Dissertations / Theses on the topic 'Austrian literature – 20th century'
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de, Vivanco Camillo. "Misanthropy in the works of Louis-Ferdinand Céline and Thomas Bernhard." Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.712505.
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Davidson, Elizabeth Macleod. "Women's writing in exile : three Austrian case studies, Veza Canetti, Anna Gmeyner, Lilli Korber." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:17215528-0abb-41d2-8f22-883fc185e7c9.
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Despite the recent increase in scholarship on the subject of the female experience in exile, there is still much to be done. Exile scholars now have at their disposal an abundance of broad, general overviews of the circumstances and fates of displaced women writers, but a dearth of scholarship that considers specific literary works in an individualised fashion still exists. This is especially true of those female writers who have only recently been 'rediscovered', such as the three under discussion in this thesis. This thesis explores in detail the exile writings of Veza Canetti, Anna Gmeyner, and Lili Korber, about which little scholarship exists, and uses them as case studies to illuminate the situation of exiled women writers in general The exile works of these three authors repay study both for their own literary merits and for what they can tell us about the individual experience of exile. In their broad similarities, these writers also provide us with case studies of the larger experience of authorial exile - particularly, but by no means exclusively, the gendered experience - that allow us to derive more general lessons about the influence of forced flight on literary art. By giving due consideration to work produced in exile, this thesis calls into question some of the generalisations commonly found in recent scholarship and demonstrates that, despite hardsrnps and setbacks and contrary to common scholarly contention, all three women continued to write well into their exile years and that in those years they took their writing in new, skilful, and creative directions.
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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
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Buchanan, David. "Contextual thesis Part I & Part II : Book of poems, "Looking off the Southern Edge" ; Stage play (full-length): Ecstasis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1015.
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This thesis, which accompanies my book of poems Looking Off the Southern Edge and my full-length stage play Ecstasis, is submitted in two parts: Part-I and Part-II. Part-l contextualises the writing practice of the above poems in considering the epistemological, autobiographical and landscape contexts of my poetry. Part-I then discusses how the poetry is involved in the process of decentring subjectivity within the southern India/Pacific arena. It should be pointed out that Part-I was submitted and marked last year, as the first year component of the Master of Arts (Writing) course. It is included this year because much of its thesis informs Part-II (and indeed is referred to and referenced by Part-II), especially in terms of my general theoretical approach to writing poems, plays, as well as the relevance of my music, painting and stained glass practices. Part II mostly addresses the writing of the play Ecstasis. I have however, discussed why I have re-edited, augmented and re-submitted my book of poems. I have then contextualised the writing of the play, by addressing the areas of Apophasis and the Aporia of 'the story', An Ecstatic Dramaturgy and the Undecidable Subject, and Ecstasis and an Endemic Specificity. This play was written, workshopped and enjoyed a partially moved reading (as late as the 11th, November) in the course of this year. While the writing of the piece is addressed under the previous headings, the workshopping and reading process is discussed in Workshopping the 'Spectacle Text' in the Co-operative Medium of 'Theatre. I have also included Appendix (i) in support of this process, in particular, the changes inspired by the reading. The conclusion discusses some of the boundaries for my writing of A Poetry and The Spectacle Text for theatre, and hints at the context required for any writing of experimentation in the southern Indian/Pacific arena.
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Heuschele, Margaret, and n/a. "The Construction of Youth in Australian Young Adult Literature 1980-2000." University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20081029.171132.
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Adolescence is an incredibly complex period of life. During this time young people are searching for and wanting to create their own unique identity, however being confronted with a plethora of roles and directions is challenging and confusing. These challenges are reflected in the vast array of young adult literature being presented to young people today. As a result young adult literature has the potential to function as scaffolding to assist teenagers in the struggles of adolescence by serving as an important source of information about the world and the people in it. Teenage novels also give young people the opportunity to try on different identities and vicariously experience consequences of actions while developing their own distinctive personality and character.
As this study reveals, the Australian young adult novel has undergone considerable developments, with 1989 serving as a milestone year in which writers and publishers turned in new directions. In general, Australian young adult novels have changed from books set predominately in rural areas, incorporating major themes of child abuse, death, friendship and survival with introverted characters aged between twelve and sixteen in the early 1980s to novels with urban settings, a large increase in books about crime, dating, drugs and mental health and sexually active, extroverted characters aged between fourteen and eighteen in the late 1990s.
To chart the progression of these changes and gain an understanding of the messages young adults receive from adolescent novels an evaluative framework was developed. The framework consists of two main sections. The first part applies to the work as a whole,
obtaining data about the novel such as plot, style, setting, temporal context, use of humour,
issues within the text and ending, while the second part collects information about character demographics including gender, age, occupational status, family type, sexual orientation, relationships with family and authority figures, personality traits and outlook for character. To qualitatively and quantitatively assess the construction of youth in Australian young adult literature a random selection of 20 per cent of Australian young adult books published in each year from 1980 to 2000 were analysed using the evaluative framework, with 186 novels being studied altogether.
