Dissertations / Theses: 'Comparative literature'

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O'Sullivan, Emer. "Comparative children's literature /." London [u.a.] : Routledge, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018910995&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Mattson, Christina Phillips. "Children's Literature Grows Up." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467335.

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Children’s Literature Grows Up proposes that there is a revolution occurring in contemporary children’s fiction that challenges the divide that has long existed between literature for children and literature for adults. Children’s literature, though it has long been considered worthy of critical inquiry, has never enjoyed the same kind of extensive intellectual attention as adult literature because children’s literature has not been considered to be serious literature or “high art.” Children’s Literature Grows Up draws upon recent scholarship about the thematic transformations occurring in the category, but demonstrates that there is also an emerging aesthetic and stylistic sophistication in recent works for children that confirms the existence of children’s narratives that are equally complex, multifaceted, and worthy of the same kind of academic inquiry that is afforded to adult literature. This project investigates the history of children’s literature in order to demonstrate the way that children’s literature and adult literature have, at different points in history, grown closer or farther apart, explores the reasons for this ebb and flow, and explains why contemporary children’s literature marks a reunification of the two categories. Employing J. K. Rowling’s Harry Potter novels as a its primary example, Children’s Literature Grows Up demonstrates that this new kind of contemporary children’s fiction is a culmination of two traditions: the tradition of the readerly children’s book and the tradition of the writerly adult novel. With the fairy tales, mythologies, legends, and histories that contemporary writers weave into their texts, contemporary fictions for children incorporate previous defining characteristics of children’s fantasy literature and tap into our cultural memory; with their sophisticated style, complex narrative strategies, and focus on characterization, these new fictions display the realism and seriousness of purpose which have become the adult novel’s defining features. Children’s Literature Grows Up thus concludes that contemporary children’s fiction’s power comes from the way in which it combines story and art by bringing together both the children’s literature tradition and the tradition of the adult novel, as well as the values to which they are allied. Contemporary writers for children therefore raise the stakes of their narratives and change the tradition by moving beyond the expected conventions of their category.
Comparative Literature

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Sham, Hok-man Desmond, and 岑學敏. "Sinophone comparative literature: problems, politics and possibilities." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42182530.

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Sham, Hok-man Desmond. "Sinophone comparative literature problems, politics and possibilities /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42182530.

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Akalay, Mohamed. "Las maqāmāt y la picaresca al-Hamad̲ānī y al-Ḥarīrī, Lazarillo de Tormes y Guzmán de Alfarache /." Mohammedia, Maroc : Imprimerie de Fédala, 1998. http://books.google.com/books?id=4ZVZAAAAMAAJ.

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Graham, Elyse (Jean Elyse). "Remaking English literature : editors at work between media." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81133.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2013.
"June 2013." Cataloged from PDF version of thesis.
Includes bibliographical references (p. 63-70).
by Elyse Graham.
S.M.

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Li, Shunxing. "Utopia, where East and West meet : a comparative study of hybrid utopias in twentieth-century Chinese and western literature /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/6679.

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Tierney, Robin Leah. "Japanese literature as world literature: visceral engagement in the writings of Tawada Yoko and Shono Yoriko." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/750.

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This dissertation argues that the writings of the contemporary Japanese writers Tawada Yoko and Shono Yoriko should be understood as literature that is commenting upon global processes and therefore categorized within the newly re-deployed category of "World Literature." In the first chapter I explore the political project of Shono Yoriko's fictional and polemical writings. Shono uses the bundan (literary establishment) as a platform for her critique of neo-liberal economic trends and launches a campaign that is both global in scope and kyoku-shi (hyper-personal) in tone. She counters universally applicable socio-economic trends with intensely personal myths and private vendettas against public intellectuals who deny the value of non-profit-grossing "serious" literature. In chapter two I perform a close reading of her 2004 novel Kompira as well as her busu mono (ugly tales). Kompira, I argue, is both a historical narrative of a particular kompira kami (deity) and the postulating of a system of resistance that involves hybridity and embodiment. While Tawada Yoko is most often identified as a border-crossing, multi-lingual writer who publishes in both German and Japanese, in chapter three I argue that this "identity" threatens to eclipse the ways in which she investigates the bodily reception of language. My claim is that Tawada's interstitial explorations pose translation and bodily coding as inherent to language acquisition in general and suggests that all words carry their own libidinal imprint. In chapter four I argue that Tawada mines bodily processes for her representational strategies. In Tawada's texts the unraveling of national and masculine aesthetics forms a critical part of decoding the body as a fixed and gendered entity. . When Tawada positions the male body as an object of tactile inquiry and explores the bodily-confusion-with-another inherent in the process of ovulation as a narrative drive, I see a re-working of corporeal and cognitive logics. This reworking, I contend, is not a conclusive "righting of wrongs" but an invitation to join in the ongoing process of articulating difference in a potentially post-national world.

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Oliveira, Kátia Isidoro de. "Silêncios e espetáculos : leitura comparada de A Cidade Sitiada (1949), de Clarice Lispector e Noites no Circo (1984), de Angela Carter /." Assis, 2017. http://hdl.handle.net/11449/150373.

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Orientador: Cleide Antonia Rapucci
Banca: Altamir Botoso
Banca: Letícia de Souza Gonçalves
Banca: Antonio Roberto Esteves
Banca: Katia Rodrigues Mello Miranda
Resumo: The aim of this thesis is to discuss how the gender issue is represented in literature by pointing out differences and similarities between Clarice Lispector's A Cidade Sitiada (1949) and Angela Carter's Nights at the Circus (1984). In A Cidade Sitiada (1949), Lucrécia is a "beleaguered" woman; she is not presented to the reader as the subject of her story, but, rather, an object. She is a foreigner in her world, with what she does not interact, surrounded, exiled by city walls. In her novel Carter shows the process of modernization, love, the perspective of the marginalized, human relations and female freedom. To build the effect of liberation, the author frees herself from closed environments that were part of the settings of her previous novels and opts for an exterior space. And she also chooses as protagonist Fevers, a woman with wings, a powerful image of liberation and female transformation and aware of what she represents. The discoveries of the protagonists are set in the process of social modernization of the late nineteenth and early twentieth century. While in England the woman is born with wings and free, in Brazil she remains trapped in patriarchal society. Lastly, this research paper intends to compare the way in which Clarice Lispector and Angela Carter can discuss the gender issue in literature and break through the lines of patriarchal society. From this point of view, the intention of this thesis is to confront the construction of the female characters in ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The aim of this thesis is to discuss how the gender issue is represented in literature by pointing out differences and similarities between Clarice Lispector's A Cidade Sitiada (1949) and Angela Carter's Nights at the Circus (1984). In A Cidade Sitiada (1949), Lucrécia is a "beleaguered" woman; she is not presented to the reader as the subject of her story, but, rather, an object. She is a foreigner in her world, with what she does not interact, surrounded, exiled by city walls. In her novel Carter shows the process of modernization, love, the perspective of the marginalized, human relations and female freedom. To build the effect of liberation, the author frees herself from closed environments that were part of the settings of her previous novels and opts for an exterior space. And she also chooses as protagonist Fevers, a woman with wings, a powerful image of liberation and female transformation and aware of what she represents. The discoveries of the protagonists are set in the process of social modernization of the late nineteenth and early twentieth century. While in England the woman is born with wings and free, in Brazil she remains trapped in patriarchal society. Lastly, this research paper intends to compare the way in which Clarice Lispector and Angela Carter can discuss the gender issue in literature and break through the lines of patriarchal society. From this point of view, the intention of this thesis is to confront the construction of the female characters in the works and discuss the process of modernization under the eyes of the protagonists in English and Brazilian literatures
Doutor

