Dissertations / Theses on the topic '20th century Correspondence'

Paul Solanges was one of the most prolific (in correspondence) and enthusiastic fans of Australian author Henry Handel Richardson (HHR). What was it about him that made HHR invest so much time in his translation of her novel, and to what extent can credence be given to the self-portrait in his letters? This thesis reveals his illegitimate royal background, considers his early career as a cavalry officer in North Africa and in the Franco-Prussian War, and describes his long career as manager of the gasworks in Milan. It also portrays in detail his other life as a translator of songs, short stories and operas from Italian to French. Finally, it compares his relationship with Italian novelist Antonio Fogazzaro to his relationship with HHR. A critical edition of Solanges’s correspondence with Fogazzaro and HHR offers the reader a privileged insight into the life and character of this Franco-Italian littérateur.

This thesis analyses the self-portrait visible in the correspondence exchanged between Jean-Paul Sartre and Simone de Beauvoir during the Second World War. Particular attention is paid to the period between September 2 nd, 1939 and the end of March, 1940 because that is the time period in which the works of both letter writers are available.
We examine the two principal figures that emerge from the letters of each writer. Sartre appears as both an intellectual and an imperialist; Beauvoir appears as a earthy woman who is also respectful of Sartre.
The thesis is divided in two sections: "Le monologue" and "Le dialogue". In fact, we have discovered that some of the figures, the intellectual and the earthy woman, emerge in a context where the letter writer reacts infrequently to the discourse of the addressee. That is why this section is entitled "Le monologue". In contrast, other figures, the imperialist and the respectful woman, appear in a context where both letter writers react to the image that the addressee projects of himself. That is why this section is named "Le dialogue". In addition, each figure presents a dark side. Therefore, we have studied each of them firstly "in the sun" and secondly "in the shadows". Moreover, our study of this correspondence has permitted us to better identify the general characteristics of the epistolary self-portrait genre.

Working and unmarried women could have a life which married women had not. Instead of marriage, they built their social and family life on friendship. They lived with each other, payed rent together, discussed domestic issues such as cleaning and household labour. They also talked about love, and passion, and how to find a friend to share their life with. This particular group of unmarried women did not solely arrange friendship out of practical purposes but also of emotional and social bonds. This study focuses on the teacher Maja Beskow in Umeå and her diaries and correspondence with and about her friends from the year 1896 to 1923. What did they say about friendship? What aspects of life could be found within the friendships?

