Dissertations / Theses on the topic 'Cultural history and literary imagination'
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Paull, James School of English UNSW. "An ambivalent ground: re-placing Australian literature." Awarded by:University of New South Wales. School of English, 2007. http://handle.unsw.edu.au/1959.4/28330.
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Narratives of place have always been crucial to the construction of Australian identity. The obsession with identity in Australia betrays longstanding uncertainty. It is not difficult to interpret in this uncertainty a replaying of the deeper insecurities surrounding the settler community's legal and more broadly cultural claims to the land. Such insecurities are typically understood negatively. In contrast, this thesis accepts the uncertainty of identity as an activating principle, appropriate to any interpretation of the narratives and themes that inform what it means to be Australian. Fundamental to this uncertainty is a provisionality in the post-colonial experience of place that is papered over by misleadingly coherent spatial narratives that stem from the imperial inheritance of Australian mythology. Place is a model for the tension between the coherence of mythic narratives and the actual rhizomic formlessness of daily life. Place is the ???ground??? of that life, but an ambivalent ground. An Ambivalent Ground approaches postcolonial Australia as a densely woven text. In this text, stories that describe the founding of a nation are enveloped by other stories, not so well known, that work to transform those more familiar narratives. ???Re-placing Australian literature??? describes the process of this transformation. It signifies an interpretative practice which seeks to recuperate the open-ended experience of place that remains disguised by the coherent narratives of nationhood. The process of ???re-placing??? Australian literature shifts the understanding of nation towards a landscape that speaks not so much about identity as about the constitutive performances of everyday life. It also converges with the unhomely dimension that is the colonist's ambiguous sense of belonging. We can understand this process with an analogy used in this thesis, that of music ??? the colonising language, and noise ??? the ostensibly inchoate, unformed background disruptive to cultural order yet revealing the spatial realities of place. Traditionally, cultural narratives in Australia have disguised the much more complex way in which place noisily disrupts and diffracts those narratives, and in the process generates the ambivalence of Australian identity. Rather than a text or a narrative, place is a plenitude, a densely intertwined performance space, a performance that constantly renders experience ??? and its cultural function ??? transgressive. The purpose of this thesis is not to displace stereotypical narratives of nationhood with yet another narrative. Rather, it offers the more risky proposition that provisionality and uncertainty are constitutive features of Australian social being. The narrative in the thesis represents an aggregation of such an ambivalent ground, addressing the persistent tension between place and the larger drama of colonialist history and discourse.
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Boniface, Davies Sheila. "History in the literary imagination : the telling of Nongqawuse and the Xhosa cattle-killing in South African literature and culture (1891-1937)." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/238313.
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This thesis takes as its subject the millenarian movement of 1856-7, commonly known as the Xhosa Cattle-Killing. My project examines a range of literary representations of this seminal moment in South African history: novels, plays, and short stories in English or English translation. The period under consideration encompasses the earliest literary responses to the Cattle-Killing and includes critical historical-political moments such as: the incorporation of the last independent black territory into the Cape Colony, the creation of the Union of South Africa, the passing of the Land Act, the enfranchisement of white women and the enactment of Hertzog's 'native bills'. The project consists of close, contextual readings, and the approach is cross-cultural and interdisciplinary. In this dissertation I examine the meaning that has accrued to the Cattle-Killing, and the role that literary accounts have played in interpreting and defining this pivotal event in the historical consciousness of their sometimes considerable audiences. In some cases, these creative works have anticipated trends in formal historiography and suggested new ways to interrogate the evidence. But the accounts do more than creatively reconstruct the past. They are also implicated in their respective presents and use the Cattle-Killing to 'write out' contemporaneous concerns: be it female emancipation, 'native education' or Black Nationalism. The various manifestations of the Cattle-Killing story chart not only the shifting 'truth' of the event but also the ways in which it has been made relevant and useable for different communities at various points in South Africa's history. To read these accounts of the Cattle-Killing, I argue, is to 'read' the history of this period. While taking as its subject an event from 150 years ago, and literary responses from shortly after, my project contributes to wider, on-going conversations relating to history as a field of argument and literature as a social and historical force. A related aim is to contribute to the revaluation of early South African literature, which has been neglected or homogenized in recent years. My dissertation seeks to recuperate and complicate by representing a variety of subject positions and resuscitating voices discarded or forgotten.
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Twidle, Hedley Lewis. "Prison and garden : Cape Town, natural history and the literary imagination." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1057/.