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Blaise, Aboua Kumassi Koffi. "Macunaíma / Kaydara: dois espelhos face a face. Ler Macunaíma sem rir." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-12092012-120553/.

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Explorar outros caminhos, até agora pouco seguidos, no intuito de participar de forma pertinente do debate acerca da inteligibilidade de Macunaíma de Mário de Andrade, isto, pode ser considerado o eixo que norteia este estudo comparado. Para levar adiante esta pesquisa comparativa apelamos para Kaydara, não apenas por ser uma obra prima da literatura africana de expressão francesa, mas também porque traz o olhar de dentro para fora de uma sociedade tradicional africana, capaz de dialogar com a literatura brasileira a ponto de lançar luz sobre alguns elementos culturais de origem afro-brasileira presentes nela. Por isso, fomos mergulhar naquilo que a maioria das sociedades africanas considera sua referência na Antiguidade: o Egito Antigo. Agora, quando se põem duas obras de grande valor estético frente a frente, o que sói acontecer é uma ajudar a ler a outra, por isso, nossa abordagem deixa de ser unilateral para privilegiar uma relação de leitura mútua, dando destaque às mais variadas consequências disso.
Explore other ways, until now little followed in order to participate in a meaningful way to the debate about the intelligibility of Macunaíma, this can be taken as the shaft that drives this comparative study. To carry out this comparative research we appeal to Kaydara, not only because it is a masterpiece of african french literature, but also because it brings - the look of the inside of a traditional african society, capable to converse with the brazilian literature, point to shed light on some cultural elements of afro-brazilian origin present in it. So we have been diving in what the vast majority of african societies consider his reference in antiquity: Ancient Egypt. Now, when you put two works of great aesthetic value face to face, which is usually happen is one help to read other, so our approach is no longer unilateral and privilege a relationship of mutual reading, highlighting various consequences.

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Gomes, Vania Regina. "O aprendiz de Fradique Mendes: Eça de Queirós na leitura de Gilberto Freyre." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-23082011-091300/.

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A presente dissertação trata do modo como a obra de juventude do sociólogo e escritor Gilberto Freyre estabelece uma forte relação intertextual com o conjunto da obra de Eça de Queirós. Tomamos por referência o livro Tempo de aprendiz, onde se encontram reunidos diversos textos jornalísticos do jovem intelectual brasileiro, livro repleto de referências ao escritor português. A análise de tais referências revela que a apropriação da obra queirosiana por meio de alusões e citações foi uma forma de Freyre se capitalizar simbolicamente - na expressão de Pierre Bourdieu - frente a um meio intelectual brasileiro que lhe era adverso. Procuramos ainda, a partir daí, fazer algumas inferências de como o modo de apropriação que Freyre faz da obra de Eça se transforma no decorrer de seu percurso intelectual .
This dissertation describes how the early works of sociologist and writer Gilberto Freyre forges a strong intertextual relationship with the works of Eça de Queirós. The basic reference is the book Tempo de aprendiz, wich collects several journalistic texts from the young Brazilian intellectual ,full of references to the works of the Portuguese writer. Analisys reveals that Freyre used the appropriation of Queirós´ works by means of citations and allusions as a means to capitalize himself -in the expression of Pierre Bourdieu-against a hostile Brazilian intellectual scenario.It is also shown that the manner of appropriation of the works of Eça de Queirós by Freyre changes along his career .

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Prager, Valerie. "Comparative analysis of the Christian theme in Soviet literature." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67518.

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During the 70 years of the Soviet regime the officially approved Soviet literature consistently reflected an exclusively materialistic world view. As a result, there were very few critical works, published in the West, dealing with the Christian theme in Russian literature of the Soviet period.
Surprisingly, literature with the Christian theme did exist in the years of militant state atheism. Such literary works raised questions about the purpose of life, about truth, moral courage and the person of Christ. These books were published during the 60-s, the time of the "thaw", and became a focal point of public discussions. Two of them--Bulgakov's "Master i Margarita" and Pasternak's "Doktor Zhivago" were internationally acknowledged as major literary works.
This study will examine in detail and compare five literary works with christian content, published in the Soviet years of Russia. Two of them were mentioned above. The other three are "Plakha" by Aytmatov, "Dzhvari" by Alfeeva and "Fakul'tet nenizhnikh veshchei" by Dombrovsky.
The existence of such literature proves that all the efforts to suppress the human spirit and its longing for the Absolute have failed.

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Park, E. C. "Plato and Lucretius as philosophical literature : a comparative study." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:97c3ba13-d229-429d-83fc-138fcbaf58b1.

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This thesis compares the interaction of philosophy and literature in Plato and Lucretius. It argues that Plato influenced Lucretius directly, and that this connection increases the interest in comparing them. In the Introduction, I propose that a work of philosophical literature, such as the De Rerum Natura or a Platonic dialogue, cannot be fully understood or appreciated unless both the literary and the philosophical elements are taken into account. In Chapter 1, I examine the tradition of literature and philosophy in which Plato and Lucretius were writing. I argue that the historical evidence increases the likelihood that Lucretius read Plato. Through consideration of parallels between the DRN and the dialogues, I argue that Plato discernibly influenced the DRN. In Chapter 2, I extract a theory of philosophical literature from the Phaedrus, which prompts us to appreciate it as a work of literary art inspired by philosophical knowledge of the Forms. I then analyse Socrates’ ‘prelude’ at Republic IV.432 as an example of how the dialogue’s philosophical and literary teaching works in practice. In Chapters 3 and 4, I consider the treatment of natural philosophy in the Timaeus and DRN II. The ending of the Timaeus is arguably an Aristophanically inspired parody of the zoogonies of the early natural philosophers. This links it to other instances of parody in Plato’s dialogues. DRN II.333-380 involves an argument about atomic variety based on Epicurus, but also, through the image of the world ‘made by hand’, alludes polemically to the intelligently designed world of the Timaeus. Through an examination of Plato’s and Lucretius’ polemical adaptation of their predecessors, I argue that even the most seemingly technical passages of the DRN and the Timaeus still depend upon literary techniques for their full effect. The Conclusion reflects briefly on future paths of investigation.