La correspondance d’Antonin Artaud (1896-1948) occupe une place essentielle dans ses écrits. Elle montre sans doute mieux que ses autres textes la singularité de son expression. Cette thèse examine le rôle joué par sa correspondance, rôle dont on admet l’importance mais encore insuffisamment exploré. À partir de la publication de la Correspondance avec Jacques Rivière (1924), commencée à la suite du refus de Rivière de publier les poèmes d’Artaud, celui-ci publie lettres ou textes épistoliers comme si cela pouvait remplacer ses œuvres dans lesquelles il n’arrive pas à exprimer sa réalité à cause de la maladie dont il souffre : il refuse les œuvres « détachée[s] de la vie » et croit pouvoir mieux s’exprimer dans les lettres. L’expression épistolière est pour lui un moyen de faire entendre le « cri même de la vie » et de lutter contre « un sentiment de gratuité ». Toutefois, il n’est pas évident que, bien qu’elle soit ancrée dans des situations réelles, la correspondance puisse fonctionner comme Artaud le souhaite; il s’avère plutôt qu’elle a pour lui un statut ambigu dans les années 1920 et 1930. Le chapitre 1 aborde ce problème sous deux aspects : l’authenticité et la temporalité. Dans ses lettres, on constate qu’Artaud se plaint très souvent de l’incompréhension de ses destinataires vis-à-vis de sa douleur; ses lettres n’en garantissent pas, pour eux, l’authenticité et l’équivoque y revient sans cesse. Pour lui, l’authenticité doit être prouvée par l’adéquation de l’écriture épistolière avec le présent. Mais sa maladie, ainsi que le fait que les lettres ne sont que des écrits, empêchent la réalisation de cette adéquation. Ses lettres ne parviennent à transcrire que sa hâte et le décalage temporel. Ainsi, loin de témoigner de sa réalité brute, sa correspondance devient tentative de couvrir ce décalage, de trouver la réalité qu’il n’arrive pas à saisir, son vrai moi, originel et intact. Pour cela, Artaud recourt à des éléments imaginaires en exigeant toujours le contact immédiat, d’où le rôle paradoxal de ses lettres. Le chapitre 2 examine le problème de la destination. La présence des autres est nécessaire à Artaud pour penser, pour compléter son manque. Ses destinataires sont ainsi des dépositaires de son moi. Mais ses lettres s’adressent, au-delà des destinataires réels dont la présence n’est qu’imaginaire, à l’instance transcendante, à l’Autre comme le remarque Vincent Kaufmann dans L’Équivoque épistolaire, instance qui lui donne accès à l’expression et lui restitue son identité. Ses destinataires (critiques, autorités religieuses, hommes politique, médecins, etc.), autoritaires et paternels, sont des figures de cet Autre. Par ailleurs, ses destinataires féminines et amoureuses sont pour lui des moitiés qu’il faut s’incorporer pour retrouver l’unité originelle. Ses lettres d’amour sont ainsi marquées par son désir violent de fusion. Pourtant, l’union amoureuse expose en même temps l’unité de son moi à la perte dans le flot de choses. Les lettres sont aussi écrites pour introduire une distance.L’enjeu de ses lettres de voyage, étudiées au chapitre 3, est de réaliser les deux mouvements inverses (rapprochement et éloignement). Les pays lointains constituent pour Artaud l’ailleurs métaphysique où retrouver son unité originelle. Pendant ses voyages au Mexique (1936) et en Irlande (1937), ses lettres sont comme une scène pour l’avènement de sa nouvelle identité, scène où se rencontrent l’au-delà et l’ici-maintenant. C’est ici que son usage paradoxal des lettres atteint son sommet car la réalisation du « vrai drame » signifie, comme il le prophétise, la disparition du monde matériel et donc aussi celle de l’écriture épistolière. Ses lettres mettent en scène leur propre disparition qui coïncide curieusement avec son arrestation à Dublin et le commencement de sa vie asilaire (1937-1946)
The correspondence of Antonin Artaud (1896-1948) occupies an essential place in his writings. It shows probably better than his other texts the singularity of his expression. This dissertation examines the role played by his correspondence, the importance of which is admitted, but still insufficiently explored. From the publication of the Correspondence with Jacques Rivière (1924), that started following the refusal of Rivière to publish the poems of Artaud, he publishes letters or texts in epistolary style as if they could replace his works in which he is unable to express his own reality because of his illness : he refuses works "separated from life" and believes he can better express himself in letters. The epistolary expression is for him a way to make the "cry of life" heard and to fight against the "feeling of lack of cause". However, it is not clear that, although anchored in real situations, the correspondence can function as Artaud wants. Rather, in the 1920s and 1930s, its position for him is ambiguous.Chapter 1 approaches this problem in two aspects : the authenticity and the temporality. In his letters, we can see Artaud complain very often of his addressees’ misunderstanding about his pain. His letters do not prove its authenticity, and the ambiguity always goes into them. For him, the authenticity must be proven by the accord of his writings with the present time. But his illness, as well as the fact that the letters consist of words, prevent the realization of this accord. His letters can transcribe only his hustle and time gaps. Thus, far from showing his raw reality, the correspondence becomes an attempt to cover these gaps, to find the reality that he cannot seize, his true self, original and intact. To do this, Artaud uses imaginary elements, still asking for the immediate contact, which makes the role of his letters paradoxical. Chapter 2 examines the problem of destination. The presence of others is necessary for Artaud to think, to complete his lack. His addressees are depositories of his self. But his letters are addressed, beyond actual addressees whose presence is after all imaginary, to the transcendent instance, to the Other as notes Vincent Kaufmann in L’Équivoque épistolaire, instance that allow him access to the expression and restores his identity. His addressees who are authorities and paternal (critics, religious leaders, statesmen, doctors, etc.) are figures of the Other. In addition, the female addressees who are his lovers are his halves that must be incorporated to find again the original unity. His love letters are so marked by his strong desire of fusion. Yet at the same time, the union by love exposes his unity to loss in the flow of things. Letters are also written in order to introduce a distance. The issue of his travel letters, discussed in Chapter 3, is to make simultaneously the two opposite movements (close and away). Distant countries represent for Artaud metaphysical places where he should find his original unity. During his travels in Mexico (1936) and Ireland (1937), his letters are like a stage for the advent of a new identity, stage where meet the beyond and the here-now. It is here that the paradoxical use of letters reaches the peak, because the realization of the "real drama" means, as prophesied he, the disappearance of the material world and therefore that of the letters. His letters direct their own disappearance, which curiously coincides with his arrest in Dublin and the beginning of his life in asylums (1937-1946)

