Dissertations / Theses on the topic 'Basque language – History – 20th century'
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Bayar, Yesim. "Turkish nation-building process : an analysis of language, education, and citizenship policies during the early Republic (1920-1938)." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115601.
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This study seeks to analyze the Turkish nation-building process during the early Republican period (1920-1938). In doing this, the substantive focus will be on three main dimensions --language, education, and citizenship -- with particular emphasis on the rhetoric and actions of the political elite.By looking at language, education, and citizenship policies, and their formulations, the present analysis will make three main propositions: First, and in contrast to the existing literature on nations and nation-building, it will be demonstrated that the process of Turkish nation-building was neither a smooth nor an automatic process. Moreover, during the period under analysis, there were competing definitions of nationhood which were taken up, and discussed by the political elite. The final conceptualization of nationhood --which took an assimilationist form with an ethnic understanding attached to it -- was formed over time. At times, the process was wrought with tensions as illustrated by the heated debates among the political elite.
Second, the present analysis will seek to bring together two different ways of looking at nation formation. More specifically, the analysis will attempt to bridge the gap between those works which only underline the role of ideas in the formation of nations, and those which emphasize the role of structural forces. By paying attention to the "voices" (and actions) of the political elite, this study will demonstrate that it is not only ideas, nor is it only structural forces that matter. Rather, the crystallization of the contents of Turkish nationhood illustrates the interplay of ideological as well as geopolitical and political forces.
Third, a detailed analysis of the trajectory of Turkish nation-building and the formulation of Turkish nationhood reveals the complexity of this process. The existing literature on Turkey tends to treat the Kemalist era as an undifferentiated whole. The present work will remain critical to such an outlook. Instead, and by looking at the shifting conceptualizations of nationhood, it will seek to demonstrate the complexity and contingent nature of the Turkish nation-building process.
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Dowthwaite, James. "Ezra Pound's theory of language." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:b7fdc3da-8442-478f-8dbf-4a401cf29e27.
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This thesis examines Ezra Pound's linguistic theory in relation to literary, philosophical and academic treatments of language in the modernist period. Pound is a central figure in the history of twentieth century literature, and his poetic career marks a sustained engagement with questions of how language can register thought, how it can transmit and communicate images, and, ultimately, how language is able to mediate between artists (or, indeed, language speakers as a whole) and the world. I read Pound's statements on language against the disciplinary history of linguistics, assessing the extent to which his positions are representative of his period, or, conversely, the ways in which they form part of an idiosyncratic worldview. My approach is broadly historical. I begin with Pound's educational background, and move chronologically through his career to the concluding passages of his Cantos. I investigate the extent to which Pound's critical writing engages with new departures taking place in linguistics in the late nineteenth century and the early part of the twentieth century. The scope of my investigation ranges from the legacy of nineteenth century philology to the approaches taken by William Dwight Whitney, Michel Bréal, and Ferdinand de Saussure, to name but a few, in focusing linguistic scholarship on synchronic study of language as function in the early twentieth century, to Franz Boas's and Edward Sapir's studies in the relationship between language and culture between 1910 and 1939. In situating Pound in relation to the history of linguistics as a discipline, I argue that his work asks some of the period's most apposite questions about language and culture, even if his conclusions differ from the dominant academic positions of the time.
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Totaro, Genevois Mariella. "Foreign policies for the diffusion of language and culture : the Italian experience in Australia." Monash University, Centre for European Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8828.
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Slaughter, Carolyn Overton. "Language as disclosure in five modernist American works." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184311.
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"Language as Disclosure in Five Modernist American Works" comprises a series of Heideggerian readings of James's The Turn of the Screw, Williams's In the American Grain, Faulkner's As I Lay Dying, Hemingway's Death in the Afternoon, and Barth's Lost in the Funhouse. Each text is taken as a single and separate performance of poetic language. The readings do not interpret or explain the texts but attempt to follow them in a thinking, to map what shows up and in what relations. The attempt is to get past the roadblock of "ambiguity" that characterizes modernist texts, not by deciding the undecidable but by exploring it. The dissertation explores the nature or function of language. In James literality works to indicate, to evoke, to found and maintain as well as to violate or subvert a human order. Language borders and opposes the abyss in the story, and it is at this border and in this conflict that reality originates. Williams too revises the notion of origin as he proposes a new "method" of "composition" whereby a poet in the act of asserting and proving himself sets forth not only his own potency but that of his ground, his locality, his period and his time. In the Faulkner story representative language has become disconnected from life, is irrelevant, ineffectual, dysfunctional. However, in spite of its explicit indictment of words, the work discloses a new ontology, a new standard of value, and an originary function for words. In the Hemingway story language or the work of art (the bullfight, here) is the site, the occasion, and the agency in and by which "facts," things that actually happen, rise into appearance upon the horizon of death. In these modernist works we find the function of language to be, in some sense, disclosure. With the Barth story we pass into a milder postmodern atmosphere, but we find the same antagonists, language and not-language. Ostensibly language is impotent; thematically the rational paradigm is overwhelmed by objectivity. I claim, however, that language diminished and exposed is still working by modernist standards to provoke into view the potentiality that representative language cannot express.
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Leow, Rachel. "Language, nation, and the state in the decolonisation of Malaya, c.1920-1965." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/252253.
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Wong, Chi-keung Frederick, and 黃志強. "Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.
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Longwell, Ann E. "France, man and language in French Resistance poetry." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/13376.
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The Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.
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Friman, Eva. "No limits : the 20th century discourse of economic growth." Doctoral thesis, Umeå universitet, Historiska studier, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-61315.
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The breakthrough of the concept of economic growth in economics marks a paradigm shift in thinking about the economy and its place in 'reality.' This thesis analyzes the 20th century discourse of economic growth, focusing its unlimited connotations. The thesis consists of four case studies, two introductory parts and a concluding discussion. Part II first gives an etymological outline of how the concept 'growth' transformed: from signifying natural processes, to become crucial within economics. The main focus is on the historiography around Adam Smith and the classical economists as 'fathers of growth.' It is argued that though Smith introduced new ideas on economic prosperity, it is anachronistic to view him as 'father of growth' in terms of modern economic discourse. The difference between conception of economic progress in classical economics - with a 'stationary state' - and the post-war concept of economic growth - without absolute limits - is interpreted by sketching four periods in economics regarding the issue of limits. Finally the label 'dismal,' often used for classical economics, is reinterpreted. The neoclassical 'Self and classical 'Other' is seen as a useful construction for legitimizing the growth discourse. Part III deals with economic thought at the turn of the century 1900. There were different ideas on what relative priority to address to individuals and communities as the basis of economy, as well as disagreements over how to organize economic policy to solve the 'social issue.' However, these differences did not result in different views on economic expansion per se. Neither to left- nor right-wing advocates was economic expansion an objective. Rather, economic expansion was a means to construct and manage a welfare state, and thus solve the social issue. If welfare could be distributed by expanding the total, there would be no sacrifices. The way economic growth was perceived in the early development discourse is studied in Part IV. The idea of unlimited growth is framed within a Western understanding of development and progress, and it is shown that hegemony on economic growth formed. Development economics made use of new and fashionable growth models, and thereby gained influence in policy. Development was reduced to economic development, which was reduced to economic growth. With a few modifications, this version of development and progress was to be implemented globally - 'no limits' became a master narrative. Part V analyzes the debate on economic growth in the 1960s and 70s. The environmental issue gave rise to thoughts on ecological limits, and thus had a key role in designating economic growth and growth ideology as a scapegoat within a longer tradition of civilization critique. As a response, professional economists put up a united defense for growth, and a polarized debate followed. Different basic assumptions underlying the polarized positions are analyzed, and the concept modernist economic ethos is introduced to explain the polarization at a fundamental level. In the dominant discourse, critics were called pessimists, and advocates were optimists. It is argued that these value-laden labels reveal the power of language and point at a trap of discourse. Economic growth and ecological sustainable development is analyzed in Part VI, and the focus is on crisis responsive economists. Two different conceptions of the economic system are found among these. The first is the economy as free-floating, which by technical inventions is minimally restricted by ecological boundaries. The second is the economy as a dependent subsystem restricted by fundamental ecological limits. Conception of the system is conclusive for understanding economic growth and its environmental effects. The free-floating approach allows the concept of 'sustainable growth,' while the subsystem approach makes it contradictory. Part VI includes a continued discussion on the power of language, and the dichotomy of pessimism and optimism. 'Optimism' is a eulogy, and works normatively. The pessimist label has functioned, at best, as a 'discourse trap;' at worst, as a means of exclusion. In Part VII results from the case studies are summarized, and general results with implications are presented. The post-war discourse on economic growth is connected to 'ecomodernism.' Three explanations for the introduction and strong appeal of the discourse of unlimited economic growth are introduced: the internal cause (economic theory), the external cause (context), and the professionalization cause (connecting the internal and external). The thesis ends in a discussion on growth, language and power in the context of modernism and progress.digitalisering@umu
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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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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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Plouffe, Bruce. "The post-war novella in German language literature : an analysis." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74297.
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This study examines the interpretive possibilities in the shorter fiction of Post-War German literature. The corpus includes works by Rolf Hochhuth, Friedrich Durrenmatt and Martin Walser. The historical framework of the theory of the novella and short story provides a basis for a discussion of genre, extended to include the coordinates of metaphor and metonymy. With the exception of one text designated as a novel, these works demonstrate interlocking and restricted motif complexes, repetitive and parallel structure and the integration of most narrative components. They project a tenor of hermetic plurality from a vehicle of abbreviated and truncated referential discourse. They use myth and intertextuality to show general principles to be extrapolated from specific contexts. Metafiction complements the theme of the subject not at one with itself. A partial resolution to the incertitude of existence, rendered according to Freud and Lacan, is offered through the emerging role of women as a stabilizing factor.