During the 1990s in particular, Australian young adult literature was heavily criticised for being too bleak, too dark, presenting a picture of life that was all gloom and doom. This research resoundingly dismisses this argument by showing that rather than being a negative influence on the lives of young people, Australian books for young people present a comprehensive portrayal of youth. They probe the entire gamut of teenage experiences, both the good and the bad, providing a wide range of scenarios, roles, relationships and characters for young people to explore. Therefore Australian young adult literature provides an important source of information and support for the psycho-social development of young people during the formative years of adolescence.
This research is significant because it gives hard evidence to support the promotion of a representative selection of Australian young adult novels both in the classroom and in home, school and public libraries. By establishing the available range of contemporary Australian young adult literature through this study, young adult readers, teachers and librarians can be confident in the knowledge that appropriate titles are accessible which meet the needs and interests of young people. Consequently, the substantial amount of data gathered from this
study will considerably add to the knowledge and understanding ofAustralian young adult novels to date and provide an excellent starting point for further research in the future.
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Behin, Bahram. "Aspects of the role of language in creating the literary effect : implications for the reading of Australian prose fiction /." Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phb419.pdf.
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Thoday, Heather Frances. "Lived spaces of representation : thirdspace and Janette Turner Hospital's political praxis of postmodernism /." Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09pht449.pdf.
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Collins, Matthew Graham. "The fiction of Franz Nabl in literary context : a re-examination." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:67478695-5e36-41c3-be68-bd5857e33a2d.
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This thesis re-evaluates the work of the neglected Austrian novelist Franz Nabl. Nabl’s reputation has long been overshadowed by the prestige of Jung-Wien, denigrated by inaccurate association with the Heimatroman, and even unjustly tarnished by his appropriation during National Socialism. My work aims to correct these misconceptions, demonstrating that his best fiction merits rehabilitation not only in its own right, but also for the important questions it raises about conventional narratives of Austrian literary history. Structured chronologically, the five chapters of this thesis provide fresh analyses of Nabl’s texts, many of which have previously received only scant scholarly attention. These close readings are located in a range of relevant literary-historical and cultural contexts, illustrating that Nabl’s writing not only belongs in surprising literary company, but also that his works fit into important, yet often overlooked patterns in Austrian literary history which are often obscured by a tradition of criticism which values ‘modernism’ over ‘realism’, and privileges the aesthetically progressive over the apparently conservative. The first chapter investigates Nabl’s earliest fiction in the literary and cultural context of fin-de-siècle Vienna, revealing unexpected connections between Nabl and acknowledged modernists, such as Schnitzler and Kafka. The second and third chapters engage with Nabl’s novels, Ödhof and Das Grab des Lebendigen, establishing his status as a significant critical realist within a long tradition of Austrian works exploring unhappy family life. The fourth chapter focuses on the misleading view of Nabl as a regionalist, demonstrating that, while not all Heimat novels deserve critical condemnation, Nabl’s narratives of rural life invoke the conventions of the Heimatroman only to disappoint them. In the last chapter, I explore Nabl’s complicated relationship to National Socialism, showing that, although his involvements with the Nazis were ill-judged, Nabl was not committed to their politics and wrote only politically innocuous fiction during the regime.
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Perkins, Catherine. "The Shelf Life of Zora Cross." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15882.
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Zora Cross (1890–1964) is considered a minor literary figure, but 100 years ago she was one of Australia’s best-known authors. Her book of poetry Songs of Love and Life (1917) sold thousands of copies during the First World War and met with rapturous reviews. She was one of the few writers of her time to take on subjects like sex and childbirth, and is still recognised for her poem Elegy on an Australian Schoolboy (1921), written after her brother was killed in the war. Zora Cross wrote an early history of Australian literature in 1921 and profiled women authors for the Australian Woman’s Mirror in the late 1920s and early 1930s. She corresponded with prominent literary figures such as Ethel Turner, Mary Gilmore and Eleanor Dark and drew vitriol from Norman Lindsay. This thesis presents new ways of understanding Zora Cross beyond a purely literary assessment, and argues that she made a significant contribution to Australian juvenilia, publishing history, war history, and literary history.
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Sun, Christine Yunn-Yu. "The construction of "Chinese" cultural identity : English-language writing by Australian and other authors with Chinese ancestry." Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5438.
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Williams, Court. "Sensitive skin." Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
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The work being considered for examination will be my gallery installation Affliction.
Consisting of approximately six hundred digitally printed and hand constructed three
dimensional models, it will be installed on the gallery floor as a part of the Postgraduate
Degree show at Sydney College of the Arts (Tuesday December 9th through to Wednesday
December 17th).
My masters project explores the isolation and dislocation experienced in the urban
environment and situates un-commissioned street art as a construct that potentially
generates modes of plurality through immediate encounter, collaboration and intervention.
