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Dissertations / Theses on the topic 'Bormann, Martin, in fiction'
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Hermann, Martin [Verfasser]. "A History of Fear : British Apocalyptic Fiction, 1895–2011 / Martin Hermann." Berlin : epubli GmbH, 2015. http://d-nb.info/1080423990/34.
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Decker, Martin [Verfasser]. "Irish Identities and the Great War in Drama and Fiction / Martin Decker." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1116874733/34.
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Nagy, Krisztina. "Cultural and literary geographies of the city in the fiction of Martin Amis." Thesis, University of Bristol, 2006. http://hdl.handle.net/1983/4d2a1b36-5d8b-44e9-8308-bdca3d4e7e26.
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Gagnon, Daniel. "Lettres de Claude Martin à sa mère Marie de l'Incarnation : fiction et essai." Thèse, Université de Sherbrooke, 1994. http://hdl.handle.net/11143/10362.
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Mon projet de roman est de reconstituer fictivement les lettres perdues de Claude Martin (1619-1696) à sa mère Marie de l’Incarnation (1599- l 672. Malgré son désir de devenir religieuse, Marie Guyart est mariée à 17 ans à Claude Martin, maître ouvrier en soie à Tours. Le 2 avril 1619, elle met au monde un petit garçon. Six mois plus tard, Marie Guyart-Martin devient veuve. Elle refuse de se remarier. Comme elle approche de la trentaine, elle aspire de plus en plus à la vie religieuse. 1- Marie confie son fils Claude, âgé de 11 ans, à sa soeur et à son beau-frère et se cloître. Elle dira se «faire mourir toute vive» en quittant son fils pour suivre un appel de Dieu. 2- Le 22 février 1639, Marie Guyart de l'Incarnation quitte Tours. Le 4 mai, elle s'embarque à Dieppe pour Québec avec quelques autres Ursulines. Elle quitte la France pour toujours et ne reverra plus jamais s o n fils qui vient d'avoir vingt ans. Tout le temps que dura la traversée pour Québec, où ils arrivèrent le ler août, «ce fut intensivement un continuel sacrifice» dit Marie. Tout le temps que dura la traversée pour Québec, où ils arrivèrent le ler août, «ce fut intensivement un continuel sacrifice» dit Marie. La séparation d'avec son fils est douloureuse et elle dira encore qu'à Dieppe il lui semblait que tous ses os allaient se déboîter. 3- Marie de l'Incarnation meurt à Québec le 30 avril 1672, Claude a 53 ans. Il lui survivra 24 ans.
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Peeler, Nicole D. "Beyond a misogynist's aesthetic : rereading the fiction of Philip Roth and Martin Amis." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/29318.
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This dissertation offers re-readings of works by two of the most controversial and influential living writers: Martin Amis and Philip Roth. These writers are often accused of amorality, or even immorality, and this thesis deals with the controversies these authors have incited with specific focus on their alleged misogyny. Chapter 1 defines exactly why Amis and Roth are genuine problems for readers. However, I argue that simply condemning these writers also disables a reader’s ability to see just how invested they are in issues of pressing importance to contemporary society. Chapter 2, 3 and 4 examine specific novels by these authors in the light of theories significant both to their work as well as popular and academic culture. I propose that the overarching theme that links these three specific topics, the novels, and their authors is how the gendered subject emerges through time. Chapter 2 looks at how both Amis and Roth explore their separate theories about ideology, and especially the idea of ‘goodness’, in Other People: A Mystery Story, and When She Was Good. Chapter 3 takes as its subject trauma, history, and narrative, illustrating how they relate to Time’s Arrow, and Sabbath’s Theater. Finally, Chapter 4 engages with masculinity theory, demonstrating Roth’s and Amis’ interest in the subject as exemplified in Portnoy’s Complaint and London Fields. This thesis seeks to illustrate that Amis’ and Roth’s intellectual engagement with the issues underlying these current theories defies those critics who argue that they are amoral, immoral, or engaged entirely with their own solipsistic philosophies.
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Baker, Stephen. "The fiction of postmodernity : dialectical studies of Martin Amis, Don DeLillo and Salman Rushdie." Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/26198.