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Fox, Peter Holden. "Textual apparitions: power, language, and site in the work of Jenny Holzer." Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.
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Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.
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Gossage, Ann. "Between the lines : the representation of Canadian women in English-language novels written by women in the 1930s." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24085.
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This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.
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Pierce, April Elisabeth. "Of poems and propositions : T.S. Eliot and the linguistic turn." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:6c67504e-2158-48a9-ac4a-3ee1c792efcf.
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This thesis describes how Eliot's concern for language and form finds roots in early twentieth century language philosophy. It also explores the way Eliot's early philosophical themes concerning language and meaning reemerge in his literary criticism and philosophical poetry during the 1920s and 1930s, and in his more explicitly philosophical Four Quartets. More significantly, this thesis historically elucidates Eliot's debt to the philosophies of Edmund Husserl and Bertrand Russell, reframing his philosophy within the two poles of the "Linguistic Turn". By closely examining Eliot's unpublished and only recently published essays and notes, the thesis unearths probable connections between Eliot's own philosophical interests and his later poetics, redefining his legacy as a prototypical modernist poet, and suggesting a new framework of study for scholars and students of literary modernism.
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Mohatlane, Edwin Joseph. "Tragedy in selected Sesotho novels." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/15495.
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Thesis (DLitt)--University of Stellenbosch, 2002.207 leaves printed single pages, preliminary pages i-xiii and numbered pages 1-195. Includes bibliography.
Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner.
ENGLISH ABSTRACT: The object of this study is to examine the expression of tragedy in randomly selected Sesotho novels in two major periods, namely the early period (1925 to 1970s) and the later period (1970s to 1990s). Five Sesotho novels will be discussed in each period and give an indication of tragic expression in that period. It is however not the main emphasis in this work to compare and contrast between the two periods but mainly to observe patterns of tragedy and tragic expressions in Sesotho novels. Chapter One orientates the reader by indicating aspects such as the problem identification, aim of the research, the approach or modus operandi, the scope as well as the organisation of the study, that is, a brief arrangement of chapters and presentation of what would be contained in subsequent chapters. Chapter Two presents the theoretical framework within which the research will be based. As the theoretical framework in this work, aspects of tragedy, namely, character, plot and theme will be discussed. Chapter Three focuses on the early Sesotho tragedies within the literary period 1925 to 1970s. As already indicated, five novels, namely, Chaka, Mphatlalatsane, Moiketsi, Mosali a nkhola, and Leshala Ie tswala molora will be discussed in terms of the theoretical principles suggested in Chapter Two. At the end of the chapter, an analysis of the findings and conclusions will be drawn on tragic expressions in these novels. These novels distinguish themselves as largely classical tragedies (there are modern ones also) in terms of the nature of tragic characters available. Chapter Four examines the later Sesotho tragedies ranging between the period 1970s to 1990s. As in early Sesotho novels, five novels will be discussed with a view to highlight tragic expressions in this period. Peo ena ejetswe ke wena, Mehaladitwe ha e eketheha, Nna ke mang, Ke lesheleshele leo a iphehletseng lona and Lehlaba la lephako will be the novels we analyse. Analysis of the findings will be made and conclusions drawn at the end of the chapter in how tragedy is expressed in all these novels. These novels distinguish themselves as largely modern tragedies in terms of the tragic characters portrayed in them. Chapter Five presents the general conclusions on all the novels discussed in the two periods. A comparison will be made as to how tragic expression differs from one period to another particularly in terms of the three aspects of tragedy. Each novel will be given the individual attention and focussed exclusively as to how it presents tragedy and how perhaps it differs from others.
SESOTHO ABSTRACT: Ka mosebetsi ona wa diphuputso re hlahloba ka moo mahlomola a totobatswang ka teng dingolweng tse kgethilweng dinakong tsena tsa bongodi, e leng ho tloha selemong sa 1925 ho isa selemong sa 1970 le tse hlahlamang esita le nako ya morao e qalang selemong sa 1970 ho isa dilemong tsa 1990 le tse hlahlamang. Re tla hlahloba dipale tse hlano mokgahlelong 0 mong le 0 mong wa nako e le ho totobatsa ka moo mahlomola a hlahiswang ka teng dipaleng tsa Sesotho. Ha se sepheo se seholo sa mosebetsi ona ho bapisa totobatso ya mahlomola mekgahlelong ena ya nako empa sepheo se seholo ke ho bontsha ka moo mahlomola a hlahiswang ka teng dipaleng tsa Sesotho. Kgaolong ya Pele re tla nyenyeletsa mrnadi diphuputsong tsena ka ho mo tsebisa dintlha tsa bohlokwa malebana Ie mosebetsi ona tse kang totobatso ya qaka, sepheo sa phuputso ena, mokgwa oo phuputso e tla etswa ka ona, dintlha tse tla fuputswa esita le tlhophiso ya mosebetsi ona. Ka tlhophiso ya mosebetsi ona re bolela tatelano ya dikgaolo esita le tlhahiso ya kgaolo ka nngwe, ho tse tla latela. Kgaolong ya Bobedi re hlahisa teori kapa moralo wa tsebo 0 tla sebediswa bakeng sa phuputso ena. Tse ding tsa dikarolwana tsa moralo ona wa tsebo e tla ba dikarolo tsa bohlokwa tsa pale ya mahlomola, mme ka hona mosebetsi 0 tla totobatsa mophetwa, moralo wa kgohlano (poloto) le mookotaba. Dintlha tsena tsa moralo wa tsebo di tla sebediswa dipaleng tsa Sesotho tse tla hlahlojwa dikgaolong tse tla latela. Kgaolong ya Boraro re hlahloba dipale tsa Sesotho tse ngotsweng mokgahlelong wa pele wa nako mme e le nako e qalang selemong sa 1925 ho isa selemong sa 1970 le tse mmalwa tse latelang. Jwalo ka ha re se re hlalositse, re tla hlahloba dipale tse hlano e leng Chaka, Mphatlalatsane, Moiketsi, Mosali a nkhola le Leshala le tswala rnolora ho latela dintlha tseo re buileng ka tsona kgaolong ya bobedi. Qetellong ya kgaolo ena re tla hlahloba diqeto tseo re di etsang ho latela tseo re di lemohileng dipaleng tsena malebana Ie tlhahiso ya mahlomola. Dipale tsena ke dipale tsa tlelaseki tse tshwanang le tsa.S ekgerike (le hoja ho ntse ho na le dipale tsa sejwalejwale) ho latela semelo sa mophetwa wa mahlomola. Kgaolong ya Bone re hlahloba dipale tsa mahlomola tsa mokgahlelo wa sejwalejwale mme e le dipale tse ngotsweng nakong ya selemo sa 1970 ho tla tihla dilemong tsa 1990 le tse hlahlamang. Jwalo ka ha re ile ra etsa dipaleng tsa kgale, re tla hlahloba dipale tse hlano e le ho bontsha ka moo mahlomola a totobatswang ka teng paleng tsa Sesotho. Dipale tseo re tla di hlahloba ke Pea ena ejetswe ke wena, Mehaladitwe ha e eketheha, Nna ke mang, Ke lesheleshele lea a iphehletseng lana Ie Lehlaba la lephaka. Ha re se re hlahlobile dipale tsena re tla fana ka diqeto tseo re di tihleletseng mabapi le ka moo mahlomola a hlahiswang ka teng paleng tsena. Dipale tsena di ka tsejwa e le dipale tsa sejwalejwale ho latela mofuta wa mophetwa wa mahlomola ya fumanwang ho tsona. Kgaolong ya Bohlano re fana ka diqeto tse akaretsang malebana Ie dipale tsohle tseo re di hlahlobileng mekgahlelong ena e mmedi ya nako. Re tla bapisa ka moo tlhahiso ya mahlomola e fapaneng ka teng ka lebaka la tshwaetso ya semelo sa mophetwa, diketsahalo kapa moralo esita Ie mookotaba kapa molaetsa. Re tla lekola pale ka nngwe mme re hlahlobe ka moo e hlahisang mahlomola ka teng le ka moo e fapanang le dipale tse ding ka teng.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om die voorkoms van die tragedie in geselekteerde Suid-Soetoe romans gedurende hoofsaaklik twee periodes, naamlik, die vroeere periode (1925 tot die 1970's) en die latere periode (1970 tot die 1990's) te ondersoek. Vyf Suid-Soetoe romans sal bespreek word rakende elke periode en sal 'n aanduiding gee van die tragedie gedurende die betrokke periode. Dit is egter nie die hoofdoel van die werk om vergelykings en onderskeidinge tussen die twee periodes te tref nie, maar eerder om tragedie en tragiese elemente binne Suid-Soetoe romans te bespreek. Hoofstuk Een se doel sal wees om die leser te orienteer aangesien dit aspekte soos die probleem identifikasie, die doel van die studie, die omvang en die voorlopige navorsing gemaak in terme van ander navorsingswerke rakende die onderwerp bevat, naamlik, vorige studies rakende die karakter in Suid-Soetoe romans met spesifieke verwysing na tragiese karakters. Die hoofstuk sal ook die uiteensetting van die studie, soos die uitleg van die hoofstukke en inhoud van daaropvolgende hoofstukke bevat, bespreek. Hoofstuk Twee stel die teoretiese raamwerk bekend waarop die navorsing gebasseer is. As deel van die raamwerk, sal aspekte van die tragedie soos karakter, intrige en tema bespreek word. Hierdie teoretiese aspekte sal dan toegepas word op Suid-Soetoe romans in opvolgende hoofstukke. Hoofstuk Drie fokus op die vroeere Suid-Soetoe tragedies binne die literere periode 1925 tot 1970s. Vyf romans, naamlik Chaka, Mphatlalatsane, Moiketsi, Mosali a nkhola en Leshala Ie tswala rnolora sal bespreek word in terme van teoretiese beginsels genoem in Hoofstuk Twee. Aan die einde van die hoofstuk sal 'n analise gemaak word van die bevindinge en gevolgtrekkings rakende die tragedie se voorkoms in hierdie romans. Hierdie romans onderskei hulself grootliks as klassieke tragedies in terme van die tragiese karakters se voorkoms. Hoofstuk Vier ondersoek die latere Suid-Soetoe tragedies gedurende die tydperk 1970 tot 1990. Soos in die vroeere tydperk, sal vyf romans bespreek word met die doel om die aspekte van tragedie te aksentueer. Peo ena e jetswe ke wena, Mehaladitwe ha e eketheha, Nna ke mang, Ke lesheleshele leo a iphehletseng lona en Lehlaba la lephako sal romans wees waarop gefokus word. 'n Analise van die bevindinge en gevolgtrekkings sal gemaak word aan die einde van die hoofstuk en sal die voorkoms van die tragedie in al die romans beskryf. Hierdie romans onderskei hulself hoofsaaklik as moderne tragedies in terme van die tragiese karakters se voorkoms. Hoofstuk Vyf verskaf algemene gevolgtrekkings waartoe gekom is in die voorafgaande bespreking van die genoemde twee periodes. 'n Vergelyking sal gemaak word oor hoe die voorkoms van die tragedie verskil van een periode na die ander, rakende die tragiese figuur. Elke roman sal individuele aandag kry en klem sal gele word op hoe dit verskil van ander romans.