My work explores the inter-activity of street art. This is done through a reading of Nicolas
Bourriaud’s Relational Aesthetics - a theory of art that takes as its theoretical horizon
the realm of human inter-actions in social spaces. 1 demonstrate the inter-activity of street
art through a discussion of my work as well as the work of three other street artists.
In doing so, 1 also draw attention to the virtual characteristics of the anonymous urban
environment by locating street art as a virtual representation of the art world, the street
artist as an avatar and the city surface as an online blog.
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Weeda-Zuidersma, Jeannette. "Keeping mum : representations of motherhood in contemporary Australian literature - a fictocritical exploration." University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0054.
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[Truncated abstract] This thesis argues that the non-representation and under-representation of mothering in contemporary Australian literature reflects a much wider cultural practice of silencing the mother-as-subject position and female experiences as a whole. The thesis encourages women writers to pay more attention to the subjective experiences of mothering, so that women’s writing, in particular writing on those aspects of women’s lives that are silenced, of which motherhood is one, can begin to refigure motherhood discourses. This thesis examines mother-as-subject from three perspectives: mothering as a corporeal experience, mothering as a psychological experience, and the articulations and silences of mothering-as-subject. It engages with feminist, postmodern and fictocritical theories in its discussion of motherhood as a discourse through these perspectives. In particular, the thesis employs the theoretical works of postmodern feminists Hélène Cixous, Luce Irigaray and Julia Kristeva in this discussion . . . A fictional narrative also runs through the critical discussion on motherhood. This narrative, Catherine’s Story, gives a personal and immediate voice to the mother-as-subject perspective. In keeping with the nature of fictocriticism, strict textual boundaries between criticism and fiction are blurred. The two modes of writing interact and in the process inform and critique each other.
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Penazzi, Leonardo. "The fellow (novel) ; and Australian historical fiction, debating the perceived past (dissertation)." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0070.
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Novel The Fellow What is knowledge? Who should own it? Why is it used? Who can use it? Is knowledge power, or is it an illusion? These are some of the questions addressed in The Fellow. At the time of Australian federation, the year 1901, while a nation is being drawn into unity, one of its primary educational institutions is being drawn into disunity when an outsider challenges the secure world of The University of Melbourne. Arriving in Melbourne after spending much of his life travelling around Australia, an old Jack-of-all-trades bushman finds his way into the inner sanctum of The University of Melbourne. Not only a man of considerable and varied skill, he is also a man who is widely read and self-educated. However, he applies his knowledge in practical ways, based on what he has experienced in the
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Potter, Emily Claire. "Disconcerting ecologies : representations of non-indigenous belonging in contemporary Australian literature and cultural discourse." Title page, contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09PH/09php865.pdf.
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Includes bibliographical references (leaves 313-325) Specific concern is the poetic, as well as literal, significance given to the environment, and in particular to land, as a measure of belonging in Australia. Environment is explored in the context of ecologies, offered here as an alternative configuration of the nation, and in which the subject, through human and non-human environmental relations, can be culturally and spatially positioned. Argues that both environment and ecology are narrowly defined in dominant discourses that pursue an ideal, certain and authentic belonging for non-indigenous Australians.
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McLaren, Greg 1967. "Translations under the trees : Australian poets' integration of Buddhist ideas and images." Phd thesis, Department of English, 2005. http://hdl.handle.net/2123/6830.
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Kucharova, Sue. "The torch collector." Thesis, View thesis, 1999. http://handle.uws.edu.au:8081/1959.7/30737.
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The Torch Collector is a Magical Realist novel set in Sydney. It is a story of non conformity, history, hope. The story moves between three recognisable but not clearly identifiable spheres. A past, a present and the non identified other, which could be called the unreal, magical, other-worldly or third-dimensional The genderless protagonist collects torches which enable him/her to transgress the boundaries between the spheres of existence. S/he moves freely across filling the gaps in her/his identity created by her/his cross-cultural background. The novel examines life on the fringe of contemporary Australian society. The Torch Collector's position appears to be voluntary, defined by his/her relationship to the torches. This vital relationship prevents the protagonist from fully engaging in conventional life. It is also a story of Sydney. A city which hides its cross-cultural spirituality underneath a highly urban and technological facade.
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Lyons, Sara J. "The sacrifice of honey (fiction) ; The depiction of the media in The shark net, Evil angels and The sacrifice of honey (thesis)." University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0055.
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Spear, Peta. "Libertine : a novel and A writer's reflection : the Libertine dynamic: existential erotic and apocalyptic Gothic." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/26115.