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Leggette, Amy. "Scenes, Seasons, and Spaces: Textual Modes of Address in Modern French, American, and Russian Literature." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19274.

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This dissertation examines how literary form adapts to emergent print environments by identifying common strategies for incorporating the act of reading into the situation of the text. In my analysis of original textual forms, I investigate the material specificity of constitutively modern practices of reading and subjectivity, focusing on how innovative publications structure these practices by involving the reader in the process of production. This project assembles six pioneering writers across literary traditions, genres, and periods, from the 1830s to the 1910s, in three chapter pairings: novelistic episodes of Honoré de Balzac’s Comédie humaine and prose poems of Charles Baudelaire’s Spleen de Paris in nineteenth-century Parisian periodicals; the prose poetry books, Une saison en enfer by Arthur Rimbaud and Spring and All by William Carlos Williams; and genre-bending texts from the œuvres of Stéphane Mallarmé and Vladimir Mayakovsky, including the typographically irregular page spreads of Un coup de dés jamais n’abolira le hasard and Vladimir Mayakovsky: A Tragedy (Vladimir Maiakovskii: Tragediia). My discussion locates reflexive conceptions of modern literature in constructions of the reading subject, while extending the performative framework of textual modes of address to new media and digital technologies—social interfaces that mediate subjectivity by structuring practices of reading.

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Shagufta, Iqra. "Postmodernity and Pakistani Postmodern Literature." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707404/.

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Though scholars have discussed postmodernism in Islam and South Asia before, they tend to (i) assume Muslims as a monolithic group, bypassing the diversity of different cultures and the interaction of these cultures with indigenous practices of Islam; (ii) study postmodernity synchronically, thereby eliding histor(ies) and the possibility of multiple temporalities; and (iii) compare postmodernity in non-Western countries with Western standards, and when these countries fail this test, declare them not-yet-postmodern, or even modern. Negligible and scant discussions of postmodernity that do take place inside Pakistan, most of which are published in newspaper articles, tend to focus on Western postmodernity and its evolution and contemporary position. There is no book-length discussion of postmodernity and postmodernist literary texts from Pakistan and its curious sociopolitical blend of Indo-Muslim and Anglo-Indian influences and interaction with the Islamic political foundations of the country. This project discusses postmodernity and postmodern literature in Pakistan. I argue that, because of a different political, cultural, and literary climate, postmodernity and postmodern literature in Pakistan are distinct from their Western counterparts. Because of technological advancement and neoliberal globalization, Pakistan experiences a different kind of postmodernity resulting in the production of a different kind of postmodern literature. I trace the historical employment of postmodern literary tropes from Indo-Islamic genres, i.e. dastan, to contextualize this conversation. Then I discuss experimental works of fiction like Sultana's Dream (1908), Bina Shah's Before She Sleeps (2018), and Soniah Kamal's Unmarriageable (2019). The last chapter explores the relationship of postmodernity, postmodern politics, and Pakistani and Muslim historiographic metafictional literary texts: The Satanic Verses (1988) and A Case of Exploding Mangoes (2008). Hence, the work is regional and national, as well as comparative and transnational.

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Schlumpf, Erin. "Melancholy, Ambivalence, Exhaustion: Responses to National Trauma in the Literature and Film of France and China." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10263.

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This dissertation exposes responses to national trauma in literature and film from France in the twenty-five years following the 1940-1944 German Occupation, and from China in the twenty years following the 1989 Tiananmen Square Incident. My study is unique in that it focuses on French and Chinese authors who lived through the two traumatic periods, but whose work does not present a conventional version of bearing witness. Instead of locating expressions of national trauma in narratives describing historical traumatic events, I detect three aesthetic concerns or symptoms--melancholy, ambivalence, and exhaustion, which can be read as the traces of traumas that seem to evade direct identification. I argue that trauma may make its presence known by an absence of reference to its source. Emerging during post-traumatic periods--the Trente glorieuses in France (from 1945 to 1973) and the Post-New Era in China (from 1990 to the present)--my dissertation argues that novels by Marguerite Duras and Wang Anyi, novellas by Samuel Beckett and Ge Fei, and films by Jean-Luc Godard and Jia Zhangke reveal a tension between present national circumstances and ghosts from the past. These two post-traumatic national moments in France and China share the state projects and dominant discourses of economic growth, consumption, individualism, and nationalism, which I claim aided in the repression of troubled recent histories. The works of fiction and film I discuss in this dissertation, marked by melancholy, ambivalence, and exhaustion, offer counter-discourses in that they fail to partake in the project of national "progress," instead exposing irresolution with respect to overcoming history. In these works, furthermore, I contend that such historical (re)negotiations prompt aesthetic innovations, allowing for a redefinition of the causes and cases of early postmodernism.

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Clopton, Kay Krystal. "Now Hear This: Onomatopoeia, Emanata, Gitaigo, Giongo – Sound Effects in North American Comics and Japanese Manga and How They Impact the Reading Experience." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525744652209227.

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Kattemalavadi, Chinmayi. "(An) Unsettled Commons| Narrative and Trauma after 9/11." Thesis, Wayne State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261366.

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This dissertation examines fictional responses to the events of September 11, 2001. It argues for the importance of one kind of fictional response, one which focuses on representing the feeling of "unsettledness" that can be one effect of trauma, with the aim of making that unsettledness itself a locus of a shared common experience. I posit that in articulating the events of 9/11 in the context of, in relation to, and as one in a series of traumas, violences, and histories, these narratives make the unsettlements shareable. Focusing on four works of fiction that were published after 9/11—Joseph O’Neill’s Netherland, Junot Díaz’s The Brief Wondrous Life of Oscar Wao (Oscar Wao), Teju Cole’s Open City, and Jennifer Egan’s A Visit From the Goon Squad (Goon Squad)—I explore representations of the effects of and the attempts to cope with traumatic experiences including 9/11 itself.

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Rezek, Joseph Paul. "Tales from elsewhere fiction at a proximate distance in the anglophone Atlantic /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925765691&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Kilpatrick, Robert M. "Le soulier de theramenez theory and practice of the adage in Erasmus and Montaigne /." [Bloomington, Ind.] : Indiana University, 2009. 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:3378360.