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Sawyer, Wayne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Education and Early Childhood Studies. "Simply growth? : a study of selected episodes in the history of Years 7-10 English in New South Wales." THESIS_CAESS_EEC_Sawyer_W.xml, 2002. http://handle.uws.edu.au:8081/1959.7/379.
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Calls for increased attention to subject-specific histories have been somewhat insistent in the last two decades. An important emphasis in these calls has been for attention to the history of the 'preactive curriculum' as represented, for example, in Syllabus documents. English has been a particular case in these arguments- a case which often revolves around defining the subject itself. Others have argued further that subject-specific history is usually centred in detailed local, historical studies of the recent past. In attempting to address these issues, this study sets out to answer the questions: 1/. How was Years 7-10 English defined from the early 1970s to the early 1990s in NSW? 2/. What was the relationship between the concepts 'English' and 'literacy' in NSW in the given period? The study focuses specifically on constructions of English in Syllabus documents, professional journals, textbooks and examinations. The particular methodology used to address the study questions is an in-depth study of two selected years during, viz. 1977 and 1992, accompanied by detailed discussion of contextual aspects of these years.Doctor of Philosophy (PhD)
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Boettcher, Anna Margarete. "Through Women's Eyes: Contemporary Women's Fiction about the Old West." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4966.
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The myth of the West is still very much alive in contemporary America. Lately, there has been a resurgence of new Western movies, TV series, and fiction. Until recently the West has been the exclusive domain of the quintessential masculine man. Women characters have featured only in the margins of the Western hero's tale. Contemporary Western fiction by women, however, offers new perspectives. Women's writing about the Old and New West introduces strong female protagonists and gives voice to characters that are muted or ignored by traditional Western literature and history. Western scholarship has largely been polarized by two approaches. First, the myth and symbol school of Turner, Smith, and followers celebrated American exceptionalism and rugged male individualism on the Western frontier. Second, the reaction against these theories draws attention to the West's legacy of racism, sexism and violence. The purpose of the present study is to collapse these theoretical fences and open a dialogue between conflicting theoretical positions and contemporay Western fiction. Molly Gloss's 1989 The Jump-Off Creek and Karen Joy Fowler's 1991 Sarah Canary selfcritically re-write the Old West. This study has attempted to explore the following questions: How can one re-write history in the context of a postmodern culture? How can "woman," the quintessential "Other" escape a modernist history (and thus avoid charges of essentialism) when she has not been in this history to begin with? In this study I analyze how these two contemporary feminist authors, Molly Gloss, and Karen Joy Fowler, face the dual challenge of writing themselves into a history that has traditionally excluded them, while at the same time deconstructing this very historical concept of the West. Fowler's and Gloss's use of diverse narrative strategies to upset a monolithic concept of history-- emphasizing the importance of multiple stories of the Old West-- is discussed in detail.
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De, Villiers Tanya. "Mind and language : evolution in contemporary theories of cognition." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019.1/1092.
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Cook, John. "The philosopher masked as literary theorist : 'cunning intelligence' (metis) instantiated in Bakhtin's rhetorical style." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:61c605c3-33f2-4a41-adb9-e4c3530aacfc.
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This dissertation discusses and analyses Mikhail Mikhailovich Bakhtin's conscious strategy of self-fashioning and reinvention, which is realised in his life and supported by the theoretical constructs contained in his Collected Works. It addresses the ambiguities and uncertainties in Bakhtin's life and work and uses two aspects of his philosophical approach and constructs to explicate these inconsistencies: his theory of identity and his theory of language. The analytical tools used to arrive at this conclusion include the notion of reflexivity (using Bakhtin's own theoretical constructs to analyse incidents in his life, and in turn, using those incidents to illustrate the concepts he developed). Theoretical support for Bakhtin's self-fashioning is provided by Fitzpatrick's theory of reinvention through impersonation and imposture in Revolutionary Russia. Bakhtin's theory of identity (expressed in his Nietzsche-influenced concept of the mask and its associated concept of travesty) supports this reinvention. Bakhtin's notion of double-voicedness, supported by his linguistic theories of interdiscursivity, heteroglossia and the utterance reinforce these two lines of thought. Bakhtin's two figures of speech: the word with a 'backward glance' and the word with a 'loophole' encapsulate this convergence of theory and life. These two constructs are brought into sharp relief when illuminated by Wittgenstein's theory of language-games, Austin's concept of performativity and Benveniste's formulation of deixis. The overarching metaphor for this dissertation is the Classical Greek concept of metis, or 'cunning intelligence', a concept that is instantiated in the way in which Bakhtin framed the narrative of his life and the manner in which he performed his work. The dissertation concludes that Bakhtin evolved a multi-threaded philosophy which was self-consistent in the way in which it addressed the creation of identity, the expression of language and the performance of life and work through the metaphor of metis.
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Springer, Michael Leicester. ""Form fading among fading forms" death, language and madness in the novels of Samuel Beckett." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002240.
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The primary thesis of this dissertation is that the development of narrative strategy and technique through the course of Samuel Beckett’s fictional oeuvre enacts a parody of the Cartesian method of doubt, in which the search for first principles, instead of providing grounds for certainty, is a hopeless, grotesque quest for a self which eludes any and every assertion. My chief concerns are thus, firstly, to explicate and elucidate the nature of such narrative strategies and techniques, and how these can be said to parody epistemological procedure; and secondly, to interrogate the implications of this parody for the epistemological and interpretative endeavour of which the human sciences are comprised. These two issues are explored by way of an examination of Beckett’s earliest novel, Murphy, and the narrative impasse that arises from the contradiction between this work’s largely realist form and quasi-postmodern content. I thereafter argue that the later fiction, most particularly the Trilogy, achieves formal and stylistic solutions to the aesthetic and epistemological challenges raised by the earlier work. Beckett’s fictional oeuvre, I contend, can best be construed as an attempt to attain that which exceeds and escapes narrative in and through narrative, namely madness or death. The achievement of either would entail the obliteration of the possibility of narrating at all, and the novels, engaging in a self-deconstructing endeavour, thus occupy a profoundly paradoxical position. Any attempt to interpret a body of work of this nature can only respond in an analogous manner, by trying to make meaning of the subversion of meaning, and deconstructing the assumptions that inform its procedures. This dissertation argues that it is precisely in the way in which it necessitates such selfreflexive discursive analysis that the import of Samuel Beckett’s fiction lies, and extrapolates the significance of this for an understanding of discourse, literary criticism, and epistemological procedure.
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Krapf, Elizabeth Maria. "Euthanasia, the Ethics of Patient Care and the Language of Propaganda." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/606.
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This thesis is an examination of euthanasia, eugenics, the ethic of patient care, and linguistic propaganda in the Second World War. The examination of euthanasia discusses not only the history and involvement of the facility at Hadamar in Germany, but also discuss the current euthanasia debate. Euthanasia in World War II arose out of the Nazi desire to cleanse the Reich and was greatly influenced by the American eugenics movement of the early 20th century. Eugenics was built up to include anyone considered undesirable and unworthy of life and killed many thousands of people before the invasion of allied troops in 1944. Paramount to euthanasia is forced sterilization, the ethic of patient care, and how the results of the research conducted on euthanasia victims before their deaths should be used. The Nazis were able to change the generally accepted terms that researchers use to describe their experiments and this change affected how modern doctors and researchers use the terms in current research. This thesis includes research conducted in Germany and the United States from varied resources.
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Coupal, Sophie. "Discours métalinguistique et pratiques d'écriture féministes." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33278.
