Dissertations / Theses on the topic 'Canadian literature – Translations into English'
To see the other types of publications on this topic, follow the link: Canadian literature – Translations into English.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Canadian literature – Translations into English.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Ham, Linda. "Reason in the rhyme: The translation of sound and rhythm in children's books." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27850.
Full textAbstract:
Because child readers are still in the process of fully acquiring their language, children's books and their translations are closely linked to orality and the oral culture. Strong sound, rhyme and rhythm, which are habitual features of children's literature, also figure as important agents in the acquisition of language. Therefore, these linguistic principles might indicate a pedagogical skopos in the translation of children's literature, that of aiding in child language acquisition.
Theory on sound translation and commentaries from translators of children's literature provide arguments for the importance of retaining sound and rhythm in translation. Analyses of three French-Canadian children's books translated into English provide practical observations of how sound and rhythm are translated in actual texts.
2
Montoya, Martinez Lilliana Maria. "Translation as a metaphor in the transcultural writing of two Latino Canadian authors, Carmen Rodriguez and Sergio Kokis." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28099.
Full textAbstract:
More often than not, in theoretical discussions about translation, there has been a predominance of Western thought (Tymoczko, 2006). This dominance has been reflected principally in the concentration on linguistic aspects of translation, as well as in the importance given to written texts over any other form of expression. This fact has led to skepticism about metaphorical or non-linguistic studies of translation and non-Western approaches to this field. Nevertheless, there is a growing belief in Translation Studies that translation does not always involve a textual or linguistic practice, but that it can also take place within only one language, and even more, without implying any text at all (Bhabha, 1994; Venuti, 1992; Douglas, 1997; Young, 2003). Moving in that same direction, this thesis offers a metaphorical approach to translation that attempts to expand the boundaries of Translation Studies and resist certain previous Western-oriented conceptualizations of translation.
Through examination of the works and a body to remember with and Le pavillon des mirors, written by Carmen Rodriguez and Sergio Kokis, respectively, this thesis contends that their fictional characters may be considered as both linguistically and culturally "translated beings" (Rushdie, 1991). Throughout this discussion, the concept of metaphorical translation refers to the never-ending process of transformation and transculturation that Rodriguez and Kokis' fictional characters undergo in their migrant experience. In other words, this thesis examines Rodriguez and Kokis' literary representations of migrants and their experience with translation as a transformation process. The dislocation caused by migration takes the form of social, linguistic, cultural, and psychological disarticulations, which are typified through images and metaphors of translation. These images and metaphors represent the main focus of analysis in this study. Therefore, this thesis brings about a broader idea of translation than the explicit interlingual transference of meaning. Both migration and its subsequent cultural mingling produce complex situations that are discussed in the works analyzed.
First, this thesis examines the spatial and temporal related images and metaphors of translation within Rodriguez and Kokis' works. The aim here is to determine how these characters manage to overcome the loss of their place after migration and how this fact affects their roots. Second, in an attempt to evaluate whether the metaphorical translation of Rodriguez and Kokis' characters symbolizes a successful or a failed translation, this thesis considers specific aspects in characters' identity construction throughout the stories. Finally, their discourses are evaluated to discuss the linguistic conflicts stemming from the tension between mother tongue and adoptive language.
3
Huyssen, Carmen. "Translating nature: A corpus-based study." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26378.
Full textAbstract:
In contemporary nature writing, beauty can indeed be said to be "in the eye of the beholder". English-Canadian and French authors of such texts often perceive and describe their natural surroundings in very individual, though culturally shared, ways.
English-Canadian and French authors have developed quite different approaches to nature writing, and this difference becomes clearly apparent through a contrastive analysis of two corpora: nature writing intended for English-Canadian readers and similar texts addressed to French readers. Through the juxtaposition of these texts, the cultural topoi of each linguistic set are drawn out.
In an environment where forces of globalization are bringing more languages and cultures into contact, an analysis of this type sets forth the "culturemes" that practising translators need to be aware of and respond to. A sample text that takes the findings into account illustrates this.
4
Milanovic, Eva. "Reflections translating Camille Deslauriers into English and Angie Abdou into French." Mémoire, Université de Sherbrooke, 2012. http://hdl.handle.net/11143/5708.
Full textAbstract:
This thesis project involves the translation of a selection of short stories by Camille Deslauriers, a Québécois writer, from French into English, as well as the translation of a selection of short stories by Angie Abdou, a Western English-Canadian writer, from English into French. The thesis is divided into four chapters into which the translations have been inserted. The chapters provide an introduction and commentary to the translations. I begin by giving a brief overview of the importance of literary translation in Canada as well as a short description of Québécois and English-Canadian short fiction.This section introduces the two authors that have been chosen for this thesis, Camille Deslauriers and Angie Abdou, as well as their collections of short stories, Femme-Boa and Anything Boys Can Do respectively. I discuss various approaches to translation, literary translation, linguistic issues, the translation process, and the issue of mother tongue and directionality. Following the two introductory chapters are the translations. I have translated nine of Camille Deslauriers' short stories from Femme-Boa from French into English, and three of Angie Abdou's short stories from Anything Boys Can Do from English into French. In both cases, these are the first translations to be done of these authors' works. I then go on to describe certain challenges posed by the translations, giving examples of strategies adopted to resolve the problems. In the final chapter, I reflect upon the translation process as a whole, in light of the revisions done by both of my thesis advisors, in terms of vocabulary, syntax, bilingualism, and biculturalism.This reflection enables me to synthesize the knowledge that I acquired through the whole translation experience.
5
Samson, Chantal. "Translation into english of Marie-Célie Agnant's "Vingt petits pas vers Maria" and "Le Noël de Maïté" accompagnied by a study of the author, her oeuvre and her place in Canadian literature." Mémoire, Université de Sherbrooke, 2011. http://savoirs.usherbrooke.ca/handle/11143/2668.