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This thesis comprises two works: a novel ‘Libertine’ and a monograph ‘A writer’s reflection’. ‘Libertine’contemplates the eroticising and brutalising of being, and sex as currency, as need and as sacrament. It is set in a city where war is the norm, nightmare the standard, and ancient deities are called upon to witness the new order of killing technologies. The story is narrated by a woman chosen to be the consort of the General, a despostic war leader who believes that he has been chosen by the goddess Kali. She journeys deep into a horror which exists not only around her, but also within her. ‘Libertine’, by melding the erotic and the Gothic, tells the story of a woman enacting the role cast for her in the complex theatres of war. ‘A writer’s reflection’ discusses the themes of the novel, introducing the notion of existential erotica. The existential experience particular to the expression of the erotic being is discussed, and the dilemma which arises from a self yearning to merge ecstatically with an/other in order to obtain a heightened or differently valued self. This theme is elaborated in ‘Libertine’ with regard to subjectivity and the broader issues of nausea, horror and choice, drawing on the conventions of Gothic literature and apocalyptic visioning. This visioning, as eroticised death worship, is found in a Sadian credo of cruelty, the tantric rituals of Kali devotion, and the annihilating erotic excess propounded by Bataille. The monograph illustrated that ‘Libertine’ is not a re-representation of these elements, but an original contribution to the literature of erotica.
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Noble, Jenny Austin School of English UNSW. "Representations of the mother-figure in the novels of Katharine Susannah Prichard and Eleanor Dark." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/23897.
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This thesis argues that through bringing together two branches of inquiry???the literary work of Katharine Susannah Prichard and Eleanor Dark and socio-feminist theory on health, contagion and the female body???the discursive body of the mother-figure in their novels serves as a trope through which otherwise unspoken tensions???between the personal and the political, between family and nation and between identity and race in Australian cultural formation???are explored. The methodology I use is to analyse the literary mother-figure through a ???discourse on health??? from a soma-political, socio-cultural and historical perspective which sought to categorise, regulate and discipline women???s lives to ensure that white women conformed to their designated roles as mothers and that they did so within the confines of marriage. The literary mother-figure, as represented in Prichard???s and Dark???s novels, is frequently at odds with the culturally constructed mother-figure as represented in political and religious discourses, and in popular forms of culture such as advertising, film and women???s magazines. This culturally constructed ???ideal??? mother-figure is intimately linked to nationalist discourses of racial hygiene, of Christian morality, and of civic and social order controlled by such patriarchal institutions as the state, the church, the law and the medical professions during the period under review. This is reflected in Prichard???s and Dark???s inter-war novels which embody unresolved tensions in a way that challenges representations of the mother-figure by mainstream culture. However, their post-war novels show a greater compliance with nationalist ideologies of the good and healthy mother-figure who conforms more closely with an idealised notion of motherhood, leading up to the 1950s. Through a detailed analysis of the two writers??? changing representations of the mother-figure, I argue that the mother-figure is a key trope through which unspoken tensions and forces that have shaped (and continue to shape) Australian culture and society can be understood.
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Grogan, Bridget Meredith. ""Abject dictatorship of the flesh" : corporeality in the fiction of Patrick White." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001554.
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Schrader, Villegas Julie. "The racial shadow in 20th century American literature /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9525.
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Baker, James Andrew. "Necessary evil: rhetorical violence in 20th century American literature." Diss., Texas A&M University, 2003. http://hdl.handle.net/1969.1/5766.
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Wayne Booth and other rhetorical critics have developed methods for examining the rhetorical aspects of fiction. In this dissertation, I examine, specifically, the use of rhetorical violence in American fiction. It is my premise that authors use rhetorical violence and the irrationality of violence created mimetically to construct ironic metaphors that comment on the irrationality of the ideology behind the violence, pushing that ideology's maxims to its logical ends. The goal of rhetorical violence, therefore, is to create the conditions for a transfer of culpability so that the act becomes transitive-transferable-loosed from its moorings. Culpability, if indeed it reflects something intrinsically awry with an ideology, becomes the fault of the ideology-ÃÂÃÂit becomes the perpetrator of illogic and the condemnatory force associated with the act of violence gets transferred to it. Hence, if the author has created an effective metaphor, when he or she flips the violent scene'ÃÂÃÂs "ÃÂÃÂvalue," the audience is willing to follow along. The violence remains a great evil, but the culpability for the act is shifted to a representative of the ideology in question-as-victimizer; nonetheless, that transfer can only occur inasmuch as the audience is willing to force-fit the incongruities of the metaphor.I examine this rhetorical phenomenon in the works of three modern American writers: Flannery O'Connor, Toni Morrison, and Chuck Palahniuk. I seek to examine the ideologies questioned in these works, the contradictory beliefs expressed by the authors, and to explicate primary episodes in the works of fiction wherein rhetorical violence functions in a rhetorical fashion to promulgate the author's ideology by emotionally jarring the reader loose from commonly-held ideological assumptions in three specific appeals: first, to negate one socially-held ideology in order to promote a conflicting one (Wise Blood); second, to elicit compassion for victimized characters representing social ills (Beloved); third, to call into question the validity of social institutions and practices (Fight Club).