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During the seventies, a new discourse on language emerged and built up in Quebec. While the "querelle du joual" was almost finished, feminists became more and more aware of their so-called "mother tongue"'s inherent sexism. Believing in determinist linguistic theories, the vast majority of them came to the conclusion that language was a symbolic system that rejected women and women's experience.While some American feminists were proposing an important reform of the language, in Quebec, a few women writers incorporated their preoccupations with language in their literary texts. These women dedicated themselves to intensive textual researches, with the intention of creating a new "women's language" that would override the patriarchal law ruling the symbolic order. The different works studied in this thesis have been chosen between those of the women most representative of feminist metalinguistic discourse in Quebec: L'Euguelionne (1976), by Louky Bersianik, L'Amer ou le chapitre effrite (1977), by Nicole Brossard, Une voix pour Odile (1978) by France Theoret and Lueur: roman archeologique (1979) by Madeleine Gagnon.
The analysis of these texts will particularly be focused on the tensions building between discursive and formal aspects of each work. We'll see if and how the metalinguistic discourse, which we can find in the texts themselves and in more theoretic articles, is manifesting itself by a radical manipulation of the language at a formal level. The variety of ways some women writers of Quebec tried to inscribe feminine experience in language can be shown as a proof of the extreme difficulty of these textual practices, which elaborate themselves through what they are desperately trying to overcome.
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Morton, Anne Caroline. "The place of classical civilization in the school curriculum." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1001444.
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Classical Studies, as a subject, has not been seriously presented in many schools until fairly recently. Britain initiated the introduction of Classical Studies to the school curriculum in 1974, and interest has continued to grow steadily in other countries like America, New Zealand, Australia and Canada. This thesis was started on the assumption that this entirely new subject could be introduced into the curriculum for standard six and seven pupils at South African schools, for reasons which will be given later. As work continued on the thesis, the 1985 syllabus for Latin lent it further impetus. Some of the implications of the new Latin syllabus will be considered in the conclusion (Introduction, p. 6)
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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Zideba-Thomas, Cynthia Daniswa. "Normative value systems as portrayed by V.N.M. Swaartbooi and V. Magadla." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/650.
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This study will focus on norms and value systems as portrayed by two female Xhosa writers. The aim of this study is to show how normative value systems are represented by two female Xhosa female writers. It also aims to show the effects of these systems on women. The method of research will be based on survey of Xhosa literature focusing on the following two books, Inzol ‘enkundleni, by V. Magadla and UMandisa by V.N.M. Swaartbooi.
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Hendricks, Michael Todd. "KNOWING AND BEING KNOWN: SEXUAL DELINQUENCY, STARDOM, AND ADOLESCENT GIRLHOOD IN MIDCENTURY AMERICAN FILM." UKnowledge, 2014. http://uknowledge.uky.edu/english_etds/14.
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Sexual delinquency marked midcentury cinematic representations of adolescent girls in 1940s, 50, and early 60s. Drawing from the history of adolescence and the context of midcentury female juvenile delinquency, I argue that studios and teen girl stars struggled for decades with publicity, censorship, and social expectations regarding the sexual license of teenage girls. Until the late 1950s, exploitation films and B movies exploited teen sex and pregnancy while mainstream Hollywood ignored those issues, struggling to promote teen girl stars by tightly controlling their private lives but depriving fan magazines of the gossip and scandals that normally fueled the machinery of stardom. The emergence and image of the postwar, sexually autonomous teen girl finally began to see expression in mainstream melodramas of the late 50s, and teen girl stars such as Sandra Dee and Natalie Wood created new, “post-delinquent” star images wherein “good girls” could still be sexually experienced. This new image was a significant departure from the widespread belief that the sexually active teen girl was a fundamentally delinquent threat to the nuclear family, and offered a liberal counterpoint to more conservative teen girl prototypes like Hayley Mills, which continued to have cultural currency.
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Lee, Deva. "The unstable earth landscape and language in Patrick White's Voss, Michael Ondaatje's The English Patient and David Malouf's An Imaginary Life." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002281.
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This thesis argues that Patrick White’s Voss, Michael Ondaatje’s The English Patient and David Malouf’s An Imaginary Life depict landscape in a manner that reveals the inadequacies of imperial epistemological discourses and the rationalist model of subjectivity which enables them. The study demonstrates that these novels all emphasise the instabilities inherent in imperial epistemology. White, Ondaatje and Malouf chart their protagonists’ inability to comprehend and document the landscapes they encounter, and the ways in which this failure calls into question their subjectivity and the epistemologies that underpin it. One of the principal contentions of the study, then, is that the novels under consideration deploy a postmodern aesthetic of the sublime to undermine colonial discourses. The first chapter of the thesis outlines the postcolonial and poststructural theory that informs the readings in the later chapters. Chapter Two analyses White’s representation of subjectivity, imperial discourse and the Outback in Voss. The third chapter examines Ondaatje’s depiction of the Sahara Desert in The English Patient, and focuses on his concern with the ways in which language and cartographic discourse influence the subject’s perception of the natural world. Chapter Four investigates the representation of landscape, language and subjectivity in Malouf’s An Imaginary Life. Finally, then, this study argues that literature’s unique ability to acknowledge alterity enables it to serve as an effective tool for critiquing colonial discourses.
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Paterson, Adrian. "'Words for music perhaps' : W.B. Yeats and musical sense." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:d288984c-254a-40bc-b13d-b8790cc8226c.
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‘Poetry’ insisted Ezra Pound, ‘is a composition of words set to music’: his Cantos remembered ‘Uncle Willie’ downstairs composing, singing poetry to himself. This study examines the nature and effects of W.B.Yeats’s idiosyncratic but profound sense of music. For his poems were compositions set to music. They were saturated with musical themes; syntactically he professed to write for the ear rather than the eye; and he flung himself repeatedly into the breach between music and words, composing ballads, songs, and plays with music, and performing poetry with musical instruments. My thesis is that nature of poetry, spoken, read or sung, obsessed Yeats, and I hold it self evident that such an acutely self-conscious poetry will articulate this obsession: to use his own imagery, will bear the scars of its own birth. What follows is a study of meaning, obsession, and influence, beginning with what Yeats knew and how he came to poetry: his father’s and his own vocalizations of the musical preoccupations of Scott and Shelley, viewed through the annotations of ‘the first book [he] knew Shelley in’ and the solipsistic singers and instrumentalists of his early verse. The theme of chapter two is Ireland: the musical resonances of Anglo Irish ballads and Irish verse are viewed through Yeats’s aurally-oriented canon-formation, as we examine his instinctual recitations and deliberate approach to Irish folksong through the mediation of Douglas Hyde. The aesthetics of Wagner, Pater, and the French symbolistes frame the third chapter, which describes how poetry might approach the condition of music in the motivic organization of The Wind Among the Reeds. In chapter four the impact of Nietzsche’s profoundly musical philosophy is correlated for the first time with the exact moments of Yeats’s discovery of his texts, as Yeats’s plays and poetry move from ‘Apollonian’ languor to ‘Dionysian’ energy, from dream to song and dance. My final chapter uncovers the long history of the practical experiments Yeats made to perform poetry with a ‘psaltery’, and their resonating afterlife in subsequent poetry and poets. No musician himself, Yeats’s musical sense has until now been entirely dismissed: this study shows how central it is to his art and to an understanding of the dominant aesthetic of the age.
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Lombard, Erica. "The profits of the past : nostalgic white writing of post-apartheid South Africa." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:bb2c9ae1-e551-4931-9a44-3197fdc6e010.
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Drawing on relevant theory from memory studies, literary criticism, sociology, reception studies and book history, this thesis examines the prevalence of nostalgia in white South African writing of the post-apartheid period. It identifies the numerous and remarkably conventional texts by white authors that proliferated in this time which might be described as nostalgic, arguing that these constitute a key genre of post-apartheid South African literature. In seeking to offer an explanation for why these nostalgic forms predominated in this period, this study takes into consideration the full "communications circuit" of a book i.e. the life-cycle of a book from production to consumption. Consequently, it employs an interdisciplinary framework to examine nostalgic literature from the perspectives of both the producers and consumers of texts. It is argued, ultimately, that post-apartheid nostalgic writing was particularly involved in the protection of certain formulations and structures of whiteness at individual, collective and institutional levels. The argument unfolds in three phases, each of which explores the value of nostalgia and nostalgic white writing in a different but related sphere: namely, literature, memory, and the market. The first phase of the argument provides a literary critical reading of the generic hallmarks of these novels, considering a range of representative texts, including works by Mark Behr, André Brink, Justin Cartwright, J. M. Coetzee, Lisa Fugard, Christopher Hope, Jo-Anne Richards, and Rachel Zadok. The second examines the allure of nostalgia and nostalgic books for the writers and readers of this literature, drawing on sociological studies of post-apartheid white South African identity and reader-response theory to analyse a selection of online and print reviews by readers. In the third phase, the thesis utilises a book historical approach to investigate the influence of various literary markets and the publishing industry, both local and global, in shaping the nostalgia trend.
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Ivana, Ikonić. "Српска хумористичко-сатиричка периодика друге половине XIX и почетка XX века." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. http://www.cris.uns.ac.rs/record.jsf?recordId=97367&source=NDLTD&language=en.