Full textAbstract:
Abstract : This thesis is divided into two parts: the first part provides an introduction to my translations from French into English of two children's books by Haitian-Canadian writer Marie-Célie Agnant: Vingt petits pas vers Maria, a short story about domestic workers living in Montréal, and Le Noël de Maïté, a story about a girl spending Christmas in Canada with her Haitian grandmother. I give a short overview of Marie-Célie Agnant, her literary oeuvre, and her reception in Canada. I discuss the Haitian diaspora, especially within the Canadian context. I include an overview of some writers, men and women, from Haiti who have produced migrant writing. I then describe the place of minority writing in Canada and draw parallels between Agnant and Dionne Brand, Makeda Silvera and Althea Prince, English-language writers in Caribbean-Canadian literature who address Black women's realities in Canada. Like these women, Agnant writes to fight the silence that is imposed by racism and sexism. The introductory essay concludes with comments on my translation process and examples of my translation strategies. The second part of this thesis consists of my two translations, Twenty Tiny Steps Towards Maria and Maïté's Christmas . These are the first of Agnant's young adult books to be translated into English. Also included in this section are my translations of the appendices of these two books, which include notes, questions, games, interviews and recipes designed to make the books more interactive for children and teach them about Haiti and the life of immigrants in Canada||Résumé : Ce mémoire de maîtrise se divise en deux parties. La première partie est une introduction à mes traductions vers l'anglais de deux livres de jeunesse de l'auteur québécoise d'origine haïtienne, Marie-Célie Agnant, Vingt petits pas vers Maria, l'histoire d'immigrantes domestiques vivant à Montréal, et Le Noël de Maïté, l'histoire d'une fille qui passe Noël au Canada avec sa grand-mère haïtienne. Je donne une courte biographie de Marie-Célie Agnant, en décrivant son oeuvre littéraire et sa réception au Canada. Je fais un bilan de la diaspora haïtienne avec une attention surtout à la situation du Canada. J'inclus un survol d'auteurs haïtiens, hommes et femmes, qui ont publié de la littérature migrante au Canada. Ensuite, je décris la place de l'écriture minoritaire au Canada et j'indique des parallèles entre Agnant et certaines écrivaines canadiennes d'origine antillaise qui écrivent en anglais, dont Dionne Brand, Makeda Silvera et Althea Prince, qui se sont penchées sur la situation de la femme noire au Canada. Comme ces femmes, Agnant écrit pour combattre le silence imposé par le racisme et le sexisme. Je termine cette partie avec des commentaires sur mon processus de traduction et mes stratégies de traduction, prenant des exemples de mes traductions. La deuxième partie présente mes traductions, Twenty Tiny Steps Towards Maria et Maïté's Christmas. Ceux-ci sont les premières traductions en anglais des livres de jeunesse d'Agnant. On trouve aussi dans cette section ma traduction des annexes des deux livres, qui contiennent des notes, des questions, des jeux, des entrevues et des recettes, qui ont I'objectif de faire une activité interactive de la lecture de ces livres et d'apprendre aux jeunes lecteurs davantage sur la vie en Haïti et la situation des immigrants au Canada.
6
Fee, Margery. "Canadian Literature and English Studies in the Canadian University." Essays on Canadian Writing, 1993. http://hdl.handle.net/2429/11661.
Full textAbstract:
English Studies began in Canada in 1884 at Dalhousie University; Canadian literature was first taught at the post-secondary level in 1907 at the Ontario Agricultural College in Guelph. Arnoldian humanism dominated the outlook of early professors of English in Canada. Their feeling that Canadian literature was not among "the best" explains why so few courses appeared in Canadian universities, despite nationalist pressure from students. About 5-10% of courses then were devoted to Canadian literature in the English curriculum and this (except in Quebec) remains the case today.
7
Jones, Suzanne Barbara. "French imports : English translations of Molière, 1663-1732." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8d86ee12-54ab-48b3-9c47-e946e1c7851f.
Full textAbstract:
This thesis explores the first English translations of Molière's works published between 1663 and 1732 by writers that include John Dryden, Edward Ravenscroft, Aphra Behn, and Henry Fielding. It challenges the idea that the translators straightforwardly plagiarized the French plays and instead argues that their work demonstrates engagement with the dramatic impact and satirical drive of the source texts. It asks how far the process of anglicization required careful examination of the plays' initial French national context. The first part of the thesis presents three fundamental angles of interrogation addressing how the translators dealt with the form of the dramatic works according to theoretical and practical principles. It considers translators' responses to conventions of plot formation, translation methods, and prosody. The chapters are underpinned by comparative assessments of contextual theoretical writings in French and English in order to examine the plays in the light of the evolving theatrical tastes and literary practices occasioned by cross-Channel communication. The second part takes an alternative approach to assessing the earliest translations of Molière. Its four chapters are based on close analysis of culturally significant lexical terms which evoke comically contentious social themes. This enquiry charts the changes in translation-choices over the decades covered by the thesis corpus. The themes addressed, however, were relevant throughout the period in both France and England: marital discord caused by anxieties surrounding cuckoldry and gallantry, the problems of zealous religious ostentation, the dubious professional standing of medical practitioners, and bourgeois social pretension. This part assesses how the key terms in translation were chosen to resonate within the new semantic fields in English, a target language which was coming into close contact with new French terms.
8
Reid, Joshua S. "Review Essay: MHRA Tudor & Stuart Translations." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3164.
Full text
9
Widmer, Matthias. "Virgil after Dryden : eighteenth-century English translations of the Aeneid." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8109/.
Full textAbstract:
John Dryden’s 1697 translation of Virgil’s Aeneid is often seen as the pinnacle of an English tradition that read the Roman poet in primarily political terms and sought to relate his epic to contemporary matters of state. The present thesis takes a different approach by examining Dryden’s influence on his eighteenth-century successors to determine, on the one hand, what they hoped to accomplish by retranslating the same original and, on the other hand, why none of them was able to match his success. Dryden’s impact as a stylistic (rather than an ideological) model was balanced not only against a newly emphasised ideal of literalism but also against a whole range of other creative forces that posed at least an implicit challenge to his cultural dominance. Chapter 1 demonstrates Dryden’s systematic refinement of the couplet form he inherited from his predecessors and draws on his theoretical writings to suggest how it can be seen as a key aspect of his particular approach to Virgil. Chapter 2 discusses Joseph Trapp’s blank verse Aeneid and its debt to Dryden’s couplet version; I will show that the translator’s borrowings from the precursor text run directly counter to his declared ambitions to remain faithful to Virgil. Chapter 3 focusses on Christopher Pitt, the Virgil translator who came closest to paralleling Dryden’s popular acclaim; encouraged by fellow men of letters, Pitt published his translation in gradually revised instalments that reflect Dryden’s growing influence over time. Alexander Strahan, the subject of Chapter 4, aligned himself with a parallel tradition of Miltonic renderings by absorbing numerous expressions from Paradise Lost into his blank verse translation of the Aeneid and frequently used them to foreground thematic connections between the two epics; however, his revisions, too, show him moving closer to Dryden as time went by. James Beresford, discussed in Chapter 5, stands out among the other Miltonic translators by virtue of giving his borrowings in quotation marks – a practice that will be illuminated in connection with the multidisciplinary work of the artist Henry Fuseli and the equally Mil-tonic Homer translation that William Cowper composed under the latter’s supervision. Chapter 6, finally, offers an analysis of William Wordsworth’s failed attempt at translating the Aeneid. Given that he was one of the key reformers of English poetry, Wordsworth’s return to the traditional couplet form at a later stage in his career is surprising, as is the fact that his style became more Drydenian the further he proceeded.
10
Libin, Mark. "Commencement exercises, toward beginnings in English-Canadian literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ45010.pdf.
Full text
11
Durnin, Katherine Joanne. "Métis representations in English and French-Canadian literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ65030.pdf.
Full text
12
Stacey, Robert David. "The transformed pastoral in recent English-Canadian literature." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23359.