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Thesis (Ph.D.)--Indiana University, Dept. of French & Italian Studies, 2009.
Title from PDF t.p. (viewed on Jul 7, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3876. Adviser: Eric MacPhail.

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Bardzell, Shaowen. "Hospitality and gift exchange reciprocity and its roles in two medieval romance narratives /." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162224.

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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2004.
Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0170. Chair: Rosemarie McGerr. Title from dissertation home page (viewed Oct. 11, 2006).

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James, Jessica. "CTRL-ALT-DELETE." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523196.

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This thesis examines concepts of control, alternation, and deletion (CTRL, ALT, DELETE) through the poetic process. By examining some of the specific poems presented here, one can see the effects of literary and social critics including Michel Foucault, Hart Crane, and Adrienne Rich on my poetry. Thematically, structurally, and linguistically, the poems in this thesis address contemporary concerns and ask the reader to face the challenges of postmillennial life with creativity, empathy, and humor.

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Lemire, Isabelle, and Ana María Navales. "Nouvelles de Bloomsbury de Navales : création, recréation, traduction." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30183.

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The creative section of this thesis is a translation of five (5) short stories drawn from the anthology Cuentos de Bloomsbury by the Spanish author Ana Maria Navales. This book is a free literary recreation of the life of some of the artists and intellectuals, in particular Virginia Woolf, who made up the Bloomsbury Group. This translation is meant to be more source-oriented than target-oriented; however, even though it is rather true to the source text, our priority consists above all in creating a translation possessed of its own literary unicity. In this way, we attempt to show that the translated work is another work, autonomous and separated from the original version, but still linked to the latter by means of their respective literary unicity, rendering the fundamental signifiers of the original in the translation.
In recognizing the literary unicity of both authors and in receiving inspiration from the thoughts of Octavio Paz and Antoine Berman, we try to bring the literary unicity of our translation to light, and at the same time, to experience an open-mindedness towards that which is "other". (Abstract shortened by UMI.)

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Ouellet, Annie, and Raymond Carver. "Veux-tu te taire, s'il te plat? : critique de la traduction de Carver." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30196.

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Among the different theories of translation, the work of critic Antoine Berman is most remarkable. In Pour une critique des traductions: John Donne, published in 1994, Berman suggests, in the segment entitled "Le projet d'une critique 'productive'", a critical method of translation that is not a "model", but a possible analytical process. By following the steps devised by Berman, we will endeavor to apply this method to a translation of several short stories by the American writer Raymond Carver, chosen from the collection Will You Please Be Quiet Please?, first published by McGraw-Hill in 1976. The work has only been translated into French once, by Francois Lasquin in 1987. Our analysis will be based on this version.
The creative component of our Master's Thesis will consist in a new translated versions of the selected short stories from Carver's collection, namely: Fat, They're Not Your Husband, Are You A Doctor?, Nobody Said Anything, Night School, The Student's Wife and Bicycles, Muscles, Cigarets .
Subsequent to the applications of the possible analytical process , we will compare the version presented in the first part of this Thesis with Francois Lasquin's, using the tools proposed by Berman. This comparison will be based on the deformation tendencies theory found in Berman's essay: "La traduction et la lettre ou l'auberge du lointain", published in 1985 in les tours de babel. Finally, we will re-emphasize the recurrent changes suggested in the version we are presenting. This analysis leads us to a discussion of our own conceptions of translation, and the elements that motivate and justify our choices concerning translation and translating.

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Canfield, Robert Alan 1964. "Renaming the rituals: Theatralizations of the Caribbean in the 1980s." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282638.

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Helen Gilbert and Joanne Tompkins, in their recently published Postcolonial Drama: Theory, Practice, Politics, highlight the significance of metatheatrical tendencies in the resistance drama of Anglophone arenas of decolonization, particularly those of the Anglophone Caribbean. Insisting on such metatheater as more than simply postmodern play, Gilbert and Tompkins crucially note the emergence of a critically conscious theater that explores and explodes notions of subjectivity, ideologies of difference and monologies of mastery. My studies in postcolonial drama and theory have led me toward similar sites and modes of struggle, culminating in a project that focuses upon this act of metatheater in the Caribbean and seeks to interpret its socio-ideological/cultural implications in light of recent postcolonial, feminist, discursive critique. Generated out of nationalist Theaters of Dissimulation that enact an unmasking of the discourses of race and mastery so crucial to the dissemblances of colonial master-scripts, I argue that Caribbean theater in the West Indies, Puerto Rico, and the Antilles translates these early nationalist revolutions into an involutionary act, one that avoids the reinscription of patriarchal, racialist, essentializing notions of identity and attempts instead to deconstruct what Stuart Hall has termed the "politics of representation." Through this spotlighting of image and image systems rather than identity politics, 80s playwrights make Edouard Glissant's concept of theatralization--the very act of cultural ontology--the main actor on the stage, creating a Theater of Dissimilation that, like Kamau Brathwaite's idea of "nation language," represents a cultural process of critical creolization.

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McMullen, Albert Joseph. "Echoes of Early Irish Influence in Anglo-Saxon Literary Landscapes." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467346.

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This study traces the cultural interplay between Irish and Old English literary landscapes. Combining an ecocritical approach to reading representations of the landscape with a comparatist perspective, each chapter shows that the landscape and the natural world were not only static motifs, but that they allow for the observation of literary influence. The first chapter investigates the political use of the landscape in Irish and Anglo-Saxon saints’ Lives. I argue that the anonymous author of the Life of Cuthbert was following a common Irish hagiographic practice of using place-names to claim churches, monasteries, or lands for the writer’s monastic foundation. Furthermore, Bede was aware of this agenda when he rewrote the Life of Cuthbert some twenty years later and consciously removed many of the place-names that localize Cuthbert’s miracles and ministrations from the text. The second chapter compares the use of the natural world in the Old English Boethius to early Irish cosmological treatises. The Old English translator diverges from Boethius in the amplification of cosmological details (e.g., information about the universe and the elements) that have distinct analogues in early Irish sources. The third chapter examines Grendel’s mere in Beowulf as a reflex of the bog of Germanic pre-Christian worship and as a place which draws on imagery common to insular sources pertaining to hell. Reading the mere as an overlay landscape that places pagan past and Christian present in apposition, I argue that this layered landscape is analogous to landscapes in early Irish poetry and saga. In my final chapter, I explore the paradisiacal landscapes presented in Guthlac A and The Phoenix. These descriptions closely parallel representations of paradise in Irish tradition, especially in contemporaneous Irish poetry. Additionally, like early Irish writers, the Old English poets appropriate the landscape of Eden to reflect and emphasize the spiritual state of the monastic. While scholars have often noted connections between early Irish and Anglo-Saxon literature—though few concerning the representation of the landscape or the natural world—this project is the first study to address the influence of early Irish literary landscapes in Old English works. As such, my dissertation holds the potential to redefine ways of thinking about the transmission of influence between these two early medieval cultures. I show that the landscape and the natural world loomed large in early insular literature in ways that have gone unrecognized, while also providing a model to track the paths of literary influence. My investigations revise the received wisdom about Anglo-Saxon literary landscapes, while contributing to a body of scholarship concerned with connections between early Ireland and Anglo-Saxon England.
Celtic Languages and Literatures

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Deutsch, Katherine Ariela. "Platonic Footnotes: Figures of Asymmetry in Ancient Greek Thought." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26566091.