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Bachorz, Stephanie Vanessa. "Dialectics of postcoloniality : Adorno and 20th-century Irish literature." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517204.
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Cook, Jordan Ellington. "Space, Time, and the Self in 20th Century Literature." University of Toledo / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1525456817163611.
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Cooley, Shevaun. "Homing : poetry ; &, An essay on the poetic leap in the late work of R.S. Thomas." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/850.
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Homing, as a collection, speaks to the capacity and yearning to navigate our way towards something we might call home. In animal behaviour, this seems like an instinct, hard-wired to the body. It is something I envy. By comparison, the instinct, in human behaviour, feels muffled and complicated.
These poems move between two places in which I feel ‘at home’, whatever that means: the south-west of Western Australia, where I was born and raised, and the north-west of Wales, where I lived for a time, and find myself returning to, drawn not by blood, but by longing, and a deep affinity for the landscape. Without any real intention, in the writing of the poems I found I had a lot to say about rivers. In particular, I found myself repeating images of drifting and gripping, as if these two, opposing, compulsions also said something about how we try to find our way home. The poet Mark Doty speaks of a “fierce internal debate between staying moored and drifting away, between holdings and letting go.”1 It is as if the river, too, knows something of how to arrive, and yet its movement is much like that of these poems, pulled by new hungers, at times distracted, or slowed, or apparently lost. Drift. Grip. Perhaps it is, after all, another kind of instinct.
In the critical essay that accompanies the poems, I look at the poetic leap in the work of the Welsh poet and priest R.S. Thomas. I was initially compelled by a strange parallel between an actual physical leap of escape, enacted by Thomas, who leapt a graveyard wall in order to avoid speaking to the mourners to whom he had just ministered a funeral service, and the leap found in Italo Calvino’s essay on lightness. This leap is also one of escape, in which the poet-philosopher Guido Calvcanti places a hand on a grave and leaps lightly over it, in order to elude the taunts of some local louts. Calvino calls this act, “an auspicious image for the new millennium.”2
In poetry we find the leap in the act of making metaphor, in enjambment, even in a kind of concentration. In Thomas’s work, the leap is focused in the form of the raptor; a presence repeated through his oeuvre, carrying with it many of his chief concerns, about God, love, and the inherent ferocity of the natural world. In a close reading of those poems, and with the aid of thinkers as disparate as Helene Cixous, Roland Barthes, Simone Weil and Edward Said, this essay is an attempt to trace the ways the leap works in Thomas’s poetry. It is also an attempt to analyse and understand the way poetry itself works to move the reader, in all senses of the word.
1Doty, M. (2001). Still life with oysters and lemon. Boston: Beacon Press, p.7
2Calvino, I. (2009). Six memos for the new millennium. (P. Creag, Trans.) London: Penguin Classics, p.12
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Ben-Sira, Tallya. "Representation of motherhood in 19th and 20th century texts." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262312.
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Riehl, Ester. "Die faehige hausfrau erhaelt den staat: Family, nation and state in nineteenth-century German and Austrian literature /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794532075811.
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Chou, Mei-ching Tammy, and 周美貞. "Feminism and the representations of teenaged girls in 20th century children's literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31940201.
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Xiong, Ying. "Representing empire: Japanese colonial literature in Taiwan and Manchuria." Thesis, The University of Sydney, 2011. https://hdl.handle.net/2123/28923.
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Japan's imperialist expansion in late 19th and early 20th Asia was marked by its
official colonisation of Taiwan in 1895, of Korea in 1905, and by its subsequent
occupation of Northern China in 1931, prior to heading further to the South in the late
19305. Living as they did in the heyday of imperialism and nationalism, two significant
historical phenomena of the 20th century, Japanese colonial writers who travelled to the
colonial territories left behind them abundant stores of writing and records that deserve
scholarly attention. The dual historical processes of nationalisation and imperialisation
put these colonial writers under no little strain and, at the same time, affected their
national identification, which is the focus of this study.
Any study of Japanese national identification, and the tension between Japan’s
nationalism and imperialism reflected in colonial writings, cannot be undertaken from a
purely national perspective; rather, it demands a transnational vision that takes into
account colonial factors, which in this study includes Japan’s interaction with China and
Chinese literature. Drawing upon the examples of Nishikawa Mitsuru and Ouchi Takao,
my thesis aims to scrutinise Japanese colonial literature and cultural production in
Taiwan and Manchuria, and to identify the similarities and divergence in colonial
identities that would otherwise be neglected in a more narrow treatment.
This thesis argues that both Japanese state and imperialism were understood by
the Japanese people living in Taiwan and Manchuria in an ambiguous way. There was
inconsistency in their understanding of the relations between state, nation and empire. In
both Taiwan and Manchuria, space could be found for individual deviation from
imperialist power.