Full textAbstract:
This thesis examines the use of the pastoral form in recent Canadian literature. As the pastoral constitutes a literary site where a concern for landscape converges with a search for community, it has been employed as a myth in nationalist discourses whose functioning depend heavily on symbolized landscapes and idealized social types. The philosophical basis of the pastoral is the classical opposition between nature and culture. For this reason, its representations are often coded as 'natural'. To this extent, the pastoral participates in a hegemonic myth-making system, constituting a limited semiotic field in which certain representations are privileged while others are negated. Following Marx and Barthes, the thesis contends that an attack the nature/culture opposition is essential to undermining the hegemony of the myth-making process. In the context of nationalism, a pastoral can articulate a critique of dominant a 'naturalized' representations when it questions its own use of the nature/culture opposition.
13
Todorova, Marija. "Images of the Western Balkans in English translations of contemporary children's literature." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/190.
Full textAbstract:
Since the late 1990s there has been an increasing interest in the representation of Balkan culture in the literary works of authors writing in English. Scholars (Bakić-Hayden 1995, Todorova 1997, Goldsworthy 1998, Norris 1999, Hammond 2010) have shown how literary representations of the Balkans have reflected and reinforced its stereotypical construction as Europe’s “dark and untamed Other. However, the contribution of translated literature in the representation of these images has rarely been considered, and in particular that of children’s literature has been seriously neglected. Thus, this study of images of the Western Balkans in translated children’s literature published in the period of 1990 2013, adds a hitherto uncharted literary terrain to the Balkanist discourses and helps shed a new and more complete light on the literary representations of the Balkans, and the Western Balkans more precisely. Children’s literature has been selected for the scope of this study due to its potential to transform and change deeply rooted stereotypes. The study approaches translations as framing and representation sites that contest or promote stereotypes in the global literary market. English has been selected as a target language due to its global position as а mediating language for the promotion of international literature, and with that also carrying stereotypes and transmitting them efficiently. This study looks at the images embedded in the texts, both source and target, and their representation in translation, including the translator’s interventions, but even more at the level of paratexts, and especially in the use of illustrations. It also examines adaptations accompanying the presentation of the translated book into the target society, such as documentaries, music scores and theatre performances. The discussion also considers how a book is selected for translation, and how different production participants contribute in the whole process of translation, including their motivations and goals, as well as their location. Using the methodology of imagology (Leerssen, 2007), and multimodal visual analysis (Kress and van Leeuwen, 1996, 2006), five case studies are elaborated, covering books from five different countries in the Western Balkans (Bosnia and Herzegovina, Croatia, Serbia, Macedonia, and Montenegro) and from five different types within children’s literature (non-fiction, anthology, novel, picturebook, and an e-book). The five case studies confirm the complexity of the topic at hand. Although there are no firm patterns in the production of English translations of contemporary children’s literature from the Western Balkans we can point out several observations. While the translations of the text, in most cases, closely follow the source text, with only slight interventions by some of the translators, the translated books differ quite significantly in their paratexts, especially illustrations and adaptations accompanying the book for the target culture. In terms of the representation of violence, as one of the predominant stereotypical characteristics of the Western Balkans, images vary from direct representation of violence to full erasure of violent acts. The discussion on presenting violence is analysed from two distinct points of view, the two traits of auto- and hetero- images as identifies in the case studies. In cases of self-representation, the case studies show a network of production participants in which the source author can be seen as the driving force in the process, usually recruiting friends and supporters to perform other tasks in the process translators, illustrators, publishers, etc. The auto-images take the form of ‘nesting’ Balkanisms, balancing (non)violent masculinities, or centring on love and humaneness. On the other hand, networks led by translators/editors located in the target culture will more often be motivated by commercial factors, along with representation of the source culture, thus either emphasizing the preconceived stereotypes of dominant violence in the Western Balkans, or turning towards globalizing the images of violence.
14
Bisdorff, Claire Janine. "Essayer des mots : translating French and English Caribbean literature." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609255.
Full text
15
Renger, Nicola. "Mapping and historiography in contemporary Canadian literature in English /." Frankfurt am Main [u.a.] : Lang, 2005. http://www.gbv.de/dms/bs/toc/490250424.pdf.
Full text
16
Tso, Wing-bo, and 曹穎寶. "Female sexuality in Grimm's fairy tales and their English translations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B26736160.
Full text
17
Yung, Hiu-yu, and 翁曉羽. "Theorizing the translation of body language: a study of nonverbal behaviors in literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44051785.
Full text
18
Smith, William Leon. "Torontos : representations of Toronto in contemporary Canadian literature." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/14507/.
Full textAbstract:
This thesis examines how representations of Toronto in contemporary Canadian literature engage with place and further an understanding of spatial innovation in literature. Acknowledging the Canadian critical tradition of discussing place and space, the thesis moves the focus away from conventional engagements with wilderness motifs and small town narratives. In this way the thesis can be seen to respond to the nascent critical movement that urges engagement with contemporary urban spaces in Canadian literature. Responding to the critical neglect of urban representation, and more particularly, representations of Toronto in Canadian literary criticism, this thesis examines Toronto as a complex and contradictory site of symbolic power across critical, political and popular discourses. Furthermore, this thesis repositions an understanding of Toronto by paying attention to literary texts which depict the city's negotiation of national, local and global forces. The thesis seeks to understand the multiplicity of the city in lived, perceived and conceived forms - seeing Toronto as Torontos. Questioning existing frameworks deployed in Canadian literary criticism, the thesis develops a unique methodology with which to approach the complex issues involved in literary writing about place, drawing on contemporary Canadian criticism and transnational approaches to critical literary geography. The central chapters focus on four texts from the twenty-first century, three novels and one collection of poetry, approaching each text with a critically informed spatial lens in order to draw out how engagements with Toronto develop spatial innovation within literature. The thesis analyses how engaging with Toronto challenges writers to experiment with literary form. In turn the thesis seeks to elucidate the spatial developments achieved through literary writing. The thesis then demonstrates an understanding of the material geography of the city, situating readings with reference to interview material from parties involved in writing, producing and distributing literary depictions of Toronto. Hence it combines traditional literary criticism with a spatially and socially engaged criticism, in order to clearly address the literary geographies of Torontos.
19
沈樂軒 and Lok-hin Kevin Shen. "A comparative study of two Japanese-English and two Japanese-Chinese translations of the Tale of Genji." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B30104518.
Full text
20
Slagle, Judith Bailey. "Gothic Interactions: Italian Gothic Translations of Margaret Holford Hodson." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3222.
Full text
21
Robie-Theunen, Nicole Susanne. "Norms and strategies in the English translations of Federico García Lorca's Bodas de sangre /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487848531364136.
Full text
22
Chiu, Ching-li Lily, and 趙靜莉. "Demonstratives in literary translations: a contrastive study of English and Japanese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B29815964.
Full text
23
Mullen, Amanda. "Mythic migrations: Recreating migrant histories in Canadian fiction." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/29240.