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In 1953, Maurice Merleau-Ponty claimed, “It is useless to deny that philosophy limps…. [In the philosopher’s] assent something massive and carnal is lacking. He is not altogether a real being.” My dissertation is a critical rereading of the Platonic dialogues and their reception through the lens of one key trope: “limping.” I trace limping through philosophical and literary texts and rhetorical treatises – through authors ranging from Plato, Sophocles, and Hippocrates to Montaigne, Nietzsche, and Derrida. I show that this metaphor, a figure for one-sidedness or deficiency, offers new material for the longest and most-footnoted debate, the debate over Platonic idealism. My project is grounded in a sustained re-examination of Plato’s Phaedo – the most body-denying or “somatophobic” of the Platonic dialogues. I demonstrate how the figure of limping works in conjunction with other metaphors of the body – and the figure of Socrates itself, in all its corporeality – to subvert one-sided or somatophobic readings of the Phaedo and of Platonism. Part One of my dissertation looks at the rhetoric of the body; Part Two examines the body of rhetoric. Part One asks how Socrates’ body, in its satyr-like ugliness and strangeness, itself constitutes a deformity in ancient Athens. Examining the philosopher’s “body techniques,” I show that the Phaedo – which is framed by Socrates’ legs and feet – is mediated by the body it denies. Part Two closely examines Socrates’ terminology in the Phaedo’s first argument for the immortality of the soul. Focusing on the Greek abhorrence of nature as a “limping” body, I study associated tropes of completion and incompletion, balance and imbalance, and metaphors that rely on somatic, circular, and compensatory structures (among them, the periodos, or sentence, and the diaulos, the double racecourse). My project, which draws its title from Alfred North Whitehead’s famous characterization of European philosophy as a “series of footnotes to Plato,” concerns itself with the metaphorical feet, legs, and gait of philosophy itself. In examining the “lame inheritance” the ancients have provided the moderns, my project uses the rhetoric of disability and prosthesis to reframe Classical reception studies.
Comparative Literature

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Hofstetter, Angela Dawn. "Lyrical beasts equine metaphors of race, class, and gender in contemporary Hollywood cinema /." [Bloomington, Ind.] : Indiana University, 2009. 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:3357987.

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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2009.
Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1649. Adviser: Barbara Klinger.

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Kang, Meekyung Yoon. "Emerson and Melville: "A correspondent coloring"." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288970.

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This study examines Emerson's influence on Melville's works from Mardi through The Confidence-Man. Each work demonstrates Melville's deep concern and keen interest in Emerson's optimistic idealism and transcendentalism and documents his changing attitude toward key Emersonian concepts. Melville questions and interprets Emerson's ideas of self-reliance and subjectivity and explores in detail Emerson's way of seeing nature and the world. Since Emerson's epistemology and ontology are epitomized in the images of "eye" and "star," Melville utilizes these images to express his response to and interpretation of Emerson. In this process he suggests the ways in which both men were geniuses of their times and possessed "a correspondent coloring." As generations of critics have noticed, Emerson's influence on Melville's work is prominent and pervasive, but it is also, at times implicit and ambiguous. In my reading of the novels, I explore the way in which Melville at once acknowledges Emerson's influence and calls a number of his crucial concepts into question. Central here are Emerson's theories of seeing and reading, problems of perception and interpretation. Though Melville agrees with Emerson's idea of the world as "an open book" or a text, he is suspicious of reading that book, for, as Melville understands it, nature is indecipherable or inscrutable. As a creative reader and a creative writer, Melville devotes his career to an attempt to write the great American work that Emerson had called for in the "American Scholar." Each of the novels I examine embodies Melville's careful and close reading and critical interpretation of Emerson and his works. Since Melville recognized Emerson as an "uncommon man" and a "great man," he was attracted to his ideas and his works. However, as his career developed, he became more and more aware of what he had called Emerson's "gaping flaw," and that flaw for Melville involved Emerson's influence on the current literary culture as well as Emerson's ideas as such. By the time of The Confidence-Man he had lost his faith in Emerson and the literary world he had come to represent.

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Fan, Jiacheng. "Strategies of Fantasy in E.T.A. Hoffmann and Pu Songling." Thesis, Purdue University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10268186.

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This thesis deals with the strategies in the works of E. T. A. Hoffmann and Pu Songling that are used to arrange the fantasy elements. It examines the basic settings of the environments and social backgrounds as presented in several works by Hoffmann and by Pu Songling. It also investigates and compares the various modes of presentation considering the adventures of the protagonists in these selected works by a German and by a Chinese author. It demonstrates that, although both authors tend to use fantasy elements as an important part in their narration each, they organize them differently. Hoffmann first puts his characters into a daily life background and then constantly brings fantasy events to them in order to arouse the feeling of amazement and to romanticize the world. Pu Songling uses elements of fantasy power to create a paradise that is like an idealized version of the human world. By juxtaposing the two authors, this thesis argues that both Hoffmann and Pu Songling play significant but also quite different roles in the transition process from traditional tales with fantasy elements to modern fantasy fictions in their own traditions. Hoffmann inherits but also makes some unique and remarkable innovations to the literary heritage of German Romanticism; Pu Songling modifies the usual pattern of zhiguai and chuanqi to achieve better art effect. Hoffmann’s unique style of intertwining reality with fantasy has influenced many modern writers, including Herman Hesse. Pu Songling’s creation of a secular paradise and the promotion of qing (a Chinese notion that represents emotion and love) may also be seen as the precursor for later works such as Dream of the Red Chamber.

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Lott, Sarah Christine. "Sense and sensuality: A commented translation of Albert Camus' "Noces"." Thesis, University of Ottawa (Canada), 1997. http://hdl.handle.net/10393/4358.