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У дисертацији су проучени српски хумористичко-сатирички листови с краја XIX и почетка XX века, тачније из периода 1881–1903. године. Трагано је за хумористичко-сатиричким прилозима како би се они укључили у корпус српске књижевности тог периода. Истраживање је спроведено применом критичко-методичког апарата за изучавање књижевно-уметничких дела. Основна идеја била је да се покаже да раније маргинализована грађа завређује пажњу историчара српске књижевности, јер прилози који су анализирани у раду показују да су у њима коришћене стилске фигуре и поступци као и у другим родовима и жанровима који су били третирани као норма српске књижевности. Прилози у српској хумористичко-сатиричкој периодици овог времена могу да буду одлична грађа не само за књижевну историју, већ и за историјску, социолошку, психолошку, културолошку или родну анализу. То је важно, јер се кроз хумористичке прилоге проговарало о темама које су биле табуиране и цензурисане у озбиљним политичким листовима. У шаљивој периодици готово увек је постојао и ликовни део у виду карикатура које су пратиле текст. У раду се наглашава повезаност ликовног и текстуалног слоја тих прилога, тако да се помињу и неки од најзначајнијих твораца карикатуре код Срба из тог периода (Драгутин Дамјановић, Јосип Даниловац, Јован Јовановић Змај и други). Стога ови прилози могу да се проучавају и са аспекта ликовне уметности. Текстуални елемент карикатура имао је увек подтекст који је могао бити историјски, књижевни, па чак и религиозни, али који је обавезно био кључ за разумевање карикатуре. Данашњем читаоцу тај подтекст је далек и циљ рада био је да се он појасни и да се карикатура на прави начин протумачи. Показало се да су се аутори хумористичко-сатиричких прилога бавили пре свега политиком на микро и макро нивоу, црквеним темама, родним темама, путописним темама и другим. Рад показује велику актуелност хумористичко-сатиричке периодике у оно време и да су српски листови пратили трендове који су постојали у истоврсној литератури у Европи и шире.U disertaciji su proučeni srpski humorističko-satirički listovi s kraja XIX i početka XX veka, tačnije iz perioda 1881–1903. godine. Tragano je za humorističko-satiričkim prilozima kako bi se oni uključili u korpus srpske književnosti tog perioda. Istraživanje je sprovedeno primenom kritičko-metodičkog aparata za izučavanje književno-umetničkih dela. Osnovna ideja bila je da se pokaže da ranije marginalizovana građa zavređuje pažnju istoričara srpske književnosti, jer prilozi koji su analizirani u radu pokazuju da su u njima korišćene stilske figure i postupci kao i u drugim rodovima i žanrovima koji su bili tretirani kao norma srpske književnosti. Prilozi u srpskoj humorističko-satiričkoj periodici ovog vremena mogu da budu odlična građa ne samo za književnu istoriju, već i za istorijsku, sociološku, psihološku, kulturološku ili rodnu analizu. To je važno, jer se kroz humorističke priloge progovaralo o temama koje su bile tabuirane i cenzurisane u ozbiljnim političkim listovima. U šaljivoj periodici gotovo uvek je postojao i likovni deo u vidu karikatura koje su pratile tekst. U radu se naglašava povezanost likovnog i tekstualnog sloja tih priloga, tako da se pominju i neki od najznačajnijih tvoraca karikature kod Srba iz tog perioda (Dragutin Damjanović, Josip Danilovac, Jovan Jovanović Zmaj i drugi). Stoga ovi prilozi mogu da se proučavaju i sa aspekta likovne umetnosti. Tekstualni element karikatura imao je uvek podtekst koji je mogao biti istorijski, književni, pa čak i religiozni, ali koji je obavezno bio ključ za razumevanje karikature. Današnjem čitaocu taj podtekst je dalek i cilj rada bio je da se on pojasni i da se karikatura na pravi način protumači. Pokazalo se da su se autori humorističko-satiričkih priloga bavili pre svega politikom na mikro i makro nivou, crkvenim temama, rodnim temama, putopisnim temama i drugim. Rad pokazuje veliku aktuelnost humorističko-satiričke periodike u ono vreme i da su srpski listovi pratili trendove koji su postojali u istovrsnoj literaturi u Evropi i šire.
The dissertation examines a set of Serbian humorous-satirical journals at the end of the 19th and the beginning of the 20th century, in the period between 1881 and 1903. It aimed at identifying the humorous-satirical articles in order to include them in the Serbian literature of that period. The research was carried out by using the critical and methodical apparatus for studying literary and artistic works. The main idea was to demonstrate that previously marginalized material deserved proper attention of literary historians, since the articles analyzed in the dissertation contained both the figures of speech and literary procedures seen in other works and genres treated as normative in the Serbian literature. Articles in the Serbian humorous-satirical periodicals of that time could be an excellent material not only for literary history, but also for historical, sociological, psychological, cultural and gender research. This is important, having in mind that the comical articles spoke about the topics that were forbidden or censored in serious political journals. In comic periodicals, there was almost always a segment of fine art, displayed through caricatures accompanying the text. The dissertation emphasises this connection between the caricatures and the text. Therefore, it references some of the most prominent Serbian caricature artists of that time (Dragutin Damjanović, Josip Danilovac, Jovan Jovanović Zmaj, etc.). Furthermore, these articles can be analysed from the point of view of fine arts. The textual element of caricatures always had the subtext which could be historical, literary, or even religious, and it was always the key to understaninding the caricature. To the contemporary reader, this subtext is out of reach. The dissertation aims at making it understandable so as to correctly interpret the caricature. It became obvious that the authors of humorous-satirical articles predominanty dealt with politics on the micro and macro levels, clerical topics, gender issues, travel literature, and so on. The dissertation shows that the humorous-satirical periodical was highly resonant of its time and that Serbian journals followed the trends of the same kind of literature in Europe and elsewhere.
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Hanaway-Oakley, Cleo Alexandra. "'See ourselves as others see us' : a phenomenological study of James Joyce's Ulysses and early cinema." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:80821e26-de35-483a-a37c-7a4c60e138b7.
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This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.
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Bogdan, Đaković. "Фунционални и стилско-естетски елементи у српској духовној хорској музици прве половине двадесетог века." Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2013. http://www.cris.uns.ac.rs/record.jsf?recordId=94803&source=NDLTD&language=en.
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Уводно поглавље садржи образложење наслова и предмета студије, као и критичку анализу досадашњих музиколошких радова о српској црквеној хорској музици између два светска рата. Следеће поглавље посвећено је Традиционалној црквеној уметности, њеним основним појмовима и тумачењима у 20. веку. У њему су теоријски разрађени теолошки аспекти аутентичногцрквеног уметничког стваралаштва, са посебним освртом на проблем уметничкогсимвола и његовог функционисања у литургијској перспективи, те месту музике убогослужењу као сложеној синтези више уметничких врста. Поглавље Црквено-уметничко стваралаштво и црквена хорска музика у српској култури између два светска рата доноси контекстуално сагледавање црквене хорске музике са црквеним сликарством и црквеном архитектуром тога времена, тумачећи достигнућа српских композитора као део укупног процеса развоја православне уметности под дејством традиционалних и модерних елемената. У четвртом поглављу Историја жанра кроз сагледавање богослужбених и концертних елемената – стилско-аналитички наратив као централном делу студије извршена је подела посматраних композиција према стваралачким принципима од наједноставнијих обрада и хармонизација напева до сложених и веома оригиналних поступака са и без сличности са црквеним мелодијама. Примарна анализа допуњена је сагледавањем жанровско-извођачких карактеристика (доминантно богослужбена или концертна пракса) које значајно доприносе одређивању односа између функционалних и уметничких елемената осматраних остварења. У последњем поглављу Закључак поред сумирања најзначајнијих релевантних чињеница из претходног тока студије, уз помоћ одређивања опште хијерархије односа између композиционих поступака (превласт западног или православног елемента), као и кроз препознавање типологије начина усвајања конвенција (спровођење композиционих решења) објективно се дефинишу достигнућа српских аутора црквене хорске музике међуратног периода.Успостављени критеријум третира оба својства ове музике: традиционалнувредност у домену литургијско-функционалне употребе, као и уметничкиквалитет по себи, у оквирима укупног развоја српске музике током прве половине 20. века.Uvodno poglavlje sadrži obrazloženje naslova i predmeta studije, kao i kritičku analizu dosadašnjih muzikoloških radova o srpskoj crkvenoj horskoj muzici između dva svetska rata. Sledeće poglavlje posvećeno je Tradicionalnoj crkvenoj umetnosti, njenim osnovnim pojmovima i tumačenjima u 20. veku. U njemu su teorijski razrađeni teološki aspekti autentičnogcrkvenog umetničkog stvaralaštva, sa posebnim osvrtom na problem umetničkogsimvola i njegovog funkcionisanja u liturgijskoj perspektivi, te mestu muzike ubogosluženju kao složenoj sintezi više umetničkih vrsta. Poglavlje Crkveno-umetničko stvaralaštvo i crkvena horska muzika u srpskoj kulturi između dva svetska rata donosi kontekstualno sagledavanje crkvene horske muzike sa crkvenim slikarstvom i crkvenom arhitekturom toga vremena, tumačeći dostignuća srpskih kompozitora kao deo ukupnog procesa razvoja pravoslavne umetnosti pod dejstvom tradicionalnih i modernih elemenata. U četvrtom poglavlju Istorija žanra kroz sagledavanje bogoslužbenih i koncertnih elemenata – stilsko-analitički narativ kao centralnom delu studije izvršena je podela posmatranih kompozicija prema stvaralačkim principima od najednostavnijih obrada i harmonizacija napeva do složenih i veoma originalnih postupaka sa i bez sličnosti sa crkvenim melodijama. Primarna analiza dopunjena je sagledavanjem žanrovsko-izvođačkih karakteristika (dominantno bogoslužbena ili koncertna praksa) koje značajno doprinose određivanju odnosa između funkcionalnih i umetničkih elemenata osmatranih ostvarenja. U poslednjem poglavlju Zaključak pored sumiranja najznačajnijih relevantnih činjenica iz prethodnog toka studije, uz pomoć određivanja opšte hijerarhije odnosa između kompozicionih postupaka (prevlast zapadnog ili pravoslavnog elementa), kao i kroz prepoznavanje tipologije načina usvajanja konvencija (sprovođenje kompozicionih rešenja) objektivno se definišu dostignuća srpskih autora crkvene horske muzike međuratnog perioda.Uspostavljeni kriterijum tretira oba svojstva ove muzike: tradicionalnuvrednost u domenu liturgijsko-funkcionalne upotrebe, kao i umetničkikvalitet po sebi, u okvirima ukupnog razvoja srpske muzike tokom prve polovine 20. veka.