Full textAbstract:
This thesis examines the work of five Canadian writers who use their fiction to recreate an immigrant past and to mythologize an originary moment in Canada: a migrant's arrival and settlement in a new land. Mordecai Richter's Solomon Gursky Was Here (1989), Sky Lee's Disappearing Moon Cafe (1990), Jane Urquhart's Away (1993), Lawrence Hill's Any Known Blood (1997), and Nino Ricci's trilogy, Lives of the Saints (1990), In a Glass House (1993), and Where She Has Gone (1997) each express a nostalgic longing for an authenticating mythology that will give a previously silenced ethno-cultural group a place in the national narrative. Nostalgia literally means a painful return home, and the narrators of these novels express a bittersweet longing for a Canadian past, for a Canadian home. While nostalgia has traditionally played a central role in ethnic literature, this longing has typically rested on a nostalgic desire to return to a distant homeland. Yet the narrators of this study express a nostalgia for a different kind of origins---for origins in a new land. Richter, Lee, Urquhart, Hill, and Ricci create detailed genealogies in their novels that show how their different groups---Jewish, Chinese, Irish, Black, and Italian---helped build the nation and what roles each of these groups played in Canada's past. This thesis thus reveals that the interrogation of Canada's master narratives is not complete and that, even for later generations of immigrants, there remains a desire to establish their identities as Canadian The five writers of this study are deliberately challenging the authority of Canada's dominant cultural paradigm by recreating the immigrant experiences of their ethno-cultural groups in order to refute the myth of two founding nations and to establish Canada as home for their own particular groups. With their mythologized versions of history, these writers are striving to include neglected and forgotten voices in the story of Canada.
24
Weingarten, Jeffrey. "Lyric historiography in Canadian modernist poetry, 1962-1981." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121330.
Full textAbstract:
This dissertation focuses on five closely knit writers who, between 1962 and 1981, produced exemplary historiographic poetry that guided their contemporaries. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski, and Margaret Atwood were the chief voices of a literary mode that I term "modernist lyric historiography": a meditative modernist lyric that is self-critical, self-consciously incapable of claiming and skeptical about any claim to authority over history, and fundamentally historiographic (in the sense that it synthesizes, discards, and/or critically evaluates fragments of history). Arguably, Purdy was the inaugurator of lyric historiography: in the early 1960s, he experimented with a modernist lyric attentive to a broad vision of Canadian history. Newlove was one of many poets who saw Purdy's lyric historiography as a mode that could be used to provide insight into neglected prairie histories. As part of their search for more intimate connections to history that could sustain longer, narrative poems, McKinnon and Suknaski adapted lyric historiography to explore the familial past. Atwood reimagined lyric historiography as the search for Canadian "foremothers," proto-feminists that could serve as models for the second-wave feminist movement.Addressing the archives, creative writing, and historical contexts of these five writers, this dissertation proposes two primary claims. First, modernism persisted well into the 1970s (and even beyond) and shared with Canadian postmodernism a sophisticated approach to the idea of "history." Second, modernist lyric historiography was a continued investigation into one's ability to claim authority over historical narratives. Many modernists found some measure of such authority by exploring the most intimate connections to the past, which tended to be literal and figurative familial ones.Cette thèse traite de cinq écrivains, qui, entre 1962 et 1981, ont créé des modèles de poésie historiographique, qui ont guidé leurs contemporains modernistes. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski et Margaret Atwood ont été les figures principales d'un mode littéraire que nous appelons «l'historiographie lyrique moderniste». Ce terme désigne une poésie lyrique moderniste et méditative, qui est autocritique, réticente à revendiquer une quelconque autorité sur l'histoire et méfiante de cette autorité lorsqu'elle est invoquée, ainsi que fondamentalement historiographique. Au début des années 1960, Purdy expérimente avec la poésie moderniste sur l'histoire du Canada. Newlove considérait l'historiographie lyrique de Purdy comme une manière d'écrire qui pourrait offrir une nouvelle façon de voir le passé négligé des prairies. McKinnon et Suknaski ont adapté l'historiographie lyrique en examinant le passé de leur famille. Atwood a réinventé l'historiographie lyrique en tant que recherche des «aïeules» canadiennes, des proto-féministes qui pourraient servir de modèle à la deuxième génération de féministes. En tenant compte des archives, de l'écriture et des contextes historiques de ces cinq écrivains, cette thèse propose deux idées principales. Premièrement, nous affirmons que le modernisme a persisté durant l'après-guerre et qu'il partageait avec le postmodernisme canadien une approche sophistiquée et critique de l'histoire. Deuxièmement, nous soutenons que l'historiographie lyrique moderniste consistait en un questionnement persistant sur la capacité de revendiquer une certaine autorité concernant un récit historique. Plusieurs modernistes ont trouvé une certaine autorité en explorant les liens les plus intimes avec le passé, qui avaient tendance à être des liens familiaux littéraux et métaphoriques.
25
利幗勤 and Kwok-kan Gloria Lee. "Chinese translations of Wilde's plays and fairy tales: a reappraisal." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222961.
Full text
26
Lee, Kwok-kan Gloria. "Chinese translations of Wilde's plays and fairy tales : a reappraisal /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21510246.
Full text
27
Woolner, Victoria Evelyn. "Scottish romanticism and its impact on early Canadian literature." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5071/.
Full textAbstract:
This research considers the impact of Scottish romanticism on the construction of literary identity in the Canadas prior to Confederation (1867). I argue that early Scottish dominance in literary Canada, and similarities faced by both countries in defining a sense of self—including participation in a wider empire (or Union), populations divided by language and religion, and the need for a distinct identity in the face of a dominant neighbour to the south—all contributed to a tendency on the part of Canadians to look to Scotland as a model. Through an examination of early Canadian literature and on-going British constructions of the colony, the thesis considers the manner in which Scottish romantic strategies of literary nationalism are deployed and manipulated in the process of articulating a Canadian identity. Particular attention is paid to the works of John Galt and Major John Richardson, while tropes examined include the construction of landscape and settlement narratives, stadial histories, the historical novel, national tale and the depiction of a national history, and the manipulation of a romanticised Scottish military past in constructing Canadian history.
28
Morel, Pauline. "Rag bags: Textile crafts in Canadian fiction since 1980." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32559.