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This thesis, a "commented translation", is comprised of two main parts. The first part features the translation of two lyrical essays, "Noces a Tipasa" and "L'ete a Alger", from French Algerian writer Albert Camus' four-essay set entitled Noces. The second part consists of commentary: three chapters treat individual, but interrelated aspects of the source text that were particularly challenging to translation. The first chapter examines four thematic undercurrents that dominate Camus' writing; the second chapter analyzes the stylistic devices Camus favoured to highlight those undercurrents; the third chapter studies the Cagayous vernacular used in the essays. The concept that grew out of the translation and underlies the commentary is that context and style are inseparable in a literary text such as Noces; both must be clearly understood and adequately represented in translation for together they create the unique, complex and multi-dimensional meaning and message of the text.

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Daigle-Carrier, Johanne. "Les identités multiples dans les personnages féminins de Anne Hébert et de Margaret Atwood : une étude comparée." Thesis, University of Ottawa (Canada), 1985. http://hdl.handle.net/10393/4975.

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Lorenzo, Dominguez Javier. "John Donne and Francisco de Quevedo: Petrarch and beyond." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6839.

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Morghèse, François. "Avec armes et bagages : le passage d'une culture à une autre par la traduction." Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7549.

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Gomez-Martinez, Javier. "A commented translation of excerpts of Hilda Perera's "Plantado"." Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7865.

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Gullo, Frank. "Wide awake in America: The emergence and dissolution of American ceremonial rites of passage." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/9598.

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This thesis purports to delineate and offer conclusions about a wide range of American "coming of age" texts. Traditional, New Historicist, and Sociological research methodologies all served as points of departure for the definition of terms, selection of evidence, and specific thesis arguments. The thesis is organized into four chapters. The first chapter discusses the genre characteristics and tradition of the European bildungsroman, and the thematic and stylistic departure of its American "coming of age" counterpart. The second chapter considers cultural and anthropological studies of boyhood in non-Western societies in order to determine the extent to which rites of passage and "coming of age" studies are universal. The third and fourth chapters both present close readings of specific American "coming of age" texts: chapter three foregrounds the indissoluble relationship between an American boy's coming of age and the natural world, and chapter four focuses on the dissolution of the American wilderness, the resultant urban alternative, and the subsequent maturity of the boy without access to a natural world in which to perform traditional rites of passage. The thesis speculates on the possibilities of replacing the neutral matrix of the natural world with some other template that engenders moral growth. The thesis concludes with a consideration of cyberspace as a new, egalitarian neutral matrix from which we can potentially create new rites of passage, and return to liberating basics.

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Leroux, Jean-François. "Modernity after holiness: Time and its other in Herman Melville and Victor-Levy Beaulieu." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/9937.

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The first part of the present work elaborates the "problem" that concerns the study as a whole, namely the crisis in historical consciousness that figures prominently in the fiction of Herman Melville and Victor-Levy Beaulieu. This crisis has as its zero degree the humiliation of historical paradigms and the failure of traditional theodicy that Pierre, or The Ambiguities and Sagamo Job J narrativize. The apprehension of a nonsensical totality of being results in the "horror of history" (Eliade), which dread precipitates various modes of forgetfulness and uchronia. A stalemate emerges from the readings in Chapter One: on the one hand, a solipsistic textual infinite is opened by the death of the fiction of the end; on the other hand, the will to sainthood and eternity portends a form of Western nihilism. It is this "dead wall" of metaphysics that inspires the effort to think more and differently in the chapters that follow. (Abstract shortened by UMI.)

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38

Piquard, Cécile. "Sur la traduction des sociolectes dans le théâtre américain : analyse comparative de traductions françaises et québécoises." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10157.

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Our hypothesis lies in the notion that texts are an intrinsic part of the discourses of the society to which they belong. As the written work is under the influence of the social discourses to which it pertains, so does its translation comply with the expectations of the target reader by incorporating socio-discursive elements from the receiving society. In this thesis, we explore the translation of sociolects as symbolic representations of speech. Our corpus consists of three American plays from the realist theatre, three French translations written in the fifties, and five Quebecois translations, three of which were produced in the seventies. The comparison of French and Quebecois translations enables us to observe that the changes denounce an adaptation of the original text to certain socio-discursive models in the target society which include the theatre aesthetics of the time. The discursive patterns that we noted in the original plays refer to two main themes in realist theatre: the American family and the American dream. After having analysed these elements according to the mainstream ideas prevailing at that particular time, we identified the modified sections of the text in the translations and commented on the new patterns that were emerging. Finally, we demonstrated that these transformations can be explained in terms of aesthetic, stylistic, and thematic tendencies adopted by the target society. In conclusion, this study shows that despite the translator's attempts to "faithfully" reproduce a text, he establishes links between the two theatre forms by adapting the original to the acceptability terms of the target society.

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Duguay, Christine. "L'analyse génétique : fichier terminologique bilingue commenté." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10863.

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Houdin, Guy. "Le rythme et l'individuation du sujet traduisant." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26927.

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Generally speaking, the translator figure does not appear in translation definitions and models. To counteract the illusion of the "translator's invisibility" (Venuti), this study will try, through the analysis of rhythm, to provide elements that establish the translator figure's subjectivity at work in the translation. Since the purpose of this work is to verify whether rhythm is an individuation factor of translators, the corpus is comprised of several translations of three works by three different authors: a naturalist (Darwin), a philosopher (Hegel) and a novelist (Kafka). The corpus sets a diachronic differentiation, but the translations selected for every original text are contemporaneous of each other in order to verify whether rhythm allows for the establishing of a difference between translators on a synchronic level. The part of subjectivity that the analyses have actually highlighted in every one of the translations shows that rhythm can no longer be seen as a mere ornament nor does it fall within the domain of stylistics where it has been confined until now. Rhythm discursive functions are either in the field of narration (as an element of focalization) or in the field of argumentation (as a modelization factor). Rhythm can also have an epistemological function as, in conjunction with other textual features, it modifies the knowledge subtly represented in the original text. Rhythm unequivocally brings out the translator's very own voice. (Abstract shortened by UMI.)

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41

Ronassi, Zohreh. "La "période Molière" : dramaturgie Moliéresque et société iranienne au tournant du XIXe siècle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23743.pdf.

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Meek, Sherri. "A translation analysis of Ingeborg Bachmann's "Simultan": Narration, focalization and intertextuality in the stream of consciousness narrative." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ46593.pdf.

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Hug, Christine. "Discourse and translation, comparative descriptive analysis of William Goldman's The Princess Bride and its French translation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ58463.pdf.

