
Full textAbstract:
Link to dataset: https://doi.org/10.25399/UnisaData.14152106.v1The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)
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"Nationalism as dilemma in (semi)colonial contexts: reading the short stories of James Joyce and Lu Xun politically." 2008. http://library.cuhk.edu.hk/record=b5896865.
Full textAbstract:
Zou, Meiyang.Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 99-103).
Abstracts in English and Chinese.
Acknowledgements --- p.iii
Abstract --- p.iv
摘要 --- p.vi
Abbreviations --- p.viii
Chapter Chapter One: --- Introduction --- p.1
Nation and nationalism: problems and dilemmas --- p.2
James Joyce and Lu Xun --- p.10
Critical / ironical nationalism? --- p.16
Chapter Chapter Two: --- Negative Images of the Homeland --- p.21
Haunting death and insanity --- p.22
Problematic national identity and “backward´ح national character --- p.33
Chapter Chapter Three: --- Doubts Towards the Foreign Powers --- p.39
Criticizing the self-imposed inferiority --- p.42
Failed intellectuals --- p.53
Chapter Chapter Four: --- Rescuing the Nation Through Language --- p.63
Disillusionment with political revolutions --- p.63
Literary experimentations as alternative salvation --- p.76
Chapter Chapter Five: --- Conclusion --- p.83
After the short stories --- p.83
Exile and role of the intellectual --- p.89
Literature and politics --- p.96
WORKS CITED --- p.99