Le sujet inédit de la thèse repose sur un fonds d’archives. Il questionne la réception du sculpteur néoclassique italien Antonio Canova (1757-1822) dans les cercles et salons mondains à travers la correspondance de personnalités françaises aux profils multiples, du Consulat, de l’Empire et de la Restauration. Au gré des lettres, se dessine l'image d’un artiste aux prises avec des intérêts économiques, artistiques et sentimentaux. La séduction opère auprès des Napoléonides lui assurant protection et commandes ; elle gagne aussi les représentants du pouvoir à Rome et les salonnières pris au jeu de la délicatesse et du charme des compositions de l’Italien. La recommandation apparaît comme un mode de communication privilégié entre artistes et reflète la vitalité de ce type de lettre ainsi que la diversité des réseaux. La correspondance met en évidence le changement de statut de l’artiste qui adapte sa célébrité aux exigences de ses commanditaires en devenant un véritable homme d’affaires. Partagé entre désir d’émancipation et fidélité aux choix esthétiques de son mentor Quatremère de Quincy, Canova livre une production polymorphe qui le fait apprécier de la critique et du public qui cherche à voir en lui l’héritier moderne des sculpteurs grecs : mais ses rares présences et expositions à Paris limitent son impact. L’influence du premier romantisme dans la peinture néoclassique imprègne la production canovienne lui conférant son originalité. L’étude des missives fait surgir des questionnements historiques, matériels et esthétiques dont les épistoliers de Canova sont les témoins
The novel subject of this thesis is based upon archive material. It is centered on how the work of Italian neo-classical sculptor Antonio Canova was received in the most glamorous clubs and salons, through the study of letters exchanged by French celebrities from different walks of life during upon the periods of the Consulate, the Empire and the Restauration. Letter after letter, the image of an artist confronted with économie, artistic and sentimental challenges emerges. He succeeds in winning over the Napoleonides who grant him their patronage and their protection. He also gains the support of government représentatives in Rome and of fashionable women who are enraptured by the charm and the refinement of the Italian sculptor’s compositions. Référencés appear as a privileged form of exchange between artists, and reflect the vitality of this type of letter, and the variety of networks.Correspondence demonstrates the changing status of the artist who adjusts his réputation to the demands of his patron, thus becoming a true businessman. Torn between his longing forfreedom and his commitment to the artistic leanings of his mentor Quatremère de Quincy, Canova's production has many facets, which endear him to critics and to the public who wishes to see him as the modem heir of Greek sculptors. Yet as he rarely visits Paris and his work is rarely exhibited there, his impact is limited. The influence of early romanticism on ne classical painting permeates Canova’s works, and is a tribute to his originality. Studying these letters brings to light historical, material and esthetic questions that their authors bear witness to

Orientador: Marisa Philbert Lajolo
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-09-11T21:10:11Z (GMT). No. of bitstreams: 1 Tin_Emerson_D.pdf: 7686424 bytes, checksum: 723efe5ae07964b1fc4faa355f42ba96 (MD5) Previous issue date: 2007
Resumo: O objetivo desta tese é identificar e analisar o ¿Lobato das cartas¿, ou seja, o processo de construção da imagem de Monteiro Lobato em sua correspondência ativa. Há, assim, o Lobato familiar, o escritor e o editor, o dos Estados Unidos, o do ferro e do petróleo, o da prisão e o das crianças. Essa imagem, porém, varia não só segundo circunstâncias de tempo e de lugar mas também em função do destinatário. Palavras-chave: Lobato, Monteiro, 1882-1948 ¿ Correspondência ¿ Crítica e interpretação, Cartas brasileiras ¿ Séc. XX ¿ História e crítica
Abstract: The objective of this thesis is to identify and to analyze the ¿Lobato of the letters¿, that is, the process of construction of the Monteiro Lobato¿s image in his active correspondence. There are the familiar Lobato, the writer and the publisher, the Lobato of the United States, the Lobato of the iron and the oil, the Lobato of the prison and the Lobato of the children. This image, however, not only varies according to circumstances of time and place but also in function of the addressee. Keywords: Lobato, Monteiro, 1882-1948 ¿ Correspondence ¿ Criticism and interpretation, Brazilian letters ¿ 20th century ¿ History and criticism
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária