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This thesis is a dialectical study of fiction by Martin Amis, Don DeLillo and Salman Rushdie. It situates novels by these three writers in relation to a Western Marxist theoretical understanding of the postmodern and the culture of postmodernity, particularly as developed in the writings of Fredric Jameson. While the thesis is intended to demonstrate how such theoretical accounts help illuminate interpretation of contemporary, postmodern fiction, it also suggests how that fiction might provide a critique, or expose the limitations, of those theoretical or conceptual models themselves. The thesis traces, in selected examples of Amis's, DeLillo's and Rushdie's fiction, elements of dialectical conflict. It describes the means by which the texts enact simultaneously a form of ideological complicity with what Jameson (following the economist Ernest Mandel) calls 'late capitalism' and a measure of social and cultural critique. It is with this identification of both the ideological and the critical features of postmodern fiction that the thesis is principally concerned. Chapter one charts a Western Marxist model of transition from modernism to postmodernism both through the theoretical writings of Georg Lukács, Theodor Adorno and Fredric Jameson and through brief studies of examples of modernist and late-modernist fiction. It concludes with an acknowledgement of the difficulties Western Marxist aesthetics have had in identifying any critical potential in postmodern culture. Nonetheless, the literary studies which succeed chapter one offer lengthy insistence that a properly Marxian analysis must attempt to identify both the affirmative and the critical moments of cultural commodities. This is a step which, with regard to postmodern texts, Western Marxist critics have thus far been reluctant to take.
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White, So-fong Patricia. "The unmaking of heroes a study of masculinity in contemporary fiction /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38999225.
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Chan, Wing-chun Julia. "Towards an aesthetics of cliché cultural recycling and contemporary fiction /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42182311.
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Taljaard, Frederik. "Imaginative unconcealment Heidegger's philosophy of aletheia and the truth of literary fiction /." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-03062006-200330.
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Schoenbeck, Oliver. "Their versions of the facts : Text und Fiktion in den Romanen von Iain Banks, Kazuo Ishiguro, Martin Amis und Jeanette Winterson /." Trier : WVT, Wissenschaftlicher Verl. Trier, 2000. http://catalogue.bnf.fr/ark:/12148/cb39913317n.
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Roth, Rachel A. "Socio-Economic Class Mobility in American Naturalist Fiction." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1374498683.
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Jacques, Guy. "Chut, les amoureux! les échos du silence dans la nouvelle littéraire (essai et fiction) /." [S.l. : s.n.], 2008.
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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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Seidler, Andreas. "Der Reiz der Lektüre : Wielands Don Sylvio und die Autonomisierung der Literatur." Heidelberg Winter, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3055743&prov=M&dokv̲ar=1&doke̲xt=htm.
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Al, Suraihi Abdulrahman. "Le rapport entre l’Histoire et le roman dans les deux derniers volumes des Thibault de Roger Martin du Gard et La Trilogie de Naguib Mahfouz." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030044.
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Comment l’historique s’incorpore-il dans le projet romanesque et comment cette incorporation vient-elle répondre à l’ambition romanesque de deux auteurs qui, malgré leur appartenance à deux cultures différentes, écrivent une fiction qui raconte l’histoire d’une famille à travers l’Histoire, plus précisément pendant la première moitié du XXe siècle ?Comment comprendre les rapports entre roman et Histoire ? Notre recherche étudie commenta pu s’opérer la contamination entre les deux : contamination mutuelle entre l’historique et l’inventé qui sert d’une part à authentifier le monde fictif élaboré par l’écrivain mais aussi à questionner l’Histoire. L’étude détaillée des marqueurs de l’historicité à savoir les dates, les personnages historiques et les documents nous montre que la fiction s’historicise non pas en rapport avec le genre de l’histoire académique mais en rapport avec les formes nouvelles de l’écriture de la presse comme le reportage dans le cas de Roger Martin du Gard et le feuilleton dans le cas de Naguib MahfouzHow is the historical incorporated in the novel and how does this incorporation serve theambition of two novelists who, even though belonging to different cultures, write fictionswhich tell the story of a family through history, and more precisely during the first half of theXXe century? How to understand the relationship between novel and history? Our researchinvestigates how the contamination between them proceeds: between historical facts and theinvented ones, a mutual contamination is used to authenticate the fictive world created by thenovelist, but also to question history. The detailed study of the marks of historicity, namelydates, historical characters and documents, shows us that the fiction historicizes itself, not inrelation to history as an academic genre, but in relation to new writing forms of the press likethe reportage in the case of Roger Martin du Gard and the feuilleton in the case of NaguibMahfouz
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Leblond, Aude. "Poétique du roman-fleuve, de Jean-Christophe à Maumort." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00714342.