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Nasifoglu, Yelda. "Walter Pichler : the modern Prometheus." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32821.
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The ritualistic aspect of Walter Pichler's work greatly problematizes the traditional view of the art object as the locus of aesthetic contemplation. Yet how are we to approach such art in our secularized world? For it to maintain its meaningfulness, does not ritual require a shared symbolic system?Indirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.
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Kay, Barbara J. Goodsell. "Conflictual representations : North American representations of war in the 20th century /." Thesis, [Hong Kong] : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13762096.
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Chou, Mei-ching Tammy. "Feminism and the representations of teenaged girls in 20th century children's literature." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31940201.
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Gardam, Sarah Christine. "THE PATHOS OF TEMPORALITY IN MID-20TH CENTURY ASIAN AMERICAN FICTION." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/487648.
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EnglishPh.D.
Lack of understanding regarding the role that temporality-pathos plays in Asian American literature leads scholars to misread many textual passages as deviations from the implied authors’ political critiques. This dissertation invites scholars to recognize temporality-focused passages in Younghill Kang’s East Goes West, Carlos Bulosan’s America is in the Heart, and John Okada’s No-No Boy, as part of a pathos formula developed by avant-garde Asian American writers to resist systemic alienations experienced by Asian Americans by diagnosing and treating America’s empathy gap. I find that each of pathae examined – the pathos of finitude, the pathos of idealism, and the pathos of confusion – appears in each of the major primary texts discussed, and that these pathae not only invite similitude-based empathy from a wide readership, but also prompt, via multiple methods, the expansion of empathy. First, the authors use these pathae diagnostically: the pathos of finitude makes visible American imperialism’s destruction of prior ways of life; the pathos of idealism exposes the falsity of the futures promised by liberalism; and the pathos of confusion counters the destructive nationalisms that fractured the era. Second, the authors use these temporality pathae to identify the instrumentalist reasoning underlying these capitalist ideologies and to show how they stunt American empathy. Third, the authors deploy formal and thematic complexities that cultivate empathy-generating faculties of mind and cultivate alternative forms of reasoning.
Temple University--Theses
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McCarthy-Rechowicz, Matthew. "Franz Grillparzer's dramatic heroines and women's emancipation in nineteenth-century Austria." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:0bdefd2f-b09f-4653-9abb-236681262622.
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Recent decades have seen an increase in feminist critiques of the works of Franz Grillparzer (1791–1872), and a growing awareness that these deal with contemporary issues around the social roles of women. This study builds on exsiting feminist-themed examinations of Grillparzer's works to show more fully how they fit into the context of calls for women's rights in nineteenth-century Austria. New interpretations of Grillparzer's heroines are made possible by considering the full spectrum of the author's intellectual interests and examining his dramas through the lenses suggested by his reading. Des Meeres und der Liebe Wellen is seen in the context of the Enlightenment, and Sappho and Libussa are analysed with reference to social contract theory. Contemporary feminist approaches are combined with Schiller's thought on stadial history, and with Grillparzer's analysis of Shakespeare's Macbeth, to give new insight into Das goldene Vließ and Die Jüdin von Toledo respectively. Consideration of the lives and works of Grillparzer's female friends provides the context for my analysis, and helps define the original nature of this thesis. While several earlier studies have argued for the influence of Grillparzer's romantic interests on the construction of his heroines, sufficient attention has not been given to these heroines in the context of the intellectual women Grillparzer knew. While I do not argue that Grillparzer's heroines were influenced by the authors and other prominent women he knew, examination of the lives and works of Caroline Pichler, Betty Paoli, Marie von Ebner-Eschenbach, Sophie Schröder and others shows that Grillparzer was on friendly terms with intellectual women throughout his career, and that all of these women were to some degree critical of the contemporary social situation of women.
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Willis, Avery Tinch. "Euripides' Trojan women : a 20th century war play in performance." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:bb57e1d3-b560-45f2-8cd9-64befab97bba.
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In this dissertation, I approach the interpretation of a classical text in performance by examining the practical elements (directorial and design choices: set, costumes, lighting, music, etc.) and promotional materials (programmes, press releases, photographs, etc.) for a selection of significant test cases in order to determine how these production decisions engage with external factors of political, intellectual, and cultural import. Trojan Women is a particularly useful case study to explore within the parameters of this method because the dynamism and immediacy of the play is most powerfully articulated when production choices allow for it to be wielded as a weapon of protest or reaction against contemporary policy, especially the waging of war. Using a chronological approach, this analysis of Trojan Women as a text for performance provides a broad and in-depth discussion of the reception of the play in the twentieth century, the period in which the ancient text was most frequently performed. Through the investigation of several influential productions on the international stage, and through an examination of the roles of key players (particularly Gilbert Murray and Jean-Paul Sartre), Trojan Women emerges as a play that offers theatre artists a unique and effective forum for debating issues of human responsibility in times of war a central theme in the play and a considerable preoccupation during a century of armed conflict. Chapter One discusses how the play was used to criticize imperial activity and promote ideological causes in the first half of the century. Chapters Two and Three draw attention to a major cluster of performances reflecting the spirit of international war protest in the 1960s and 1970s. Chapter Four addresses productions of the play affected by delayed responses to the Holocaust. Chapter Five features performances in the 1990s that respond to crises of civil conflict and genocide.