For many Australians, Fiji is a place of holidays, coups and rugby. The extent to which we think about this near-neighbour of ours is governed, for most, by what we learn about Fiji through the media. In normal circumstances, there is not a lot to learn as Fiji rarely appears in our media. At times of crisis, such as during the 1987 and 2000 coups in Fiji, there is saturation coverage. At these times, the potential for generating understanding is great. The reporting of a crisis can encapsulate all the social, political and economic issues which are a cause or outcome of an event like a coup, elucidating for media consumers the culture, the history and the social forces involved. In particular, the kinds of sources used and the kinds of organisations these sources represent, the kinds of themes presented in the reporting, and the way the journalists go about their work, can have a significant bearing on how an event like a coup is represented. The reporting of the Fiji coups presented the opportunity to examine these factors. As such, the aim of this thesis is to understand the role of the media in building relationships between developed and developing post-colonial nations like Australia and Fiji. A content analysis of 419 articles published in three leading broadsheet newspapers, The Sydney Morning Herald, The Australian and The Canberra Times, examined the basic characteristics of the articles, with a particular focus on the sources used in these articles. This analysis revealed that the reports were dominated by elite sources, particularly representatives of governments, with a high proportion of Australian sources who provided information from Australia. While alternative sources did appear, they were limited in number. Women, Indian Fijians and representatives of non-government organisations were rarely used as sources. There were some variations between the articles from 1987 and those from 2000, primarily an increase in Indian Fijian sources, but overall the profile of the sources were similar. A thematic analysis of the same articles identified and examined the three most prevalent themes in the coverage. These indicated important aspects of the way the coups were represented: the way Fiji was represented, the way Australia's responses were represented, and the way the coup leaders were represented. This analysis found that the way in which the coups were represented reflected the nature of the relationship between Australia and Fiji. In 1987, the unexpected nature of the coup meant there was a struggle to re-define how Fiji should be understood. In 2000, Australia's increased focus on Fiji and the Pacific region was demonstrated by reports which represented the situation as more complex and uncertain, demanding more varied responses. A series of interviews with journalists who travelled to Fiji to cover the coups revealed that the working conditions for Australian media varied greatly between 1987 and 2000. The situational factors, particularly those which limited their work, had an impact on the journalists' ability to access specific kinds of sources and, ultimately, the kinds of themes which appeared in the stories. The variation between 1987 and 2000 demonstrated that under different conditions, journalists were able to access a more diverse range of sources and present more sophisticated perspectives of the coup. In a cross-cultural situation such as this, the impact of reporting dominated by elite sources is felt not just in the country being covered, but also in the country where the reporting appears. It presents a limited representation, which marginalises and downplays the often complex social, cultural and historical factors which contribute to an event like a coup. Debate and alternative ways of understanding are limited and the chance to engage more deeply with a place like Fiji is, by and large, lost.

This thesis argues that Barth’s asymmetrical structuring of the Trinity in I/1, his doctrine of election in volume II, his concept of the humanity of Christ as the imago Dei in III/2 and his account of the obedience of the Son being reflected in his incarnate life, as detailed in IV/1 and IV/2, are not just coherent but mutually reinforcing. The thesis demonstrates that Barth uses a nexus of crucial terms, including ‘correspondence’ [Entsprechung], ‘reflection’ [reflex/Abbildung] and ‘overflowing’ [Ueberstroemen], to express that God’s actions and relationships ad extra reveal who God is. The concept of ‘correspondence’, tentatively present in the first two volumes, gathers pace through III/2 and achieves full force in volume IV, where the obedience of Christ in IV/2 ‘reflects’ or ‘mirrors’ the obedience of the Son in IV/1. Crucially, the fact that the economic Trinity ‘reflects’ the immanent Trinity, or (differently stated) that the immanent Trinity ‘overflows’ into the economy, establishes a direction, an asymmetry, to the relationship of ‘correspondence’. In ch. II of the thesis we argue that the asymmetry developed in the doctrine of the Trinity in I/1 is the basis for this asymmetric correspondence. Barth describes the triune life as one of giving and receiving existence, suggesting a divine order with an irreversible direction, an asymmetric order. This is shown to be particularly evident in Barth’s defence of the filioque clause which enables him to claim that the Spirit is the one in whom the ruling Father and obedient Son are united ad intra. On this basis we argue, in ch. III, that, when Barth revises his doctrine of election, he comes to see it as the event of triune reflection: the Father, Son and Spirit electing to reflect who they are with a direction of determination, an asymmetry, which is irreversible. In this respect we argue against Bruce McCormack, who sees election as the event in which God elects triunity. In ch. IV we read Barth’s III/2 account of the humanity of Christ as the imago Die, as an attempt to demonstrate that God’s economy of salvation corresponds to who he is. This theme comes into full focus in the first two part-volumes of volume IV, explored here in ch. V. The obedience of Christ reflects, corresponds to, the obedience of the Son. There is obedience in God. This concept, which so mystifies Paul Molnar and Rowan Williams, is shown to be theologically consistent with a doctrine articulated by Barth some thirty years previously: his asymmetrically structured doctrine of the Trinity.