The introductory chapter contains anexplanation of titles and subjects of the paper,critical analysis of previous musicologicalworks on Serbian Church Choral Music of theperiod between two World Wars. The followingchapter is devoted to the Traditional ChurchArt, its basic elements and interpretations from20th century. This part of the study brings thecrucial theological aspects of the authenticChurch аrt, with the special attention to theproblem of artistic symbol and its function inthe liturgical perspective, as well as the positionof music in the liturgical service as synthesis ofseveral disciplines of art. The chapter namedChurch-artistic practice and Church ChoralMusic in the Serbian culture between the twoWorld Wars brings contextual view over theChurch Choral Music together with the Churchvisual art and Church architecture of the periodunderstanding the composers efforts as part ofthe whole artistic evolution of the Orthodox artunder traditional and modern influences. Thefourth chapter The history of the genre throughthe balance of the liturgical and concertelements as a central part of the study offerssegmentation of the composed music on thebasis of compositional approach from thesimple harmonisations to the original andcomplex attitudes with or without the usage ofthe chant. This kind of basic analyse is followedby the division of the performing characteristics(the dominant liturgical or concert practice)which can help in understanding the relationbetween functional and artistic elements of thischoral genre. The final chapter Conclusionbeside summaries of the most important factsfrom the previous parts of the study, through thedefinition of hierarchy of the relations betweencompositional approaches (the domination ofWestern or Orthodox elements) and recognitionthe typology of the usage of conventions (theguidance of compositional solutions) bringsobjective evaluation of the Church ChoralMusic composed by the Serbian authors of thisperiod. The final reached criteria offers theevaluation of both meanings of this music: itstraditional level of liturgical and functional roleand its artistic value as part of the generaldevelopment of the Serbian music of first partof 20th century.
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O'Connor, Clémence. "'Pour garder l'impossible intact' : the poetry of Heather Dohollau." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/791.
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Edford, Rachel Lynn 1979. "“The Step of Iron Feet”: Formal Movements in American World War II Poetry." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11981.
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x, 237 p.We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier's battlefront and the civilian's homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront--widespread isolationist and anti-Semitic attitudes, America's late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American "Double V Campaign" to fight fascism overseas and racism at home--were just some of the volatile conditions poets in the US grappled with during WWII. In their poems, war shapes and threatens the identities of civilians and soldiers, women and men, African Americans and Jews, and verse form itself becomes a weapon against war's assault on identity. Charles Reznikoff, Muriel Rukeyser, Gwendolyn Brooks, and Richard Wilbur mobilize and challenge the authority of traditional poetic forms to defend the self against social, political, and physical assaults. The objective, free-verse testimony form of Reznikoff's long poem Holocaust (1975) registers his mistrust of lyric subjectivity and of the musical effects of traditional poetry. In Rukeyser's free-verse and traditional-verse forms, personal experiences and public history collide to create a unifying poetry during wartime. Brooks, like Rukeyser, posits poetry's ability to protect soldiers and civilians from war's threat to their identities. In Brooks's poems, however, only traditionally formal poems can withstand the war's destruction. Wilbur also employs conventional forms to control war's disorder. The individual speakers in his poems avoid becoming nameless war casualties by grounding themselves in military and literary history. Through a series of historically informed close readings, this dissertation illuminates a neglected period in the history of American poetry and argues that mid-century formalism challenges--not retreats from--twentieth-century atrocities.
Committee in charge: Karen Jackson Ford, Chairperson; John Gage, Member; Paul Peppis, Member; Cecilia Enjuto Rangel, Outside Member
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Ludtke, Laura Elizabeth. "The lightscape of literary London, 1880-1950." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:99e199bf-6a17-4635-bfbf-0f38a02c6319.
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From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.
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Marino, Mariana Cristina Pinto. "Fugere urbem et locus amoenus quaerere: uma análise ecocrítica de Marcovaldo ou As estações na cidade, de Italo Calvino." Universidade Tecnológica Federal do Paraná, 2018. http://repositorio.utfpr.edu.br/jspui/handle/1/3127.
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A presente pesquisa propôs a análise de todos os vinte contos que compõem a obra Marcovaldo ou As estações na cidade (2015 [1963]), de Italo Calvino. O foco das análises voltou-se para o protagonista, Marcovaldo, um trabalhador pobre e em permanente estado de desconforto com as mudanças ocorridas no contexto social pós-guerra, especialmente na Itália, no período de seu milagre econômico, que foi impulsionado pelo fim de medidas protecionistas na economia (GINSBORG, 2003). Ao tentar romper com esse cenário, buscando a beleza genuína da natureza, Marcovaldo vê-se experienciando situações que sempre o levam ao descontentamento, intrinsecamente ligado a um novo tipo de relação humana e social, construída a partir não somente da consolidação das sociedades capitalistas modernas, como igualmente da imposição de um padrão único de comportamento à sociedade — a mutação antropológica, como proposto por Pier Paolo Pasolini (1978, 1997). A pesquisa debruçou-se sobre o olhar Ecocrítico (GARRARD, 2006), despertado pela obra em questão, que sugere, a partir da Literatura (e da incorporação de outras áreas como a Sociologia, a Biologia, a Antropologia), o estudo da natureza, suas relações com a mulher e o homem e o refinamento da percepção acerca de questões ecológicas frágeis, captadas com mais afinco a partir da década de 1960 (PIGA; MANSANO, 2015), apesar de as mudanças de perspectiva sobre a sensibilidade em relação à natureza estarem em constante modificação principalmente desde o Iluminismo (THOMAS, 2010 [1983]). A esta pesquisa foram igualmente incorporados pressupostos da Ecosofia (GUATTARI, 2006 [1989]), que sugere um ressignificar de procedimentos e discursos hegemônicos advindos do sistema sócio-político-econômico capitalista. Para tanto, fez-se necessário, conjuntamente, compreender problemáticas concernentes à conjuntura ambiental do século XX e seu impacto sobre as classes menos favorecidas economicamente (BOFF, 1995), assim como assimilar os desdobramentos referentes ao ecologismo dos pobres (via econômica baseada na justiça social), preconizado por Joan Martínez Alier (2014 [2007]), tendo em vista a classe social à qual Marcovaldo pertence. Alicerçada nos princípios descritos, a esta pesquisa coube, portanto, analisar as interações de Marcovaldo e sua família com a natureza e suas possibilidades, suas modificações e incorporação a um efervescente mercado consumidor, com vistas a refletir sobre a crise ecológica (das três ecologias, conforme Guattari) e assinalar hipóteses de superação para a mesma, por meio da apologia de um convívio menos predatório do ser humano relativamente aos outros seres que ao seu lado coabitam na Terra.The present research proposed the analysis of all twenty short stories that compose the book Marcovaldo or the seasons in the city (2015 [1963]), by Italo Calvino. The analyses focused on the protagonist, Marcovaldo, an impoverished proletarian that finds himself in a continuous state of discomfort with the changes that occurred in the post-war social context, especially in Italy during the period of the economic miracle, which was driven by the end of protectionist measures in the economy (GINSBORG, 2003). In trying to break away from this scenario, seeking the genuine beauty of nature, Marcovaldo ends up experiencing situations that always lead him to a discontent that is inextricably linked to a new kind of human and social relationship, built not only on the consolidation of modern capitalist societies, but also on the imposition of a single standard of behavior on society – an anthropological mutation, as proposed by Pier Paolo Pasolini (1978, 1997). The research focused on the Ecocritical approach (GARRARD, 2006), awakened by the object, which suggests the study (incorporating references from areas such as Sociology, Biology and Anthropology to Literary Theory) of nature, its relationship with women and men, and the refining of perceptions about delicate ecological issues, captured more intensively since the 1960s (PIGA, MANSANO, 2015), although the changes in perspective on sensitivity to nature are constantly shifting, mainly since the Enlightenment (THOMAS, 2010 [1983]). This research also integrated the assumptions of Ecosophy (GUATTARI, 2006 [1989]), which suggests a re-signifying of hegemonic procedures and discourses derived from the capitalist socio-political-economic system. In order to do so, it was necessary, jointly, to understand issues related to the environmental context of the twentieth century and its impact on economically disadvantaged classes (BOFF, 1995), as well as to assimilate the consequences related to the environmentalism of the poor, advocated by Joan Martínez Alier (2014 [2007]), in view of the social class to which Marcovaldo belongs. Based on the principles described, this research therefore had to analyze the interactions of Marcovaldo and his family with nature and its possibilities, its modifications and assimilation into an effervescent consumer market, aiming to reflect on the ecological crisis (of the three ecologies, according to Guattari) and point out hypotheses of overcoming it, by means of the apology of a less predatory human conviviality in relation to the other beings that, with them, live on planet Earth.