Full textAbstract:
The very impetus of this study — to examine the representations of craft in literature — defies the functional binaries so long attributed to art and craft. This study examines the literary formulations of textile crafts and their makers in Canadian works of fiction at the turn of the twenty-first century. Included are three Canadian novels published after 1990: Margaret Atwood's Alias Grace (1996), Austin Clarke's The Polished Hoe (2002) and Rohinton Mistry's A Fine Balance (1995). Through close analysis of these patchwork novels, I suggest ways of reading quilts and other textile crafts as a recontextualization of the forms of the past (through the workings of displacement and parody) in Canadian literature. Chapter One proposes theoretical reconceptualizations of crafts culminating in the 1990s and establishes three paradigms that structure my analysis in each of the chapters: the relations of textile crafts with (a) narrative, (b) trickery, and (c) a dehierarchical and plural aesthetic. In the subsequent chapters, each one dealing with a single novel, I explore the reassembled quality of the narratives and variations of the spider-weaver archetypes they represent, both of which I consider fundamental to the patchwork novel. In Chapter Two, I posit the patchwork quilt in Atwood's Alias Grace as a model for the processes of recollection and fragmentation involved in historiographic metafiction. Chapter Three establishes the crafted object in Clarke's The Polished Hoe as a site of struggle and an embodiment of the collective and composite nature of heritage in the neoslave narrative. Chapter Four focuses on the way the "sordid quiltings" (379) of Mistry's A Fine BCette étude contribue à remettre en question la célèbre dichotomie entre l'art et l'artisanat en se penchant sur les représentations de l'artisanat dans la littérature. Plus spécifiquement, cette étude vise à explorer les représentations de l'artisanat textile et de la figure de l'artisan dans le roman canadien au tournant du vingt-et-unième siècle, à travers trois romans publiés après 1990 : Alias Grace (1996) de Margaret Atwood, The Polished Hoe (2002) d'Austin Clarke et A Fine Balance (1995) de Rohinton Mistry. Une analyse de ces trois romans-patchwork et du rapiéçage qui en informe leur structure et leur contenu nous révèle une nouvelle façon de conceptualiser l'artisanat tout en remettant en contexte des formes traditionnelles du passé (tels que tissage, tressage, couture) dans la littérature canadienne contemporaine. Le premier chapitre, explorant les théories transdisciplinaires autour de l'artisanat apparues vers 1970 et atteignant leur apogée dans les années 1990, propose trois paradigmes structurant mon analyse dans chacun des chapitres, à savoir, les relations entre l'artisanat textile et (a) le récit, (b) la ruse, et (c) la transformation et la pluralité. Chacun des chapitres suivants explore les récits rapiécés et les variations autour de la figure mythique du (de la) fileur(euse) rusé(e) (la figure du « trickster » dans le mythe nord-américain) qui constituent un ensemble caractéristique du roman patchwork. Le deuxième chapitre propose le patchwork présent dans Alias Grace comme un modèle de processus de récupération et de fragmentation propre au roman historique (ou ce que Linda Hutcheon nomme « historiographic m
29
Taylor, Natalie. "Mapping mystic spaces in the self and its stories: Reading (through) the gaps in Ernest Buckler's "The Mountain and the Valley", Alice Munro's "Lives of Girls and Women", Peter Ackroyd's "The House of Doctor Dee", Adele Wiseman's "Crackpot", and A S Byatt's "Possession"." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/29374.
Full textAbstract:
In their novels, Ernest Buckler, Alice Munro, Peter Ackroyd, Adele Wiseman and A. S. Byatt have each explored moments when their characters experience expanded states of consciousness. Narratives such as these, as well as those of various mystical literatures, posit the idea that the barriers of the known self can be broken through, often repeatedly. Each of the novels to be studied here portrays a gap- or flaw-ridden self in the act of perpetuating and/or penetrating various forms of narrative and identity constructs. Each also features an encounter with what is other when these narrative and identity boundaries are breached. Reading about "mystical" occurrences of this nature challenges readers with the possibility that perceptions may be registered beyond the paradigms of the subject/object split. In this project, narrative fiction will be read in terms of its capacity to trigger a questioning of, and an expansion from within, systems of knowledge and identity, explicitly in terms of character and plot structure, and implicitly as a model for the reading self. The ability to observe and to respond to productive "gaps" or "flaws" in the stories of the self is a skill not only practiced by contemplatives and mystics, and by the characters in these novels, but by readers of imaginative fiction as well.
30
Reid, Joshua. "Lyric Augmentation and Fragmentation of the Italian Romance Epic in English Translations." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2861.
Full textAbstract:
The translation and transmission of the Italian romance epics of Boiardo, Ariosto, and Tasso across linguistic and cultural boundaries also included genre reprocessing. This paper traces how Elizabethan translators and compilers of these texts tended to read epic lyrically, or to read the lyric into (and out of) the epic. For Elizabethan translators of the Italian Romance Epic—Sir John Harington, Edward Fairfax, and Robert Tofte, for example—this transmutation meant amplification or insertion of lyrical material, such as Fairfax’s enhancement of the Petrarchan subtext of the Armida Blazon in Book 4 of Gerusalemme Liberata and Robert Tofte’s injection of his own Petrarchan mistress Alba into Boiardo’s Orlando Innamorato. Another trend, demonstrated by Robert Allott’s English verse anthology Englands Parnassus (1600), involved extracting lyrical fragments from the romance epic that function as stand-alone poems.
31
Camarillo, Emmanuel. "Analysis of Character Translations in Film Adaptations of Popular Literature." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/872.
Full textAbstract:
A brief look at the history of film adaptation studies and its terminology. Character differences between a piece of literature and it's film version are compared in three separate case studies. The film adaptations of a graphic novel, a classic novel, and a play are analyzed on the basis of the changes made to specific characters within their respective stories and the effects of those changes on the overall outcome of the film.
32
馮陳善奇 and Sydney S. K. Fung. "The poetry of Han-shan in English: a culturalapproach." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31224386.
Full text
33
El-Masry, Heba Fawzy. "A comparative study of Arthur John Arberry's and Desmond O'Grady's translations of the seven Mu‘allaqāt." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/102256/.
Full textAbstract:
This study investigates the politicisation of Arthur John Arberry’s and Desmond O’Grady’s translations of the seven Mu‘allqāt, drawing on Pierre Bourdieu’s sociological theory. It presents a sociology of translation that is based on five of the conceptual tools that Bourdieu employs in understanding social reality in studying the influence of the social norms on the two translators’ decisions. The study foregrounds the fact that Arberry’s and O’Grady’s translations were similarly produced in highly politicised societies due to the British and later the American involvement in the Middle East, and it argues that British and American propaganda respectively formed the doxa about Arabs at the times the translations were produced and influenced the representation of Arabs in each translation. The study aims to advance the understanding of the influence of the socio-political context on poetry translation which has rarely been studied. A review of extant English translations of the Mu’allaqāt defines the boundaries of the field; specifies its key players, and the factors that shaped their habitus; highlights the major types of capital over which these players struggle; and thus helps to situate Arberry’s and O’Grady’s translations in the field. The theoretical framework of this study draws on Bourdieu’s sociology in order to establish the link between politics and Anglophone literary fields during the time the translations were produced. It thus tests Bourdieu’s sociology in the study of poetry translation. The theoretical framework employs Skopostheorie to explain the different approaches that the two translators adopt to the translation; it also draws on the domestication/foreignisation model. The study analyses and compares the two translators’ choices of methodologies which ultimately result in characterising their representations of the Arab reality described in the Mu‘allaqāt by essentialism, absence, and otherness that have been the three characteristics of Orientalist representation of the non-West since the eighteenth century. The analysis reveals how the decisions of both translators result in problems such as distorting or altering Arab reality, or in obstructing the message of the original qaṣīdas. The study concludes that the socio-political context had its impact on Arberry’s and O’Grady’s translation choices in spite of the different purposes of their translations. It also concludes that the socio-political context seems to have influenced O’Grady’s choices relating to style. Furthermore, it sheds light on the problems that result from the influence of the socio-political circumstances on the translators’ decisions, and offers suggestions for avoiding such problems.