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Marquée par la longueur, le réalisme et la lisibilité, l'esthétique du roman-fleuve chez Romain Rolland, Martin du Gard, Jules Romains et Duhamel peut paraître anachronique dans le paysage littéraire de l'entre-deux-guerres. Le roman-fleuve maintient en effet l'ambition démiurgique dans un contexte historique qui semble l'interdire. Trace d'une volonté toujours vivace de créer un livre-monde alors même que les certitudes positivistes s'écroulent, la poétique du roman-fleuve est plus intempestive qu'anachronique : c'est son présent qui rend improbables ses choix esthétiques. Au-delà du traumatisme de la Première Guerre, le roman-fleuve tâche d'élaborer un livre-monde, fût-il précaire ; il travaille à se faire tombeau. Il rend compte des bouleversements de la perception du moi, du temps et de la collectivité - ces éléments qui rendent caduc le paradigme naturaliste, auquel la critique a jusqu'ici rattaché le roman-fleuve. La composition de ce reflet fantomatique de la Belle Époque oscille entre construction et fragmentation. Son dispositif pragmatique conduit à dépasser le postulat mimétique, pour révéler une conception très moderne des pouvoirs de la fiction. Contre le rêve d'un " roman objectif " [Martin du Gard], le roman-fleuve fait émerger un dialogue entre auteur et lecteur. Ce sous-genre se révèle en définitive comme le lieu d'une expérimentation politique, fictionnelle et générique. Invitant le lecteur à reconnaître les interactions multiples entre mondes fictifs et monde réel, il lui permet de distinguer les différentes logiques génériques qui entrent en tension dans le texte. Il appelle ainsi une lecture réflexive et orchestre un apprentissage littéraire.
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Welsh, Sasha. "Imagining what it means to be ''human'' through the fiction of J.M. Coetzee's Life & Times of Michael K and Cormac McCarthy's The Road." University of the Western Cape, 2018. http://hdl.handle.net/11394/6205.
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Magister Artium - MAThrough a literary analysis of two contemporary novels, J.M. Coetzee's Life & Times of Michael K (1983) and Cormac McCarthy's The Road (2006), in which a common concern seems to be an exploration of what it means to be human, the thesis seeks to explore the relationship between human consciousness and language. This dissertation considers the development of a conception of the human based on rationality, and which begins in the Italian Renaissance and gains momentum in the Enlightenment. This conception models the human as a stable knowable self. This is drawn in contrast to the novels, which figure the absence of a stable knowable self in the representation of their protagonists. The thesis thus interrogates language's capacity to provide definitional meanings of the ''human.'' On the other hand, although language's capacity to provide essential meanings is questioned, its abundant expressive forms give voice to the experience of human being. Drawing on a range of fields of enquiry, both philosophical, linguistic, and bio-ethical, this thesis seeks to explore the connection between human consciousness and the medium of language. It considers how the two novels in question play with the concept of language to produce or imagine other ways of thinking about human existence, and other ways of creating meaning to human existence through the representation of their novels.
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Doig, Katherine. "Correspondances avec l'absence : la fiction épistolaire monologique aux XXe et XXIe siècles." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA127.
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La fiction longue entièrement composée d'une lettre ininterrompue – le roman (ou la pièce) épistolaire monologique – représente un cas de figure négligé, souvent même refusé, par la théorie. Son existence est démontrée ici par un corpus de quinze textes en anglais, français, italien et allemand, de Gide (1902) à Norman (2011) via Yourcenar, Coetzee, Celestini, ou Amis.Ce travail mesure dans un premier temps les dimensions de cet inventaire : sa largeur, grâce à la mise en place d'un cadre formel ; sa longueur historique ; la profondeur de ses interactions avec la lettre réelle, le genre épistolaire, et enfin avec les qualités épistolaires de toute fiction, dont la lettre monologique est un miroir aux déformations calculées.Le corpus révèle l'intérêt de ce cadrage technique grâce à des thèmes récurrents, qui interrogent trois caractéristiques-clé de l'écriture épistolaire. Le thème de la mort de soi (Yourcenar, Coetzee, Bernstein, Robinson, Amis) se conjugue à une réflexion sur la structure physique de tout texte que la lettre rend soudainement tangible, établissant une réflexion sur la lettre-cadavre. Une imagerie apocalyptique (Auster, Coetzee, Amis) problématise ensuite cette idée de la lettre qui se résumerait comme manifestation physique de la mort de l'auteur ; il met en scène un portrait de la temporalité qui ouvre à des superpositions et des rencontres. Ces deux chapitres établissent les pôles du débat pour un dernier, qui emprunte l'imagerie du double pour parler de la communication épistolaire (Gide, Coetzee, Bernstein, Celestini). Après l'absence et la correspondance, ce chapitre interroge le problématique “avec” du titre ; le plan narré de la lettre et le plan dramatique de son envoi sont rejoints