This article explores the memories of childhood that Jose Maria Arguedas reconstructs in his letters and the recreation and imagination of himself as a symbol of the Peruvian nation. His recollections portrait ambivalent feelings of suffering and tenderness, with special attention to the need of protection, as well as the identification with the oral expression and the Andean world view, creating a new sense of otherness: one that is more connected to the emotions. Arguedas stablishes himself as a living bridge in Peruvian culture and as the reincarnation of a diverse country, filled with contradictions.
Este artículo aborda las memorias de infancia que José María Arguedas reconstruye en sus cartas y la recreación e imaginación de sí mismo como símbolo de la nación peruana. Sus recuerdos retratan sentimientos ambivalentes de sufrimiento y ternura, con especial acento en la necesidad de protección, y de identificación con el mundo oral y la cosmovisión andina, creando un nuevo sentido de “otredad”: uno ligado más a las emociones y los afectos. Arguedas se construye a sí mismo como un puente viviente en la cultura peruana y como la encarnación de un país diverso y lleno de contradicciones.

La tesi ha lo scopo di inquadrare Giordani nel contesto del mondo culturale cattolico tra le due guerre e di approfondire la sua proposta di «cristianesimo integrale» come soluzione alla crisi che negli anni Venti e Trenta viziò il mondo economico, il sistema politico e lo scenario culturale, a livello di principi fondamentali, di valori. Per questo si è dato assoluto rilievo ai rapporti di Giordani con molti intellettuali suoi contemporanei e con varie istituzioni culturali cattoliche. Il testo segue dapprima un indirizzo biografico, che permette di ripercorrere la vita di Giordani dalla giovinezza, segnata dalla guerra e dall’esperienza al fronte, alla sua serena fine, nel 1980. Si tratta di una testimonianza di come la sua conseguenzialità tra fede e opere abbia inciso negli ambienti che lo hanno visto protagonista, tanto che è stato avviato per lui il processo di beatificazione. La ricerca è stata condotta tenendo conto degli scritti di Giordani e della storiografia precedente, ma soprattutto utilizzando numerosi materiali d’archivio. In particolare i carteggi privati aiutano a ricostruire l’operato di Giordani a favore dell’impegno degli intellettuali cattolici negli anni oscuri del fascismo e la sua indefessa attività per la realizzazione di un nuovo umanesimo. Altro spazio è stato riservato ai rapporti maturati da Giordani con due esponenti del mondo cattolico italiano di quel periodo, ovvero Giovanni Papini e Piero Bargellini.
This dissertation aims at setting Igino Giordani within the broader framework of the catholic cultural environment between the two world wars. It focuses on his proposal of an «integral Christianity» as a solution to the recession which threatened the fundamental values and principles of the economy, politics and culture during the 1920's and 1930's. This is the reason why the relationships between Giordani and many of his colleagues and cultural catholic institutions have been studied in depth. The work starts with a biography, underlining how Giordani's youth has been affected by the war and the experience as a soldier, up to his peaceful death, in 1980. His life shows how the consistency of his actions with his faith made him an influent personality in his working environments, to the point that the beatification process has begun. The research is based on Giordani's writings and on the previous historiography, but the most important source is constituted by a large number of archive documents. Particularly, Giordani's private correspondence has been very useful in understanding how he acted in order to support the engagement of the catholic intellectuals during the dark fascist age and his endless activity in order to build a new humanism. The work also focuses on the relationships between Giordani and two members of the Italian catholic world of the time: Giovanni Papini and Piero Bargellini.