34
Ganz, Shoshannah. "Canadian literary pilgrimage: From colony to post-nation." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/29292.
Full textAbstract:
This thesis establishes the presence of pilgrimage in Canadian literature as reflective of Canadian cultural and global changes. It shows the enduring archetypal characteristics of pilgrimage from the earliest pre-Confederation travel writing to contemporary and postmodern novels. The topic of Canadian literary pilgrimage allows for an eclectic and necessarily multi-disciplinary approach and also for the study of the earliest Canadian letters and contemporary novelists, as well as for a breadth of forms, including journals, letters, archival sermons, dramatic works, poetry, and contemporary Canadian novels.
Chapter one begins with the cultural figure of Brebeuf as pilgrim first in The Jesuit Relations (1632-1673), proceeds to E. J. Pratt's long-poem Brebeuf and his Brethren (1940), on-site research at the memorial to Brebeuf in Midland, Ontario, and concludes with the post-colonial revisiting of this figure in James W. Nichol's dramatic work, Saint-Marie Among the Hurons (1980), and in Brian Moore's Black Robe (1985). Chapter two turns to Oliver Goldsmith's The Rising Village and explores Protestant pilgrimage, marking the material and spiritual progress of that pilgrimage. The thesis then looks at Goldsmith's work in conjunction with the influential sermons and journals of Bishop John Inglis of Nova Scotia. Chapter three follows pilgrimage into more contemporary works in Robertson Davies' Fifth Business and Jane Urquhart's The Stone Carvers, incorporating post-structuralist discussions of the nomad as pilgrim or anti-pilgrim figure and the implications of homelessness to the pilgrimage paradigm. Chapters four and five analyze Richard B. Wright's The Age of Longing and Clara Callan, and Timothy Findley's The Butterfly Plague and Headhunter, which are explored in light of some of Jacques Derrida's writing and the critical utopian studies of Ernst Bloch.
35
Gray, van Heerden Chantelle. "Praxis and/as critique in the translations of the oeuvre of Ingrid Winterbach." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95842.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: In this dissertation I investigate how aesthetics, politics and ethics intersect as material flows in translation, and how these actualise in the oeuvre of Lettie Viljoen/Ingrid Winterbach. With the emphasis on praxis, I explore these three threads through the philosophy of Gilles Deleuze and Félix Guattari in particular, though not exclusively. With reference to Deleuze and Guattari’s project on ‘minor literature’, I demonstrate that Viljoen/Winterbach’s oeuvre contains a high degree of deterritorialisation through methods such as thematic refrains, stylistic devices and her use of Engfrikaans. In translation these methods are investigated in terms of the ethico-aesthetic framework developed by Guattari, the role of capitalism in its relation to translation and the publishing industry (i.e. the political), and how translation and/as praxis may begin to develop a nomadic ethics. Aesthetics, from a Deleuzo-Guattarian perspective is shown to be not about the value produced by capitalism, but rather about that which deterritorialises as a singularity. Such a singularity in literature may be said to actualise as a minor literature or, more accurately, a becoming-minor. With regards to politics in translation/translation in politics, I argue that the question of translation should no longer be What does this word/text mean? but rather What is the word/text/translation doing? When the emphasis moves from semantics to praxis I argue that translation, like other forms of literature, has the potential to affect social transformation. I put forth as part of my argument that this is possible through deterritorialising practices like écriture féminine and Viljoen/Winterbach’s use of Engfrikaans and the trickster figure, as such methods allow for bifurcations away from State territorialisations. And finally, I examine how translators might begin to develop a praxis informed by a nomadic ethics which is not reliant on a normative morality, but rather constitutes an orientation founded on heterogeneity and the repudiation of universality.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word daar ondersoek hoe estetika, politiek and etiek as reële elemente saamvloei in vertaling, en hoe dit aktualiseer in the oeuvre van Lettie Viljoen/Ingrid Winterbach. Met die klem op praxis ondersoek ek dié drie elemente in besonder in terme van die filosofie van Gilles Deleuze en Félix Guattari, alhoewel nie eksklusief nie. Met verwysing na Deleuze end Guattari se projek aangaande ’n ‘klein (mindere) literatuur’, demonstreer ek dat Viljoen/Winterbach se oeuvre ’n hoë graad van deterritorialisasie weerspieël wat uit haar gebruik van metodes soos tematiese refreine, stilistiese instrumente en die gebruik van Engfrikaans voortspruit. In vertaling word hierdie metodes ondersoek in terme van die eties-estetiese raamwerk wat deur Guattari ontwikkel is asook die politieke rol van kapitalisme in verhouding tot vertaling en die publikasiebedryf, sowel as hoe vertaling as praxis daartoe mag bydra om ’n nomadiese etiek te ontwikkel. Vanuit ’n Deleuzo-Guattariaanse perspektief word daar aangetoon dat estetika nie handel oor die waarde wat kapitalisme voortbring nie, maar eerder oor die enkele-uniekheid (“singularity”) wat deterritorialisering meebring. Dit kan gestel word dat in literatuur sodanige enkele-uniekheid as mindere (“minor”) literatuur gesien kan word of, om meer akkuraat te wees, die voortbring daarvan kan aktualiseer. Betreffende politiek in vertaling/vertaling in politiek word daar aangevoer dat die vraagstuk van vertaling voortaan nie moet wees Wat beteken hierdie woord of teks? nie, maar eerder Wat vermag ’n woord of teks in die vertaling? Daar word verder aangevoer dat wanneer die klem vanaf semantiek na praxis verskuif vertaling, soos ander vorme van literatuur, die potensiaal inhou om sosiale transformasie te beïnvloed. As deel van die onderliggende argument word daar gepostuleer dat die voorgenoemde inderdaad moontlik is deur deterritorialiserende paraktyke soos écriture féminine en Viljoen/Winterbach se gebruik van Engfrikaans asmede die triekster-figuur omdat sulke metodes die geleentheid skep vir splitsing (“bifurcation”) weg van Staatsterritorialisering af. Ten slotte word ondersoek ingestel na hoe vertalers ’n praxis sou kon ontwikkel wat deur ’n nomadiese etiek en nie’n normatiewe moraliteit gelei word nie, maar wat eerder op ’n orientasie van heterogeniteit en die verwerping van essensie gebaseer is.
36
Hill, Colin. "The modern-realist movement in English-Canadian fiction, 1919-1950." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19471.
Full textAbstract:
This dissertation offers the first comprehensive examination of realism in English-Canadian fiction of the early twentieth century. It argues for the existence of a "modern-realist" movement that is Canada's unique and unacknowledged contribution to the collection of international movements that makes up literary modernism. This argument involves a detailed analysis of the aesthetics, aims, preoccupations, and techniques of the modern realists, a reexamination of the oeuvres of the movement's most prominent writers, and a critical reevaluation of the "modernity" of Canada's three most significant realist sub-genres—prairie realism, urban realism, and social realism. This study also provides a literary-historical overview of the movement as a whole, which begins with the inauguration of the Canadian Bookman in 1919, and concludes with the emergence of a contemporary Canadian fiction in the 1950s. The conclusions arrived at in this work are based upon a reading of dozens of novels and works of short fiction, many of them unpublished and/or critically neglected and forgotten. The findings in this study are also based on original research into archival materials from seven institutions across Canada.