par un troisième, pragmatique, posant la question de l'éthique de la correspondance épistolaire, et à travers elle, l'éthique de la fiction mêmeLong fictions composed of one uninterrupted letter – monologic epistolary fictions – are underrepresented in critical discourse, and frequently shunted more or less overtly beyond its margins. Their existence is brought to light here by one play and fourteen novels in French, English, Italian and German, ranging from 1902 (Gide) to 2011 (Norman) via a cast of authors including Yourcenar, Coetzee, Amis and Celestini.This study aims firstly to fill the critical lacuna, establishing the dimensions of this new sub- genre. It measures the breadth of the formal definitions of the single-letter epistolary novel, the length of its inscription in literary history, and the depth conferred upon it by critical discourse about real letters, the letter-novel genre and a certain epistolary quality to be found in all literature, which our novels set themselves up to reflect and refract.Our rather disparate corpus of texts reveals the interest of this technical framework, haunted as it is by recurrent themes which illuminate the characteristics of monological epistolary writing. Firstly, the theme of one's own death (Yourcenar, Coetzee, Bernstein, Robinson, Amis) shines a light on the physical structure of any text, rendered visible in the format of the letter; this conjunction suggests the idea of the text as corpse. A series of apocalyptic universes complicates this rather empirical portrait, which reads like the symbol of the Death of the Author; novels by Coetzee, Amis and Auster use complex portraits of fictional time to suggest the possibility of coincidence, overlap, meetings both epistolary and literary. These two chapters set up the terms of a final debate concerning literary communication, investigated via the symbol of the double (Gide, Coeztee, Bernstein, Celestini). After the narrative of the text itself and the implied drama of the letter's trajectory, a pragmatic dimension comes to light. This final analysis allows us to investigate the ethics of correspondence, and the letter as one key to understanding those of fiction itself
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Leblond, Diane. "Optiques de la fiction. Pour une analyse des dispositifs visuels de quatre romans britanniques contemporains : Time's arrow de Martin Amis, Gut Symmetries de Jeanette Winterson, Cloud Atlas de David Mitchell, Clear de Nicola Barker." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC251/document.
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À l’aube du XXIe siècle, la fiction britannique se trouve aux prises avec des représentations conflictuelles du voir. Inscrite dans le contexte du « tournant visuel », elle rend compte de la place prépondérante que les technologies et médias visuels occupent dans l’espace culturel. Dans le même temps, elle entre en dialogue avec un discours anxieux, qui met en avant l’idée d’une crise du visuel. Privilégié pendant des siècles comme le plus intellectuel et le plus noble des sens, le voir semble devenu l’un des lieux où s’orchestrent la manipulation et le contrôle des citoyens, surveillés et exposés au spectacle du capitalisme tardif. Faisant état de ces inquiétudes, la fiction élabore une poétique et un imaginaire de l’optique dans lesquels un sens trouve cependant à se construire. Contre l’exercice d’une autorité visuelle supposée absolue, elle produit des dispositifs dont le fonctionnement subvertit les processus d’assujettissement visuel, et invente de nouvelles pratiques de subjectivation. Ce travail implique un changement de paradigme dans notre appréhension du voir. À la confrontation dichotomique d’un sujet qui voit et d’un objet visible, notre corpus substitue des scènes de rencontre, dans lesquelles le regard se fait réciproque. L’imaginaire épistémologique qui associait la perception visuelle à une forme de connaissance, et la concevait ainsi comme un processus d’appropriation, laisse alors place à une conception politique et éthique du voir, selon laquelle le sujet émerge sous le regard de semblables dont il est, immédiatement, responsable. Ainsi voir c’est toujours s’offrir au regard de l’autre, et prendre le risque que l’échange prenne un tour inattendu, que la reconnaissance dérape. Cette appréhension de l’expérience visuelle, qui compose avec ses imperfections et envisage le lien réciproque par lequel le sujet et le sens émergent, nous engage à envisager une phénoménologie pragmatique de la lectureAt the turn of the 21st century, British fiction finds itself negotiating conflicting perceptions of vision. In the context of the “visual turn,” it reflects the increasingly influential role that visual technologies and media play in today’s cultural landscape. At the same time, it addresses anxious accounts of what is often presented as a crisis of the visual. For centuries vision was celebrated as the most intellectual of the senses; today, however, it is more often presented as a key component in practices of manipulation and control. Far from standing as a master of the visible world, the seeing subject appears as subjugated, living as he does under constant surveillance, and among the simulacra of the late capitalist spectacle. While taking such concerns into account, contemporary fiction creates optical dispositives that subvert the mechanisms of visual subjectification, and pave the way for new practices