La tesi ha lo scopo di inquadrare Giordani nel contesto del mondo culturale cattolico tra le due guerre e di approfondire la sua proposta di «cristianesimo integrale» come soluzione alla crisi che negli anni Venti e Trenta viziò il mondo economico, il sistema politico e lo scenario culturale, a livello di principi fondamentali, di valori. Per questo si è dato assoluto rilievo ai rapporti di Giordani con molti intellettuali suoi contemporanei e con varie istituzioni culturali cattoliche. Il testo segue dapprima un indirizzo biografico, che permette di ripercorrere la vita di Giordani dalla giovinezza, segnata dalla guerra e dall’esperienza al fronte, alla sua serena fine, nel 1980. Si tratta di una testimonianza di come la sua conseguenzialità tra fede e opere abbia inciso negli ambienti che lo hanno visto protagonista, tanto che è stato avviato per lui il processo di beatificazione. La ricerca è stata condotta tenendo conto degli scritti di Giordani e della storiografia precedente, ma soprattutto utilizzando numerosi materiali d’archivio. In particolare i carteggi privati aiutano a ricostruire l’operato di Giordani a favore dell’impegno degli intellettuali cattolici negli anni oscuri del fascismo e la sua indefessa attività per la realizzazione di un nuovo umanesimo. Altro spazio è stato riservato ai rapporti maturati da Giordani con due esponenti del mondo cattolico italiano di quel periodo, ovvero Giovanni Papini e Piero Bargellini.
This dissertation aims at setting Igino Giordani within the broader framework of the catholic cultural environment between the two world wars. It focuses on his proposal of an «integral Christianity» as a solution to the recession which threatened the fundamental values and principles of the economy, politics and culture during the 1920's and 1930's. This is the reason why the relationships between Giordani and many of his colleagues and cultural catholic institutions have been studied in depth. The work starts with a biography, underlining how Giordani's youth has been affected by the war and the experience as a soldier, up to his peaceful death, in 1980. His life shows how the consistency of his actions with his faith made him an influent personality in his working environments, to the point that the beatification process has begun. The research is based on Giordani's writings and on the previous historiography, but the most important source is constituted by a large number of archive documents. Particularly, Giordani's private correspondence has been very useful in understanding how he acted in order to support the engagement of the catholic intellectuals during the dark fascist age and his endless activity in order to build a new humanism. The work also focuses on the relationships between Giordani and two members of the Italian catholic world of the time: Giovanni Papini and Piero Bargellini.

This dissertation is a scholarly edition of the correspondence between the Canadian poet Irving Layton and the critic and historian of Canadian literature, Desmond Pacey; on November 3, 1954, Desmond Pacey wrote to Contact Press, inviting the poets Irving Layton, Louis Dudek and Raymond Souster to submit their recent work for discussion in an article on Canadian literature for The International Year Book. Pacey and Layton met in Montreal a few months later, and so began a long friendship and a lengthy correspondence which continued until Pacey’s death on July 4, 1975. The correspondence is an extremely important document in the history of Canadian poetry and criticism in the decisive decades following World War II because it so directly and extensively explores the crucial issues of the times: the function of the poet and the critic in contemporary society; the debate over a “cosmopolitan” versus a “native” aesthetic; the debate over a “mythopoeic” versus a “realist” approach to the creation of, and criticism of, poetry; and the attempt to define a position for the Jewish writer in a gentile society. But aside from this prolonged and invaluable theoretical discourse, and aside from the countless useful insights into the life and work of practically every writer active in Canada between 1954-1975, the letters between the two men are important because the two men were so vitally important to the development of a viable Canadian literature. The basic principle of this project’s editorial philosophy is the decision to abjure the “editorial pedantries” of the diplomatic text which tend to exclude the non—specialist educated public, and to assume greater flexibility in the standardization and regularization of spelling, punctuation, capitalization, abbreviation and matters of format——placement of addresses, closings, postscripts and marginalia. Headnotes contain all textual information about the letter; transcriptions are in the main literal, but in the interest of consistency some standardization has been imposed. Footnotes follow each letter; cross—references are by letter and, where applicable, note number; when the reference is to a letter with a single footnote, no number is cited. These almost three thousand annotations are employed to identify individuals referred to in the text, to provide publication information on the works of Layton, Pacey, and numerous other individuals referred to in the text, to document and frequently quote from the reviews, articles, radio and television programs they discuss, to elucidate references to current events, and to provide miscellaneous but necessary background information on matters ranging from the private lives of the two correspondents to majcir vnts and isuë in the history of Canadian li’áttñ.