37
Chiu, Ching-li Lily. "Demonstratives in literary translations : a contrastive study of English and Japanese /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21790905.
Full text
38
Cohen, Mark. "Just judgment, censorship of and in Canadian literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0026/NQ50133.pdf.
Full text
39
Deshaye, Joel. "Metaphors of identity crisis in the era of celebrity in Canadian poetry." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:8881/R/?func=dbin-jump-full&object_id=92326.
Full text
40
Tokaruk, Anne. "The narrative function of time and place in the novels of Matt Cohen." Thesis, University of Ottawa (Canada), 1985. http://hdl.handle.net/10393/4679.
Full text
41
Walker, Frederick Arthur. "Powerful and appropriate discourse sermons and sermon scenes in five novels by Ralph Connor." Thesis, University of Ottawa (Canada), 1985. http://hdl.handle.net/10393/4688.
Full text
42
Montigny, Denise de. "Giving birth, Margaret Atwood traduction commentee." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5352.
Full text
43
Germundson, Karen. "Postmodernism and the contemporary Canadian novel the works of Jack Hodgins, Robert Kroetsch, Michael Ondaatje and Audrey Thomas as responses to the postmodern philosophy of survival." Thesis, University of Ottawa (Canada), 1987. http://hdl.handle.net/10393/5516.
Full text
44
Bowen, Deborah. "Mimesis, magic, manipulation: A study of the photograph in contemporary British and Canadian novels." Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/6007.
Full textAbstract:
The photograph is of interest to the writer because it is uniquely a product both of the realm of objective, physical reality and of the realm of artifice. Its ambiguous status as the physical emanation of a past referent endows it with an uneasy authority. It appears to offer assurances of identity and clarity; at the same time, it undermines the attempt to control experience by demonstrating that to freeze time and space is to render them obsolete. Thus the photograph can be seen as a metaphor for the life-giving and death-dealing enterprise of writing fictions. Moreover, because the photograph is a reflection of the past, private or public, a comparison of the use made of photographic images in the fictions of two different cultures, one older, one newer, may reveal differences in aesthetic between those two cultures. A theoretical dialectic for exploring the use made of the photograph in contemporary British and Canadian fiction can be constructed by comparing the thesis of Susan Sontag's On Photography (1977) with that of Roland Barthes' Camera Lucida (1980). Sontag is concerned with the camera as an instrument of power which victimizes its subjects; she sees the text as necessary to contextualize the image according to its function in time. Barthes understands the photograph's fragmentariness as potentially revelatory, and text as parasitic upon image. Where the Sontagian model emphasizes narrative contextualization and the photographer/writer as wielder of power, the Barthean model emphasizes a vertical hermeneutic of epiphanies and the spectator/reader as creator of meaning. A look at several contemporary British novelists who use photographic imagery (Julian Barnes, Graham Swift, Martin Amis, Fay Weldon, Penelope Lively, Anita Brookner, Timothy Mo, Salman Rushdie) suggests that these writers tend towards an ironical distancing of the photography, which is seen as parodic of traditional mimesis. Such novelists thus ascribe to and yet undermine Sontag's concern with narrative control. A number of contemporary Canadian writers (for instance, Margaret Atwood, Alice Munro, Margaret Laurence, Timothy Findley, Norman Levine, Diane Schoemperlen, Janette Turner Hospital, Michael Ondaatje) find within the photograph a representational magic that transcends boundaries of spatial and temporal logic. They share Barthes' belief in the intransigent value of appearances. An examination of these different writers' use of the photographic image thus provides a commentary upon their various understandings of the real, the fictive, and the relationship between the two.
45
Lacombe, Gilles. "La peinture d'un texte: L'illustration de "Maria Chapdelaine" par Clarence Gagnon." Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/6009.
Full textAbstract:
Une analyse de l'illustration du roman par les peintures de Clarence Gagnon qui font partie de l'édition Mornay de Maria Chapdelaine manifeste que ces peintures ne doivent pas être considérées péremptoirement comme un surplus décoratif. Elles illustrent le texte en un processus beaucoup plus complexe et significatif qu'une superficielle décoration qui se contenterait d'orner agréablement la présentation matérielle du roman. Nous avons donc voulu montrer qu'on peut lire ensemble le roman et les peintures, en les considérant comme des égaux, articulés l'un à l'autre en des relations sémantiques complexes. Ce sont les caractéristiques particulières de cette lecture que nous avons décrites, tel qu'elles se présentent, au fil des 54 peintures et de l'emblème inscrit à l'intérieur du roman. L'illustration du roman nous est apparue alors comme un processus d'explicitation, de concrétisation et de clarification qui produit la version élargie du roman qu'est le roman illustré. Pour bien comprendre l'illustration du roman, il nous est apparu nécessaire d'analyser en premier lieu le roman non illustre. Cette analyse nous a permis de mieux comprendre les significations des passages illustres par les peintures et, par conséquent, de juger plus efficacement les significations des actions illustratives. Seule une analyse préalable du roman permet en effet de reconnaitre, dans plusieurs peintures de l'édition Mornay, des illustrations du schème structural qui régit la construction des personnages. La solidarité sémantique qui réunit texte illustre et peinture illustrant nous a permis de définir l'illustration comme un procédé de signification bidirectionnel dans lequel les peintures sont a leur tour illustrée par le texte qu'elles éclaircissent. L'analyse du roman non illustre nous a également permis d'identifier plus clairement les passages non illustrés par les peintures et de comprendre une des caractéristiques générales de son illustration : l’occultation. Sans prétendre définir les règles de fonctionnement du roman illustré en tant que sous-genre romanesque ni de fixer les modalités de fonctionnement du procédé illustratif en soi, nous avons inscrit, entre l'analyse du roman non illustré et nos analyses de l'illustration du roman par les peintures, une brève réflexion dans laquelle nous avons essayé de définir les caractéristiques générales de l'illustration en tant que procédé de signification. Les images illustrantes peuvent éclaircir un roman parce qu'elles sont réalisées dans un langage différent de celui de l'énoncé auquel elles sont articulées. Ainsi, les peintures illustrantes sont toujours visuellement et spatialement plus concrètes et plus explicites que le texte auquel elles sont similaires, parce qu'elles agencent leur énoncé en se servant de formes et de couleurs, donnés immédiatement à voir, alors que le texte ne se donne que comme un potentiel plus ou moins précis et complexe de visualisations. Cependant, l'effet d'illustration résulte tout autant des similarités générales entre peinture et littérature. L'illustration d'un roman peut donc être considérée comme l'ensemble des significations nouvelles proposées par les images inscrites dans un texte. Les significations proposées par l'illustration du roman, articulets à celles énoncées par le roman sans images, produiserit donc le roman illustré, ce texte mixte qui est une version élargie du roman non illustré. Comme une peinture ou un texte non illustré, le roman illustré se veut, idéalement, une totalité : il se présente comme un objet unique et individuel qui se caractérise par la cohérence interne. (Abstract shortened by UMI.)