of subjectivation. This calls for a shift in the paradigms used to delineate the workings of vision. The novels we analyse here leave behind optical models defined by the binary separation between seeing and seen, subject and object. What they create instead are visual encounters in which one pair of eyes necessarily meets another. The epistemological understanding of visual perception as a vehicle of knowledge is replaced by a political and ethical interpretation of vision: the seeing subject emerges under the gaze of others, whom he acknowledges as his responsibility. In seeing therefore we run the risk that the encounter might go awry, that recognition might turn into misrecognition. This conception of visual experience emphasises the reciprocal structures of discourse and perception within which subjects and meanings emerge, but also reckons with the imperfections inherent in any interactive exchange between seeing and speaking subjects. It suggests that we engage with the phenomenology of reading through the pragmatics of discourse
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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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Price, Amanda C. "Author(ity) figures : anxieties of authorship, freedom, and control." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/241.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
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Rödholm, Siegrist Helena. "„Nichts ist verschwunden“ : Eine Analyse des Zusammenwirkens von Dokumentarischem und Literarischem in Martin Jankowskis Roman Rabet oder Das Verschwinden einer Himmelsrichtung." Thesis, Uppsala universitet, Institutionen för moderna språk, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448006.
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Diese Analyse von Martin Jankowskis Roman Rabet oder Das Verschwinden einer Himmelsrichtung untersucht die Konstruktion einer literarischen Fiktion, die durch die dokumentarische Schilderung der friedlichen Revolution in Leipzig 1989 einen korrigierenden Beitrag zum Erinnerungsdiskurs leistet. Im Aufsatz werden Themen beschrieben, die durch das Fiktive, Metaphorische und Dialogische der Romanerzählung für die Gegenwart relevant gemacht werden. Dazu wird die Anwendung von literarischen Stilmitteln wie Metaphern, Ironie, Verschweigen, intertextuellen Referenzen und Transformationen analysiert. Neben der Interpretation des fiktionalen Erzählens, werden im Roman hervorgehobene und angedeutete Vorkommnisse untersucht, die noch heute sowohl auf gesellschaftliche Prozesse als auch auf private Beziehungen einwirken.This analysis of Martin Jankowski’s Rabet oder Das Verschwinden einer Himmelsrichtung explores the construction of a literary fiction, which consists of a documentary and corrective contribution to the remembrance discourse of the Peaceful Revolution in the German Democratic Republic in 1989. Along with a description of themes which gain relevance through the fictional, metaphorical and dialogical features of the narration, the study undertakes an analysis of stylistic devises such as metaphors, irony, concealment, intertextual references and transformations. Besides an interpretation of the literary narration, the study examines the novel’s emphasis on the influence of past events on contemporary society and private relationships.
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Dern, John A. "Martin Amis : fiction, form and the postmodern /." Diss., 1997. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:9814954.
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Guillen, Christina. "Martin Cenquizqui." Master's thesis, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6099.
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The historical novel, Cortes Cenquizqui, set in sixteenth century Mexico and Spain, follows the conflicted lives and minds of several characters through an age of freshly crossing culture, language, and power. The narrator, Maria de Quesada of high ranking Spanish and Mexica parents, resents the white world for condemning her work as a female healer or curandera. Yet she acknowledges that she is ill-equipped to leave Mexico City to live in the outlying Indigenous villages. Maria recalls the tale of her three brothers who were caught in a web of pride and prejudices. Her interjections throughout shed light on questions of feminism, nationalism, identity, diversity, love, and queerness. Her tragic story leaves the reader with an understanding of the outsider and of hopeful possibilities for the future.
This novel calls on a biblical passage and historical documentation. Page 39 and 191 are examples of the biblical passage and documented speech from historical persons used within the literary context of this work.M.F.A.
Masters
English
Arts and Humanities
Creative Writing
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Genetsch, Martin [Verfasser]. "Difference and identity in contemporary Anglo-Canadian fiction : M. G. Vassanji, neil Bissoondath, Rohinton Mistry / von Martin Genetsch." 2004. http://d-nb.info/972812725/34.
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de, Lorimier Jean-Frédéric. "Qu'importe : une faute au texte ; suivi de Mécanismes et dialogisme photographique dans Crimes passionnels et Darlinghurst Heroes d'André Martin." Thèse, 2015. http://hdl.handle.net/1866/13491.
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