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Leroux, Jean-François. "The Renaissance of impasse in American/Quebec literary relations, comparative readings of Carlyle, Emerson, Melville, Aquin, Ducharme and Beaulieu." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2002. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ66165.pdf.

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Vaughn, Wade M. "Poetry and Power: The Intersection of Poetry and Transformational Leadership." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/603.

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Poetry and Power: The Intersection of Poetry and Transformational Leadership uses literary analysis to show how poetry is an unexplored form of transformational leadership. The paper analyzes the essays and poems of Emerson, Shelley, Sidney, Plato, Carlyle, Whitman, Hugo, Kipling, Henley, and McKay, comparing them against the rhetoric of transformational leaders such as King, Kennedy, and Gandhi. Special attention is paid to how poetry embodies the four pillars of transformational leadership – idealized influence, inspirational motivation, individualized consideration, and intellectual stimulation.

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46

Stokes, Katherine. "Sexual violence and the authority to speak: the representation of rape in three contemporary novels." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32521.

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Gil Courtemanche's A Sunday at the Pool in Kigali, Bapsi Sidhwa's Cracking India and J.M. Coetzee's Disgrace depict periods of intense violence: the Rwandan genocide, the Partition of India, and post-apartheid South Africa. While these authors bring rape to the foreground as they explore massive social change and systemic brutality, Courtemanche, Sidhwa and Coetzee differ significantly in their treatment of sexual violence. Courtemanche decries physical violence but fails to acknowledge more subtle forms of abuse, constraining the voice of the raped female character. Examining Partition from a child's perspective, Sidhwa exposes some of the injustices faced by a survivor of rape, yet this survivor never talks about her experience. Coetzee's protagonist suppresses the voice of the woman he abuses, but insists that his daughter speak up when she is assaulted: her silence complicates the idea that speech about rape is necessarily progressive. An examination of these texts' treatment of speech and silence surrounding rape will test the possibilities for pro-survivor narratives of sexual violence within a rape culture.
Un dimanche à la piscine à Kigali, de Gil Courtemanche, Cracking India de Bapsi Sidhwa et Disgrâce de J.M. Coetzee illustrent des périodes de violence intense : le génocide rwandais, la partition de l'Inde et l'Afrique du Sud après l'apartheid. Les trois auteurs mettent en scène le viol en explorant le changement social intense et la brutalité généralisée, mais Courtemanche, Sidhwa et Coetzee diffèrent dans leur traitement de la violence sexuelle de manière significative. Courtemanche dénonce la violence physique mais ne reconnaît pas les formes d'abus plus subtiles, astreignant ainsi la voix du personnage féminin violé. En examinant la partition de la perspective d'un enfant, Sidhwa expose les injustices auxquelles fait face une survivante de viol, mais la survivante ne parle jamais de son expérience. Le protagoniste de Coetzee réprime la voix de la femme dont il abuse, mais insiste pour que sa fille parle lorsqu'elle se fait agresser : son silence complique l'idée que le discours sur le viol est nécessairement progressif. Un examen du traitement du discours et du silence autour du viol dans ces textes mettra en question les possibilités de narrations sur la violence sexuelle d'un point de vue pro-survivant dans une culture du viol.

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Arcand, Nathalie. "Maurice Maeterlinck et Wassily Kandinsky : un langage esthétique fondé sur l'abstraction." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67016.

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In On the Spiritual in Art, Wassily Kandinsky, one of the founders of abstract art, turns to the Symbolist playwright Maurice Maeterlinck in his quest for a new aesthetic language. Both the playwright and the painter, in breaking away from Naturalist aesthetics, seek to free the signifier and the signified, in literature and in painting, from their referential function. In particular, the painter considers Maeterlinck's treatment of a word: the components of a linguistic sign, that is, its acoustic imprint and its internalized visual image, conceived of and apprehended by a spectator's subjectivity, are now combined arbitrarily. As autonomous entities, they no longer refer to an external reality. The playwright and the painter aim to purify the signifiers, within their own oral and pictorial languages, to the point of dissolving the sound and the visual shape into silence and space. However, this process of purification does not lead to "nothingness", but rather to an "original plane", from which a new signifier, a primordial sound or internal visual image, is generated: at this point, this signifier serves to channel and transmit a true essence, emanating intuitively from man's inner life.
Dans Du Spirituel dans l'art, Wassily Kandinsky, un des fondateurs de l'art abstrait, se tourne vers le dramaturge symboliste Maurice Maeterlinck afin de concevoir un nouveau langage esthétique. Le dramaturge et le peintre, en rompant avec la tradition naturaliste, cherchent à délivrer la forme et le contenu du signe langagier et pictural de leur fonction référentielle. En particulier, l'attention du peintre est portée au traitement du mot dans l'œuvre de Maeterlinck : il constate que les composantes du signe, c'est-à-dire l'image acoustique comme l'image psychique, conçues et perçues par la subjectivité de l'être, s'associent arbitrairement, valent pour elles-mêmes et, par là même, ne servent plus d'indices évoquant une réalité extérieure. Le peintre et le dramaturge préconisent une renaissance du langage esthétique : ce travail s'effectue grâce à l'épuration radicale du signe sonore et de la forme picturale, dissolvant ces derniers dans le silence et l'espace. Cependant, ceux-ci ne correspondent pas au « néant », mais à un « plan originel », à partir duquel se régénère la forme sonore et visuelle : désormais, elle sert à canaliser une essence pure, éprouvée intuitivement dans la réalité intérieure de l'être.

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Hilborn, Ryan. "The forgotten Europe: Eastern Europe and postcolonialism." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104858.

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This study examines three novels, Bram Stoker's Dracula, Ivan Klima's Love and Garbage, and Nina FitzPatrick's The Loves of Faustyna, and their relation to the creation, and the propagation, of the discourse which surrounds Eastern Europe throughout the Cold War. In studying these texts I address the relation between postcommunist studies of Eastern Europe and the field of postcolonialism, which have traditionally overlooked one another. In doing so, I argue that the application of postcolonialism to postcommunist studies allows for a deeper understanding as to Eastern Europe's position throughout the twentieth century. The three writers I have chosen share similar themes with the postcolonial discourse and as such I have chosen to highlight these similarities in order to point to a new manner in which Eastern Europe's literary contribution to the twentieth century can be understood.
Cette étude examine trois romans, Dracula par Bram Stoker, Love and Garbage par Ivan Klima, et The Loves of Faustyna par Nina Fitzpatrick, et leurrelation à la création et la propagation du discours qui entoure Europe de l'Est pendant 'la guerre froide'. Dans l'étude de ces textes j'ai adressé la relation entre les études post-communiste de l'Europe de l'Est et le champ du post-colonialisme, qui ont traditionnellement négligé un l'autre. Ce faisant, je soutiens que l'application du postcolonialisme aux études post-communistepermet une meilleure compréhension de la position de l'Europe orientale tout au long du XXe siècle. Les trois auteurs que j'ai choisi soulève des thèmes similaires avec le discours postcolonial et à ce titre que j'ai choisi de mettre en preuve ces similitudes, afin de pointer vers une nouvelle façon dans laquelle la contribution littéraire de l'Europe orientale au XXe siècle peut être comprise.