46
Morra, Linda. "Re-viewing the cultural landscape: Representations of land in Ralph Connor, Tom Thompson, the Group of Seven, and Emily Carr." Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6193.
Full textAbstract:
The elaboration in recent cultural and art historical texts of Northrop Frye's assessment of Canadian literature (as articulated in his "Conclusion" to A Literary History of Canada and elsewhere) demonstrates that such concepts as "garrison mentality" and "where is here?" persist in the discourse of English-Canadian cultural studies. One result is the insistence upon regarding representations of land in early twentieth-century artistic endeavours as the manifestation of a colonial response and refusal to accommodate place. Another result is the perception that artists of the early twentieth century were attached to the imperial centre, situated outside the borders of the country, "over there." The work of Ralph Connor, Tom Thomson, the Group of Seven, and Emily Carr demonstrates that Frye's and other critical assessments have been too prescriptive: even if these artists employed some European or Old World conventions, they insisted upon Canada's difference from the imperial centre and were proud of that difference. A re-examination of their work demonstrates how they employed land in the construction of national-identity and believed it to be a benevolent rather than hostile force, a source of a spiritual and transcendent experience that resulted in the conversion to Canadian-ness.
47
Morrissey, Lynda. "Portraits of 'past actuality': The tragedy and triumph of Japanese-Canadians as portrayed in historically based Canadian literature." Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6323.
Full textAbstract:
This thesis addresses the concerns of both historiographic theorists who are skeptical of the power of narrative to present historical information reliably, and of literary critics who are suspicious of any text that lays claim to factual or truthful representation. Through the analysis of texts that blend the self-referential uncertainty of modern (or postmodern) literature with the utilitarian objectives of historiography---works of literature that strive to represent, faithfully, events from history---the thesis assesses the relative truth value of the historical project and evaluates the role of narrative in effectively imparting historical information. I begin with an overview of the theoretical debate over the form of historical writing and the source of historical knowledge, since classical times, followed by an analysis of primary texts in the context of current trends in literary and historiographic theory. These texts, which pertain to the history of Japanese-Canadians since the attack on Pearl Harbor in December 1941, include Joy Kogawa's novels Obasan and Itsuka, and Dorothy Livesay's documentary poem for radio entitled Call My People Home. In addition I provide an analysis of a historiographic text, Mutual Hostages, that contradicts the prevailing perception of this historical event. As revisionary history, this text provides the opportunity to examine a competing narrative and its mechanism for establishing and communicating historical information. Through the analysis of these works, this thesis demonstrates that narrative is appropriate to historiography, and that figurative speech---as in poetic and rhetorical devices---can be more effective than literalist speech in representing historical events.
48
Laliberté, Yves. "Systématique de la poly-isotopie et intertextualité : essai de lecture tabulaire et linéaire des Iles de la nuit d'Alain Granbois." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6680.
Full text
49
Strong, Joan M. ""Acts of 'brief authority'": Entrapment, escape and narrative strategy in selected twentieth-century Newfoundland novels." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6790.
Full textAbstract:
This thesis focuses on major twentieth-century native Newfoundland novelists whose legacies comprise a variety of voices and narrative strategies that circumvent or confront perceived cultural and literary authority. These novelists include, in chapter one, Anastasia English (1862-1959) and Margaret Duley (1894-1968); in chapter two, Harold Horwood (1923) and Percy Janes (1922); in chapter three, M. T. Dohaney (1930) and William Gough (1945); and in chapter four, Gordon Pinsent (1930), William Rowe (1942) and Wayne Johnson (1958). English and Duley are both centrally concerned with women's roles in their societies and in expressing their awakening feminism they develop subtexts of imagery and metaphores which align them with nineteenth-century British women writers. Harold Horwood's frequent disparagement of Newfoundlanders is matched by Percy Jane's depiction of their often self-inflicted violences, yet Horwood pontificates solutions and isolates himself from the people of the island whereas Janes acknowledges his need for their companionship and the necessity of collective change. Dohaney and Gough both emphasize the importance of memory in their characterizations of the Newfoundlander's psyche. They suggest that memory functions to overcome both the geography of Newfoundland, which dispassionately destroys its inhabitants' creative work, and the history of Newfoundland which is determined in large parts by events and interpretations of those events occurring beyond the Newfoundlander's control. Pinsent, Rowe and Johnson use humourous texts to convey the anguish Newfoundlanders feel regarding religious, political and industrial powers imposed by foreign cultures over them. Their texts demonstrate the wide-spread use of self-mockery by Newfoundlanders, which diminishes self-esteem and self-reliance in the province. All of the novelists assembled in this study indicate that the construction of stories may establish a personal mythology and power enabling the architect to survive geographic, cultural and personal domination.
50
Sexton, Melanie. "The woman's voice: The post-realist fiction of Margaret Atwood, Mavis Gallant and Alice Munro." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6822.
Full textAbstract:
Since Margaret Atwood, Mavis Gallant, and Alice Munro do not frequently employ experimental or overtly metafictional forms, they are often read as realist writers in contradistinction to postmodernists. In fact, the assumptions upon which their work rests have little in common with the assumptions underlying realism, and they are as resoundingly post-realist as their postmodern counterparts. One of the key characteristics of realism is an assumption that language can be a neutral, transparent medium in which life can be rendered without distortion. Yet in the work of Atwood, Munro, and Gallant language is never transparent. Language creates reality, and this creation is always connected to power. The three writers share anxieties about the paradoxical nature of women's relationship to language: women must use language in order to assert their existence in the world, yet language exerts disturbing control, especially over women. This control is insistently depicted as a form of violence. Realism, to use Bakhtin's terms, is essentially monologic--its narrative strategy depends on a single unifying view, which the reader is encouraged to share. These writers, by contrast, parody the monologic view offered by society's master narratives--often depicted as largely male discourses--and expose it as absurdly limited. They explore the heteroglossia of the contemporary world and insistently expose the ways in which discourses exert power, especially over women. Many of their texts are mis-read as closed realist texts when in fact they remain unresolved and dialogic. Realism encourages a view of character as coherent and unitary, capable of undergoing development and reaching maturity. These writers depict the female self as lacking coherence. Often the boundaries between self and others, especially other women, are confused. Emphasis is placed on the importance of how the self is constructed in the eyes of others rather than on any sense of internal development. For these writers the female self is not a stable entity but a construction. Atwood, Gallant, and Munro do not construct fictions that attempt to mirror life--they recognize the power of voice to construct the world. They are therefore not the naive or conservative "realists" they are sometimes read as. In fact, their work, like that of the postmodernists, challenges and deconstructs the assumptions of realism. However, whereas language for the postmodernists has become little more than a play of empty signifiers, for these women writers it is still vitally allied to power.