碩士
國立中興大學
歷史學系所
105
In the 1850s, there were drought and natural disasters, thieves arose numerously, made people lived in chaos society in mainland China. At this time, people found gold in the United States and need a lot of laborers. A large number of Chinese decided to go to San Francisco in order to earn money and support their China family. After the gold mine exhausted and the Pacific Railroad completed, the Chinese laborers lost their jobs and gathered together in Chinatowns. In the late 1860s, the inexpensive and industrious Chinese laborers were favored by white employers in California labor market, therefore, caused the unemployment among other ethnic groups. In this case, the attacks and exclusions of Chinese laborers were set off everywhere in California. Chinese laborers, so called “Yellow Peril”, were been discriminated and chased away. In 1882, Chinese Exclusion Act was signed to prohibiting all immigration of Chinese laborers. The United did not abolish the bill which showed racial discrimination until the military cooperation between China and the United States in 1943. However, in 6th March 1900, the first suspected plague occurred in San Francisco’s Chinatown. San Francisco Health Bureau took racial discriminative measures immediately before waiting for the result of the test, and the same measures in 29th May brought the inconvenience to the residents in Chinatown. Through the measures of the plague in Chinatown, the United State Government, Medical Officials, and Americans’ attitude toward racial discrimination, and injustice of the Chinese was shown in evidence during the exclusion period. For example, the United State Government intended isolating the Chinese in Chinatown, chasing them away and possessing the Chinatown by plague. The Government blamed the dirty and uncleanness Chinese for the epidemic of plague. In the society of the United States, people slandered and vilified Chinese people through the newspapers and magazines in America. The Chinese Government and society solid, because of the unfair treatments, was supported the overseas Chinese. Wu Tingfang, the ambassador to the United States, He You, the consul of San Francisco, and The Chinese Consolidated Benevolent Association (CCBA) sued San Francisco Health Bureau and Dr. Kinyoun to fight for the rights that Chinese in Chinatown deserved. Furthermore, because of being treated inequality and oppression, Chinese launched a boycott of American products from 1905 to 1906. Despite the failure, Chinese showed an admirable strength of unity. Chinese consciousness was awaked through the plague of the Chinatown in San Francisco. The Chinese fought for equal status with the Americans, the rights for ethnic groups, Chinese self-consciousness, and basic respect. The exclusion of Chinese from the United States made the result of the unfair treatment toward Chinese in the United States. From this thesis, I try to reconstruct the neglected and important evidences of the racial discrimination of the Chinese in the United States, through the historical archives and data, Chinese and Western daily newspaper, and the related cases and so on. I hope can through this topic to arise people to concern the topic of overseas Chinese immigrants in America.

This dissertation, Hugh MacDiarmid and Sorley MacLean: Modern Makars, Men of Letters, transcribes and annotates 76 letters (65 hitherto unpublished), between MacDiarmid and MacLean. Four additional letters written by MacDiarmid’s second wife, Valda Grieve, to Sorley MacLean have also been included as they shed further light on the relationship which evolved between the two poets over the course of almost fifty years of friendship. These letters from Valda were archived with the unpublished correspondence from MacDiarmid which the Gaelic poet preserved. The critical introduction to the letters examines the significance of these poets’ literary collaboration in relation to the Scottish Renaissance and the Gaelic Literary Revival in Scotland, both movements following Ezra Pound’s Modernist maxim, “Make it new.” The first chapter, “Forging a Friendship”, situates the development of the men’s relationship in terms of each writer’s literary career, MacDiarmid already having achieved fame through his early lyrics and with the 1926 publication of A Drunk Man Looks at the Thistle when they first met. MacLean, on the other hand, was a recent university graduate, young teacher, and fledgling poet when he began to provide translations of eighteenth-, nineteenth-, and twentieth-century Gaelic poetry for MacDiarmid to versify in English with the odd Scots or Gaelic word. This assistance was essential to MacDiarmid’s compilation of The Golden Treasury of Scottish Poetry, which he wished to be representative of Scotland’s literary traditions in Scots, Gaelic, English, and Latin. The work resulting from MacDiarmid and MacLean’s literary collaboration further reinforced MacDiarmid’s credibility as a nationalist poet well versed in each of these traditions. Chapter two, “Cultural Nationalism – Politics and Poetry” discusses the significance of each writer’s stance on language in relation to Scottish literature and explores their success in avoiding the ideological antagonisms which plagued the literary and language revivals in early twentieth-century Ireland. “Modern Makars” scrutinizes MacDiarmid and MacLean’s renderings of several Gaelic poems in The Golden Treasury, particularly in relation to the implications of the term “translations”. The final chapter, “Epistolary Discourse and the Legacy of the Letters” sums up the significance of MacDiarmid and MacLean’s collaboration and long-standing friendship, as revealed through their letters, and addresses these writers’ subsequent influence on both writing and cultural life in Scotland. The letters are followed by two appendices. Appendix A includes a transcription of Michael Davitt’s interview with Sorley MacLean for the Irish journal Innti in 1986 wherein MacLean discusses such issues as his political views, the influences on his poetry, and his relationship with MacDiarmid. The interview is provided in its original Irish text and accompanied by a translation into English. Appendix B is a transcription of the Times Literary Supplement’s 4 January 1936 review of MacDiarmid’s translation of The Birlinn of Clanranald as it was originally published in The Modern Scot. Sorley MacLean served as the ghost writer of MacDiarmid’s response to this critique of his work. This research, conducted both here in Victoria and in Edinburgh, Scotland, provides the first book-length study of the literary collaboration of these influential Scottish poets and the first critical discussion of their collected letters.