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Elalouf, Aurélia. "Histoire de la première nomenclature grammaticale officielle en France (janvier 1905 - avril 1911)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA134.
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L’étude retrace l’histoire de la première nomenclature grammaticale officielle en France, depuis les premiers débats publics sur la nécessité d’une simplification et d’une unification terminologiques (à partir de janvier 1905) jusqu’à la promulgation des trois textes officiels que sont l’arrêté du 25 juillet 1910 (qui fixe la liste des termes grammaticaux dont la connaissance est exigible dans les examens et concours de l’enseignement primaire et de l’enseignement secondaire) ainsi que la circulaire du 28 septembre 1910 et la note du 21 mars 1911 (qui précisent la manière dont doit être mis en œuvre l’arrêté). L’étude soulève des enjeux politiques, théoriques et épistémologiques : la simplification et l’unification des nomenclatures grammaticales répond à la volonté de l’État d’améliorer la maitrise de la langue nationale et d’unifier son enseignement sur tout le territoire ; l’élaboration de la nomenclature révèle les problèmes posés par l’analyse des constructions verbales et de la phrase complexe au début du XXe siècle ; la réforme des nomenclatures met en lumière la tension entre un idéal terminologique et la réalité des pratiques. Ces enjeux croisent à tous moments des questionnements d’ordre didactique : sur la place d’un enseignement explicite de la grammaire dans l’enseignement de la langue, sur les relations que les savoirs scolaires entretiennent avec les savoirs savants ou encore sur les limitations imposées par ce qui peut être enseignéThis study recounts the history of the first official grammatical nomenclature in France, since the first public debates on the necessity of a terminological simplification and unification (from January 1905) to the promulgation of the three official texts that are the decree of the 25th of July 1910 (that fixes the list of the grammatical terms that have to be known in the exams and examinations of both primary and secondary educations) as well as the circular of the 28th of September 1910 and the note of the 21st of March 1911 (that both explain how the decree has to be implemented). The study raises political, theoretical and epistemological issues: the simplification and unification of grammatical nomenclatures encounter the State’s will to improve the command of the national language and to unify education on the entire territory; the elaboration of the nomenclature reveals the problems caused by the analysis of verbal constructions and the complex sentence at the beginning of the 20th century; the reform of the nomenclatures highlights the tension between a terminological ideal and the reality of practices. These issues consistently intersect with didactic questions: on the place of an explicit teaching of grammar in the teaching of language, on the relations that school knowledge has with academic knowledge or furthermore on the limitations imposed by what can be taught
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Caster, Peter 1972. "The language of the prison house : incarceration, race, and masculinity in twentieth century U.S. literature." Thesis, 2004. http://hdl.handle.net/2152/1298.
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Newmann, Alba Rebecca. ""Language is not a vague province": mapping and twentieth-century American poetry." Thesis, 2006. http://hdl.handle.net/2152/2586.
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Clark-Walker, Jan. "Change and conflict in contemporary French." Master's thesis, 1996. http://hdl.handle.net/1885/144372.
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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 / by Bahram Behin." Thesis, 1997. http://hdl.handle.net/2440/19041.
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"香港中文中學發展的困難(1946-1982)." 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5895585.
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梁偉明.論文(碩士) -- 香港中文大學硏究院歷史學部,1995.
參考文獻: leaves i-ix (5th group)
Liang Weiming.
Chapter 一、 --- 前言 --- p.1-8
Chapter 二、 --- 政治取向探索期(1946 ´ؤ 1954) --- p.9-32
Chapter 一一 --- 中文中學復員的困難和分裂
Chapter 一一 --- 中文中學面對的困難
Chapter (1) --- 辦學經費
Chapter (2) --- 師資與敎材
Chapter (3) --- 學生出路
Chapter (4) --- 會考課程與辦學方針
Chapter 一一 --- 小結
Chapter 三、 --- 經濟需求促變期(1955 ´ؤ 1965) --- p.33 -53
Chapter 一一 --- 政治民族意識的消磨
Chapter 一一 --- 中文中學面對的困難
Chapter (1) --- 學生出路
Chapter (2) --- 學生流失
Chapter (3) --- 資金和校舍
Chapter (4) --- 敎材與課程
Chapter (5) --- 工業發展對資源分配的壓力
Chapter (6) --- 香港中文大學的成立
Chapter 一一 --- 小結
Chapter 四、 --- 學術目標轉向期（1966-1975 ) --- p.54 -81
Chapter 一一 --- 中文敎育新路向
Chapter 一一 --- 中文中學面對的困難
Chapter (1) --- 學生流失
Chapter (2) --- 中國語文課程的困局
Chapter (3) --- 來自政府的壓力
Chapter (4) --- 中文的地位
Chapter ´ؤ一 --- 小結
Chapter 五、 --- 新生角色醞釀期(1976 ´ؤ 1982) --- p.82 ´ؤ107
Chapter 一一 --- 中文中學面對的困難
Chapter (1) --- 在學人數縮減
Chapter (2) --- 僑校意識、政治意識的淡化
Chapter (3) --- 來自考試的壓力
Chapter (4) --- 第二次中文運動
Chapter (5) --- 混亂的語文現象
Chapter ´ؤ´ؤ --- 新角色的思考
Chapter ´ؤ´ؤ --- 小結
Chapter 六、 --- 結論 --- p.108´ؤ118
附錄一：中文、中英文中學學校及學生數目一覽表
附錄二：國內中學與香港一般中學課程比較表
附錄三：1951年頒佈之香港中文中學高中畢業會考中文科課程內容
附錄四：〈曾钰成校長訪問稿〉
附錄五：1872-1982年創校，現在仍然運作的中文中學一覽表
參考書目
中文 --- p.i-vi
英文 --- p.vii-ix
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"白話之聲: 白話現代性與1930年代的中國聲片文化." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075096.
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In part three 'Women·Song and Dance-Vernacular' (chapter 5), I deploy film textual analysis, focused on one female image--the sing-song girl, and in this part, I try to identify the differences and similarities of soft film and Li's soft songs and dances. From the perspective of women and on the basis of comparison, I try to study the hybridity of Chinese vernacular in left-wing films.In the first part 'Poems·Music·Vernacular' (chapters 1&2), I draw upon intermediary and interdisciplinary research methods, to analyse the interrelationship between Hu Shi's vernacular poems and Li Jinhui's popular songs. Focusing on Li Jinhui's musical practices from the May Fourth to the 1920s and the 1930s, I try to analyse and summarize the two key features of Chinese vernacular modernism: intertextuality and hybridity, characterised by the mixture of different cultures and discourses (including urban popular culture, intellectual high culture, official culture, traditional folk culture and so on), and the dialectical relations between body and sense and enlightenment and education ('Entertainment with Enlightenment', Yu Jiao Yu Le).
In the second part 'Vernacular·Songs·Sound films' consisting of two chapters (3&4) , I will analyse film magazines, such as Film Magazine (Yingxi zazhi), Movie Magazine (Dianying zazhi) and Modern Cinema (Xiandai dianying), film texts, such as Street Angel (Malu tianshi, Yuan Muzhi, 1937) The Big Road (Dalu, Sun Yu, 1934), Children of Trouble Time (fengyun er nuˇ, Xu Xingzhi, 1935), The New Year's Coin (Yasui qian, Xia Yan, 1937), etc., and I draw a picture of Chinese early cinema's vernacular scene, before and after the arrival of sound. Specifically, from the perspective of the musical tune and lyrics of film songs, I attempt to analyse the hybridity of Chinese vernacular embodied especially in left-wing films.
The dissertation has three main sections.
This dissertation is focused on analysing the film culture of Chinese early cinema from the perspective of sound, from 1930 to 1937. The theoretical development of this dissertation is based around the concept of vernacular modernism, proposed by Miriam Bratu Hansen and developed by Zhang Zhen. I will not simply borrow this theory but use it within a critical framework. I attempt to rethink its meanings in the Chinese context, and on this basis, I will propose a new account of early Chinese sound film's vernacular modern history.
魏萍.
Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (p. 262-267).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Wei Ping.
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Sorensen, Susan D. "Verbal and visual language and the question of faith in the fiction of A.S. Byatt." Thesis, 1999. http://hdl.handle.net/2429/10097.
Full textAbstract:
This study investigates the relation between faith in a transcendent reality and
faith in language, both verbal and visual, in the work of English novelist and critic
Antonia Byatt. Her ideal conception of communication combines the immediacy and
primal vigour of the visual with the methodical pragmatism of words. However, Byatt's
characters who exemplify this effort at double vision - in particular Stephanie Potter
Orton in the 1985 novel Still Life - find in their quests frustration and even death rather
than fulfillment.
My investigation focuses on A. S. Byatt's presentation of the way language
attempts to represent and interact with three particular areas: fundamental personal
experiences (childbirth, death, love), perceptual and aesthetic experiences (colour and
form, painting), and transcendent experiences (supernaturalism and Christian religion). I
consider all stages of her career to date - from her first novel The Shadow of the Sun
(1964) to Babel Tower (1996). Although Possession: A Romance (1990) has garnered
most of the critical attention accorded to Byatt, I argue that this novel is not generally
representative of her principles or style. A neo-Victorian romance, part parodic and part
nostalgic, combined with an academic comedy, Possession shares neither the sombre
mythological and psychological fatalism of her 1960s fiction nor the modified realism of
her middle-period fiction. Still Life and The Matisse Stories (1993) are the works that
best elucidate Byatt's major preoccupations; they intently strive to combine the most
powerful aspects of verbal and visual knowledge.