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Brice, Dusty A. "The Lawrentian Woman: Monsters in the Margins of 20th-Century British Literature." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2612.
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Despite his own conservative values, D.H. Lawrence writes sexually liberated female characters. The most subversive female characters in Lawrence’s oeuvre are the Brangwens of The Rainbow. The Brangwens are prototypical models of a form of femininity that connects women to Nature while distancing them from society; his women are cast as monsters, but are strengthened from their link with Nature. They represent what I am calling the Lawrentian-Woman.
The Lawrentian-Woman has proven influential for contemporary British authors. I examine the Lawrentian-Woman’s adoption by later writers and her evolution from modernist frame to postmodern appropriation. First, I look at the Brangwens. They establish the tropes of the Lawrentian-Woman and provide the base from which to compare the model’s subsequent mutations. Next, I examine modern British writers and their appropriation of the Lawrentian-Woman. The Lawrentian-Woman’s attributes remain intact, but are deconstructed in ways that explore women’s continued liminality in patriarchal society.
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Murdock, Mark Cammeron. "In the Company of Cheaters (16th-Century Aristocrats and 20th-Century Gangsters)." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1775.
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This document contains a meta-commentary on the article that I co-authored with Dr. Corry Cropper entitled Breaking the Duel's Rules: Brantôme, Mérimée, and Melville, that will be published in the next issue of Essays in French Literature and Culture, and an annotated bibliography of primary and secondary sources featuring summaries and important quotes dealing with duels, honor, honor codes, cheating, historical causality, chance, and sexuality. Also, several examples of film noir are cited with brief summaries and key events noted. The article we wrote studies two instances of cheating in duels: one found in Brantôme's Discours sur les duels and the other in Prosper Mérimée's Chronique du règne de Charles IX, and the traditional, as well as anti-causal, repercussions they had. Melville's Le Deuxième souffle is also analyzed with regards to the Gaullist Gu Minda and the end of the aristocratic codes of honor that those of his generation dearly respected but that were overcome by the commercial world of republican law and order.
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蘇偉貞 and Weizhen Su. "張愛玲的香港時期小說, 1952-1955." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B29913330.
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Stricklin, Rita Katherine. ""A Site of Invasion: Representations of Home in 20th Century South African Literature"." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1523015006047659.
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Gibson, Donald. "Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/8059.
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The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.
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Feng, Dongning. "Text, politics and society : literature as political philosophy in post-Mao China." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/2216.
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The purpose of this study is to arrive at a critical overview of politics and literature in the Chinese context. The relationship has increasingly become a "field" of studies and theoretical inquiry that most scholars in either disciplines are wary to tread. This thesis tries to venture into this problematic field by a theoretical examination as well as an empirical critique of Chinese literature and politics, where the relationship seems even more paradoxical, but adds more insight into the argument. The Introduction and Chapter One set up a framework by asking some general but fundamental questions: what literature is, and how it is to be related to politics. Chapter Two examines the historical function of literature and Chinese writers in society to establish the basis of argument in the Chinese context. Chapter Three focuses the discussion on the relationship between politics and literature during the Mao era and after. Chapters Four analyses the literary works published during the post-Mao period to establish the argument that literature, as part of our perception of the world, is most concerned with human society and social amelioration and participates in the socio-political development by contributing to it through a discourse that is otherwise inaccessible. Chapter Five explores the argument further by extending it into the field of cinema, which basically comes from the same narrative tradition of prose literature, but offers a wider and different dimension to the argument pursued. Chapter Six and the Conclusion try to draw together the argument by examining literature as both form and content to argue how and why literature is related to politics and how it has functioned in a political manner in Chinese society. To summarise, Chinese literature in this period will b& shown to be involved In a process of political reform and development by way of bringing the reader to participate in a critical and philosophical dialogue with power, history and future. In the long run, it offers emancipating visions and possibilities revealed to the reader in ways that are historical, developmental, philosophical and comparative. This study focuses on the prose fiction published in this period, for it is the leading force in China's cultural development and constitutes the major trunk of the modern Chinese canon. In addition, the research also extends to drama and films, and the way they, together with prose fiction, make up the most popular perception and intellectual discovery of contemporary Chinese society and politics and best inform the argument of the study of politics and literature.
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Ferris, Natalie. "'Ludic passage' : abstraction in post-war British literature, 1945-1980." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:5b3034e6-3a32-4684-b8a0-eb91cfc756c6.