The artist Hans Heysen is closely associated with the South Australian regional environment, which featured as the subject matter of his most celebrated works. At the same time, however, he also rapidly established a national reputation, achieving critical and commercial success in the interstate art worlds of Melbourne and Sydney. This dissertation investigates the significant role of Heysen’s art world networks in establishing, shaping and maintaining his career and reputation. Most of the existing scholarship on Heysen has either been biographical or concerned with analysing the style and subject matter of his paintings. While previous authors have alluded to the importance of his networks, these have not been their central focus of study. Similarly, Heysen’s ties to the urban Australian art worlds where his works were exhibited, reviewed and sold have been little researched. Heysen’s networks encompassed fellow artists, art critics, publishers, dealers, collectors and museum trustees and directors. Due to his geographical isolation written correspondence played an essential role in his long-distance career management, with the letters he exchanged providing valuable insights into the importance of his networks. Consequently, this dissertation has involved intensive archival research, cross-referencing the archives of Heysen and his correspondents, together with studying historic exhibition catalogues, art magazines and published reviews. The interpretation of this material has been informed by two complementary conceptual frameworks. The first is Howard Becker’s conceptualisation of art (and art world success) as the product of collaborative activity. This has been utilised when analysing the specific operations of Heysen’s networks. The second is Pierre Bourdieu’s notion of a ‘Field of Cultural Production,’ a metaphorical, changing space in which cultural agents compete for symbolic capital. These ideas have been employed to examine the structure of the Australian art world and the construction of reputation. This research demonstrates the essential role of Heysen’s art world networks in representing and advancing his interests. The support of key associates enabled Heysen to withstand the threats to his career presented by anti-German sentiments during the First World War, the impact of the Depression on the art market and the ascendency of modernism. While he generally benefited from his networks, the entrenched conservatism or overt commercial concerns of some of Heysen’s associates proved detrimental to his reputation. This dissertation shows that while Heysen’s traditionalist style and subject matter did not change dramatically over the course of his lengthy career, there were considerable shifts in the way in which he displayed, promoted and sold his works which reflected broader changes in the Australian art world. Similarly, perceptions of Heysen progressed from regarding him as an innovator in the Edwardian period, to an establishment figure during the interwar decades and finally as the last representative of a past generation. Heysen is shown to have been a strategically-minded professional who closely monitored both his own critical fortunes and those of other Australian artists.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2019

The diploma thesis titled Jakub Deml's Family in Miscellaneous Letters and in His Work encloses an edition of letters of the writer Jakub Deml (1878-1961), which were delivered from him to his family. The correspondence of the years 1902-1961 comprises 81 letters. The mail explains many events which took place in the author's life, and it elucidates also several facts enabling deeper understanding of his work. An edition commentary, list of the mail, name register and annotation is attached to the edition of the correspondence. The supplementary commentary introduces the most important members of the author's family, deals with the reflections of the characters of mother and sister Matylda in the work and describes the form of the two kinship chronicles: V Zabajkalí and Mohyla.