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Roesler, Stephanie. "Yves Bonnefoy et «Hamlet»." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86507.

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Between 1957 and 1988, the contemporary French poet Yves Bonnefoy translated Shakespeare's Hamlet five times. This thesis is an in-depth analysis of these five translations and of their evolution: above all, it explores Yves Bonnefoy's poetics of translation. The first section examines Bonnefoy's articulated understanding of poetry, translation and their relationship, but also of Shakespeare and Hamlet, in order to contextualize the translations and define Bonnefoy's approach to the translation process (position traductive) and his translation project, according to the method proposed by Antoine Berman.
The second section provides a survey of Bonnefoy's translations through the study of two passages of the play, followed by a detailed analysis. The objective is to characterize Bonnefoy's translations at the lexical, syntactic and poetic levels. Questions addressed in this section include: Is Bonnefoy faithful to the original text, or does he translate creatively? Does he successfully combine the ethical and poetic dimensions of translation? We will explore Bonnefoy's translation poetics and practice through the hypothesis that the notions of dialogue and dialectics are the most appropriate conceptual tools for describing his translation practice as revealed in the five translations of Hamlet. These two concepts also involve the notion of voice, and one is moved to enquire whose is more audible in these five versions, Shakespeare's or Bonnefoy's.
The detailed analysis is followed by a critical examination of Bonnefoy's five versions of Hamlet by means of a forced confrontation between the poet's texts and his declared translation project. Here, the notion of re-enunciation is introduced in order to complement the ideas of dialogue and dialectic, and thereby re-define and better characterize the faithfulness and the creativity practiced by Bonnefoy. The creative aspect of translating is re-examined through the concepts of domesticating and appropriating. Finally, while exposing the gaps between theory and practice in Bonnefoy's oeuvre as a translator, this thesis aims at defining the general trend of Bonnefoy's translations while emphasizing his originality as a translator.
Entre 1957 et 1988, le poète français contemporain Yves Bonnefoy a traduit le Hamlet de Shakespeare à cinq occasions. Cette thèse se veut une analyse approfondie de ces cinq traductions et de leur évolution, dans l'objectif de caractériser la poétique de traducteur d'Yves Bonnefoy. Pour ce faire, nous examinons dans notre première section le rapport de Bonnefoy à la poésie et à la traduction, puis à Shakespeare et à Hamlet afin de contextualiser les traductions et de définir la position traduisante et le projet de traduction de Bonnefoy, selon la méthode proposée par Antoine Berman.
La seconde section est consacrée à l'analyse proprement dite, que nous entamons en donnant un aperçu des traductions de Bonnefoy à travers deux passages de la pièce, avant de nous lancer dans l'analyse détaillée des traductions. Dans le cadre de celle-ci, nous cherchons à caractériser les traductions de Bonnefoy au niveau lexical, syntaxique et poétique : Bonnefoy est-il fidèle au texte original ou davantage créateur ? Parvient-il à allier les dimensions éthique et poétique du traduire ? Nous avançons l'hypothèse selon laquelle les deux notions de dialogue et de dialectique sont deux outils conceptuels qui nous permettent de décrire la pratique traduisante de Bonnefoy telle qu'elle se manifeste dans les cinq traductions de Hamlet. Ces deux concepts mettent en jeu la notion de voix : qui de Shakespeare ou de Bonnefoy est le plus audible dans les cinq traductions ?
Enfin, l'analyse détaillée est suivie d'un commentaire et d'une critique des traductions, qui passe par une confrontation des traductions au projet du traducteur. Les notions de dialogue et de dialectique sont complétées par celle de ré-énonciation, afin de redéfinir et de caractériser plus avant la fidélité et la création telles que Bonnefoy les pratique. Nous réexaminons le pôle de la création à l'aide des notions traductologiques de domestication et d'appropriation. Finalement, tout en soulignant les écarts entre théorie et pratique, nous tentons de dégager le mouvement d'ensemble des traductions de Bonnefoy et de mettre en valeur l'originalité de sa poétique de traducteur.

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Masnatta, Clara Lucia. "Freund-schaft: Capturing Aura in an Unframed Literary Exchange." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10658.

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This dissertation charts an intellectual history of collaborations centered on the beginning of socio-critical discourse on photography. I study the critically misread oeuvre of photographer and sociologist Gisèle Freund to reconfigure a transatlantic map of concrete personal, literary, and critical connections during the 1930s and ’40s. In examining Freund’s oeuvre, I suggest a crucial intervention on the notion of aura — Walter Benjamin’s trademark for understanding the dialectics of the original and its reproduction. I advance a reading in support of aura that challenges the canonical “The Work of Art in the Age of Technical Reproducibility” (1940) of Benjamin. The continuous coexistence of the terms aura, market, and photography is present in Freund – author of iconic photo-portraits of writers such as James Joyce, Virginia Woolf, André Malraux, Jorge Luis Borges or Benjamin. It contests the reduction of the original’s aura and its reproduction to mutually exclusive terms. My counter-reading in fact recovers the prior and wider aura integral to Benjamin’s “Little History of Photography” (1931). It is this cardinal yet neglected piece that inaugurated together with Freund’s La Photographie en France au dix-neuvième siècle (1936) the critical discourse on photography. Walter Benjamin’s presence is dynamically ingrained in Freund’s oeuvre. In addition to their friendship, two additional friends inform Freund’s career. Freund’s mentors were the leading cultural agents in Paris and Buenos Aires: Adrienne Monnier, the legendary French publisher of Joyce’s Ulysses, and Victoria Ocampo, the founding director of Sur, one of the key literary journals in Latin America. The network of cooperative interactions here deployed is conjugated under the critical metaphor Freund-schaft. Coined on Freund’s name, the term draws equally on the meaning of friendship and the creative making contained in the suffix –schaft (derived from the German schaffen, “to make”, “to create”, “to accomplish”). The framework hinges on the tension between history and theory. Freund-schaft brings to light omissions, conjunctions, and the debates that make up the larger structure of feelings, and makes particulars inextricable from a life-woven net.

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Dissertations / Theses on the topic 'Comparative literature'

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