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This thesis traces a line of literary experimentation in post-war British literature that was prompted by the aesthetic, philosophical and theoretical demands of abstraction. Spanning the period 1945 to 1980, it observes the ways in which certain aesthetic advancements initiated new forms of literary expression to posit a new genealogy of interdisciplinary practice in Britain. It is the first sustained chronological study to consider the ways in which a select number of British poets, authors and critics challenged the received views of their post-war moment in the discovery of the imaginative and idealizing potential of abstraction. At a time in which Britain became conscious of its evolving identity within an increasingly globalised context, this study accounts for the range of Continental and Transatlantic influences in order to more accurately locate the networks at play. Exploring the contributions made by individuals, such as Herbert Read, Ian Hamilton Finlay and Christine Brooke-Rose, as well as by groups of practitioners, such as the British concrete poetry movement, small press initiatives and Art & Language, this thesis offers a comprehensive account of the evolving status of abstraction across cultural, institutional and literary contexts. The discussions build a vision of an era that increasingly jettisons the predetermined critical lexicon of abstraction to generate works of a more pragmatic abstract inspiration: the spatial demands of concrete poetry, language as medium in the conceptual artwork, the absence of linear plot in the new novel.
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Grace, Elizabeth Ellen. "Women, nation, narration : a comparative study of Japanese and Korean proletarian women's writing from the interwar years (1918-1941)." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709209.
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Januzzi, Angela. "Making an "American Classic": Faulkner, Ferber, and the Politics of 20th Century Canon Formation." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/JanuzziA2007.pdf.
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Gosling, Juliet. "Virtual worlds of girls : exploring the 20th-century British genre of girls' school stories." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369642.
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Kylin, Sebastian. "Brave New World : Blind Perception of the Early 20th Century." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66354.
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Huxley’s Brave New World portrays a futuristic hyperbole of mankind’s future as a result of technological advancements. From a New Historical perspective, this essay examines how BNW satirizes contemporary society by satire where the audience is both a part of the problem and solution. Through the use of satire Huxley’s novel successfully portrays horrific examples of how human life in a not so distant future may find that the technology which revolutionized our lives actually enslaves us. Post-novel examples such as Hitler and his Nazi regime is a real life example of the type of totalitarian regime that is possible as a direct result of scientific progress in many fields. In this paper, however, posterity is excluded from the analysis. Instead this essay focuses on the contemporary society as depicted in early 20th century literature and how it reflects identifiable satirical elements in BNW. The analysis depicts how several discourses of contemporary industrialized Britain such as rationalism, socialism, industrialism, freedom, religion and political indifference are reflected in the novel. Ultimately, Huxley’s dystopian reflection of human future taunts us, the audience, by directly and indirectly illuminating the dangers of blindly accepting scientific advancements in the name of progress. The one, perhaps most relevant question the novel raises is – are we truly free when we are free to have the most wonderful time?
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Piantanida, Cecilia. "Classical lyricism in Italian and North American 20th-century poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4422c01a-ba88-4fe0-a21f-4804e4c610ce.
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This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.
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Sidhe, Wren. "Bodies, books and the bucolic : Englishness, literature and sexuality, 1918-1939." Thesis, University of Gloucestershire, 2001. http://eprints.glos.ac.uk/3380/.
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The hypothesis this thesis tests is that interwar hegemonic discourses of Englishness located it as originating in the heterosexual bond between a masculine national subject and a feminine nature/landscape. Discursively, this left little space for women to insert themselves in to such a cultural formation. However, a paradox of this heterosexualising cultural matrix may have been to give a voice to lesbian subjectivity, since If 'women' might not be English, could lesbians be? If national land was figured as feminine, and women desired identification with their country-as-land, to become English might mean for some women that they should become lesbian. In order to explore this, three main questions are examined. Firstly, to what extent did the dominant discourse of the rural in the interwar period define 'Englishness' as masculine and 'Nature' as feminine? Secondly, if women were excluded from this discursive heterosexual relationship, can it be seen paradoxically to have opened up a space for alternative sexualities to emerge? If lesbianism were an instance of the latter, then what writing strategies were adopted in order to articulate a relationship between Englishness and lesbianism? Thirdly, what can censored and other literary texts of the period reveal about the relations between such an English masculine national subject, the meaning and powers attributed to literature, and forbidden sexualities and subjectivities? In its analysis of the relationship between national identity, geographical location and sexuality, this thesis contributes to studies of England and Englishness through the addition of the concept of 'sexuality' to an understanding of their construction. It also contributes to lesbian and gay critical theory by examining the national processes which impinge of the construction of the homosexual subject. Beyond that, the importance of the materiality of the locations offered to different subjectivities shows how national identifies are both enabled and limited by these same locations.
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曾昭楹 and Chiu-ying Venus Tsang. "Temporality in modernist literature: Ezra Pound and Virginia Woolf." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26822428.
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