The methodological basis for this study is pluralist; it emphasizes close reading,
combined with phenomenological, biographical, and thematic criticism. As Byatt does, I
rely principally on the ideas of writers and artists rather than theorists; she cannot be
understood without specific reference to George Eliot, Donne, Forster, Murdoch, Van
Gogh, and Matisse (among others).
Byatt's quest for truth and transcendent meaning and her investigation of the
trustworthiness of words have undergone recent changes; she seems more sharply aware
of the limitations of language and the unattainability of absolute truth. Her writings in the
1990s about paintings and colour emphasize their intrinsic value rather than their ability
either to revitalize the word or suggest the numinous.
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Graham, Sarah Ellen. "Narrating hegemony : cultural diplomacy, international information and the language of power in US foreign policy, 1936-1953." Phd thesis, 2007. http://hdl.handle.net/1885/148193.
Full text
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Kilpatrick, Emily Alison. "The language of enchantment : childhood and fairytale in the music of Maurice Ravel." 2008. http://hdl.handle.net/2440/50720.
Full textAbstract:
No human condition is invested with more diverse and complex perceptions, ideals and emotions than childhood. Although it has long been accorded a particular significance in the context of his life and work, Maurice Ravel’s conception of childhood, together with the musical language through which it found expression, has never been the subject of a detailed, extended study. This thesis, therefore, explores the roles and realisations of childhood in Ravel’s music, arguing that they were inextricably linked with the language, traditions and idioms of the literary fairytale – an hypothesis Ravel himself supported when he wrote that his intention in his fairytale-based Ma mère l'Oye was to evoke ‘the poetry of childhood’. Through a study of these intertwined themes, the thesis develops new analytical and interpretative approaches to three major works: the piano duet suite Ma mère l’Oye (1910), the Trois chansons for mixed choir (1914-1915), and the opera L’Enfant et les sortilèges (1919-1925). These works span a fifteen-year period that saw a decisive evolution in Ravel’s compositional style, and was crucially impacted by the great cataclysm of the First World War. Ravel deliberately aligned his music with the traditions of the fairytale through the creation and expressive manipulation of musical and dramatic structure, language, gesture and perspective. One may trace the voice and presence of the storyteller in Ma mère l’Oye, a work dedicated to two children for whom Ravel was a favourite companion and teller of fairytales. L’Enfant et les sortilèges presents a detailed portrait of its eponymous Child, set within a fairytale in which traditional elements combine with a complexity of dramatic, musical and psychological construction that invokes the zeitgeist of the 1920s. The shadows of real events intrude more disturbingly upon the Trois chansons, whose distorted fairytale narratives represent a direct and personal response to the War. In its balance of musical interpretation and explication, supported by a clearly defined historical and philosophical context, the study yields new insights into a central facet of Ravel’s musical identity.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1348982
Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008
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"翻譯中的女性話語權力: 從性別視角看當代女性主義小說的翻譯." Thesis, 2010. http://library.cuhk.edu.hk/record=b6075011.
Full textAbstract:
By conducting case studies in which representative works of Chinese and English feminist writing, together with their translations, are carefully analyzed, the third and fourth chapters examine the trajectory of the female power's traveling from the source text to the target text. The C-E section discusses a novel (written by the Chinese feminist writer Hong Ying) and its English translations by Howard Goldblatt (complete translation) and Mu Lei (partial translation); the E-C section deals with the independent story extracted from Doris Lessing's The Golden Notebook and its three Chinese versions by one female and two male translators respectively. In both sections, the writers' feminist thoughts that embrace female power are specifically analyzed. In the study, it is found that male and female translations differ from each other, thus offering quite different pictures of the female power expressed by feminist writers and altering the reading experience.The current thesis, standing astride Translation and Gender Studies, has taken an interdisciplinary perspective to study the translations of contemporary feminist fiction. It is hoped that this study can offer some insights into the intersection between language and gender issues in translation and contribute to the development of the research domain of gender and translation.
The fifth chapter elaborates on how the translators' interpretation and translation might affect in the target text the feminist writers' expression of power, and discusses the translator's gender as an important variable that might affect the translation of feminist literary writings. In the last chapter, conclusions about and reflections on the current study are presented, followed by some suggestions for future research.
The thesis is divided into six chapters. The first chapter introduces the research background and reviews previous studies examining translation using gender perspectives. The second chapter offers a theoretical framework for the current study. Taking Foucault's theory of power/discourse as a starting point, it demonstrates the relationship between power and discourse (feminist writing and translations), and argues 1) that feminist writing proclaims female power; 2) that translation can, on the one hand, transmit and strengthen that power and, on the other hand, weaken that power by toning down the feminist consciousness inherent in the original text; and 3) that translation is actually an 'intermediary station' where power is negotiated and discourse (re)constructed.
This thesis looks, from a gender perspective, into the translation of contemporary feminist fiction from Chinese to English and vice versa. In the thesis, the relationship among three interrelated domains, namely, gender, translation and power, is carefully examined. The role played by male as opposed to female translators in translating contemporary feminist fiction is further discussed by conducting case studies to investigate multiple translations of two pieces of feminist writing.
劉劍雯.
Advisers: Wong Kwok Pun; Tung Yuan Fang.
Source: Dissertation Abstracts International, Volume: 73-01, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (p. 217-238).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Liu Jianwen.
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Banasiak, Marta. "Konstanty a zvláštnosti mosambické postkoloniální prózy." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321970.
Full textAbstract:
The present thesis analyzes the tendencies of the contemporary Mozambican narrative prose (novel). Taking into account the fact that Mozambican literature is an emerging and post-colonial one, the analysis is focused on the issue of how a literature participates in the process of consolidation of the national/cultural identity of this country. This thesis studies three important subjects of the Mozambican narrative prose: language (parting from the work of Mia Couto), history (based on the works by Ungulani Ba Ka Khosa, João Paulo Borges Coelho and Lília Momplé) and tradition (examining two novels by Paulina Chiziane). Key-words: Mozambique, Post-colonial, 20th century Mozambican Literature Language, History, Tradition, Mozabicanity
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Butler, Nancy. "Male and female relationships in Australian fiction 1917-1956." Thesis, 1990. https://vuir.vu.edu.au/18148/.
Full textAbstract:
My purpose in this study is to examine a number of
Australian novels which portray love relationships between
men and women, and to suggest some reasons for the quality of
these relationships as fictionally depicted. Traditionally,
Australian culture has been male dominated, therefore,
central to the culture are stereotypes of the masculine and
the feminine. Sexism in Australia and the gender stereotypes
which legitimize it have been recognised generally both by
historians and sociologists. Miriam Dixson and Anne Summers
have presented strong analyses of the effects of sexism in
Australian society, both past and present; even a nonfeminist
historian such as Manning Clark notes not only male dominance,
but the development of social humiliations to which men subject women. Manning Clark traces a possible
connection between this male dominance and the
disproportionate number of male to female convicts. Dixson
argues that the male convicts demeaned their female
ounterparts unconsciously as a means of compensating for
their own lowly positions. This, she argues, resulted in
the majority of women in early generations of white
settlement internalizing a negative self-image as the
defining trait of a sense of self, in contrast to the
potential positive 'real' self which her humanist
psychological orientation assumes. She attributes the main
problem to the men who settled in Australia as convicts,
rejects, and negative and resentful administrators. Likewise,
Summers has posed a socialist-feminist analysis to identify
the means of women's oppression in a patriarchal society.
She also argues that the problem lies with male power and
female colonization. But both writers recognise that women
accept their inferior status within patriarchy unconsciously,
and conform to patriarchal stereotypes of female sexuality.
Kay Schaffer has restated this case, though from the
viewpoint of more recent developments of social theory which reject the assumption of a 'real' self. Nevertheless,
these and others recognize that sexism has existed in
Australian culture since white settlement.
This sexism is shown in the depiction of love relationships in Australian fiction. However, I shall make a
distinction between writing that depicts sexism critically as
an element of Australian society/culture and writing that is
informed by sexism in its depiction of love relationships.
However, this is not a firm and definitive way of
distinguishing between works, because they may contain
elements of both factors.
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Le, Marquand Jane Nicole. "'I'm not a woman writer, but--' : gender matters in New Zealand women's short fiction 1975-1995 : a thesis presented in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Palmerston North, New Zealand." 2006. http://hdl.handle.net/10179/1462.
Full textAbstract:
From the late 1970s, New Zealand women short story writers increasingly worked their way into the literary mainstream. In the wake of the early, feminist-motivated years of the decade their gender, which had previously been the root of their marginalized position, began to work for them. However, rather than embracing womanhood, this growth in gender recognition led to many writers rejecting overt identification of their sex. To be a labeled a woman writer was considered patronising, a mark of inferiority. These women wanted to be known as writers only, some even expressing a hope for literature to reach a point of androgyny. Their work, however, did not convey an androgynous perspective. Just as the fact of their gender could not be avoided, so the influence their sex had on their creativity cannot be denied. Gender does matter and New Zealand women's short fiction published in the 1975-1995 period illustrates its significance. From the early trend for adopting fiction as a site for social commentary and political treatise against patriarchy's one-dimensional image of woman, these stories show a gradually increasing awareness of fictional possibilities, allowing for celebration of the multiplicity of female experience and capturing a process of redefinition rather than rejection of 'women's work'. Though in the later 1990s it may no longer have been politically 'necessary' to promote women's work on the grounds of gender, on a personal level the 'difference of view' of the woman writer remained both visible and vital. An increasing sense of woman-to-woman communication based on shared experience emerges: women are writing as women, about women, for women.