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This work considers literary treatments of the colonial encounter at the Cape of Good Hope, adopting a local focus on the Peninsula itself to explore the relationship between specific archives – the records of the Dutch East India Company, travel and natural history writing, the Bleek and Lloyd Collection – and the contemporary fictions and poetries of writers like André Brink, Breyten Breytenbach, Jeremy Cronin, Antjie Krog, Dan Sleigh, Stephen Watson, Zoë Wicomb and, in particular, J. M. Coetzee. Although it would hardly claim to be a literary history of Cape Town, it begins by asking what it might mean to read a history of the city through its literature. Yet moving beyond an initial enquiry into how (and at what cost) imaginative literature brings historical records into the public domain, it is ever more concerned with the writing in and of a specific topography: with the dynamics of rendering in words a landscape celebrated for its beauty and biodiversity, and with the wider social dimensions implied (or obscured) by the phrase ‘natural history’. It intends to question the received wisdom that attention to the landscape, flora and fauna of the subcontinent conceals an unwillingness to deal with social and political realities, probing the limits of this now well-trodden critical model to explore the limits of what Coetzee called ‘dream topographies’: ways of imagining contested ground that have shaped writing here, and the forms in which these persist today. Throughout I hope to suggest productive rather than antagonistic relations between what might broadly be termed ‘postcolonial’ and ‘ecocritical’ ways of reading, and to ask what, if anything, a ‘sense of place’ could mean in a spatially distorted, linguistically divided city of the global South.
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Cohen, Hella Bloom. "Private Affections: Miscegenation and the Literary Imagination in Israel-Palestine." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500171/.
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This study politicizes the mixed relationship in Israeli-Palestinian literature. I examine Arab-Jewish and interethnic Jewish intimacy in works by Palestinian national poet Mahmoud Darwish, canonical Israeli novelist A. B. Yehoshua, select anthologized Anglophone and translated Palestinian and Israeli poetry, and Israeli feminist writer Orly Castel-Bloom. I also examine the material cultural discourses issuing from Israel’s textile industry, in which Arabs and Jews interact. Drawing from the methodology of twentieth-century Brazilian miscegenation theorist Gilberto Freyre, I argue that mixed intimacies in the Israeli-Palestinian imaginary represent a desire to restructure a hegemonic public sphere in the same way Freyre’s Brazilian mestizo was meant to rhetorically undermine what he deemed a Western cult of uniformity. This project constitutes a threefold contribution. I offer one of the few postcolonial perspectives on Israeli literature, as it remains underrepresented in the field in comparison to its Palestinian counterparts. I also present the first sustained critique of the hetero relationship and the figure of the hybrid in Israeli-Palestinian literature, especially as I focus on its representation for political options rather than its aesthetic intrigue. Finally, I reexamine and apply Gilberto Freyre in a way that excavates him from critical interment and advocates for his global relevance.
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Hawes, Ben. "Yeat's versions of literary history, 1896-1903." Thesis, University of Bristol, 1998. http://hdl.handle.net/1983/915a643d-f367-4025-8ab7-fc64cc1f18ab.
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This study examines the critical prose written by William Butler Yeats in the period 1896-1903, and identifies the evolution within it of a mode of literary history. I concentrate on Ideas of Good and Evil, and on the selected edition Poems of Spenser. The introduction examines notions of golden ages and of original fracture, and the insertion of these tropes into a variety of literary histories. I consider some of the aims and problems of literary history as a genre, and the peculiar solutions offered by Yeats's approaches. I give particular attention to Yeats's alternation between two views of poetry: as evading time, and as forming the significant history of nations. The first chapter examines those essays in Ideas of Good and Evil written earliest. I consider the essays on Blake first, because Blake was the most significant influence on the writing of Yeats's idiosyncratic literary histories. I proceed to the essays on Shelley, on a new age of imaginative community, and on magic. The second chapter demonstrates how Yeats's ideals and ideas became modified in more practical considerations of audience, poetic rhythm and theatrical convention, and I identify the new kinds of literary history in the essays on Morris and Shakespeare, which are concerned with fracture, limitation and the loss of unmediated access to timeless imaginative resources. The third chapter briefly examines Yeats's very early imitations of Edmund Spenser, and then considers the uses of literary history in Yeats's edition of Spenser. The final chapter identifies Yeats's later returns to Spenser, and shows how the earlier modes of literary history governed subsequent adaptations. My conclusion summarises the advantages and limitations of Yeatsian literary history, and place my study into the context of Yeats's whole career, comparing these literary histories with A Vision
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Hudgins, Caitlin. "Pioneering the Social Imagination: Literary Landscapes of the American West, 1872-1968." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/411896.
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EnglishPh.D.
This dissertation investigates why literary dreams of the West have been categorically dismissed as mythical. Western critics and authors, ranging from Thomas Jefferson to Owen Wister to Patricia Nelson Limerick, have sought to override dreams of the West by representing the western genre as, in Jane Tompkins’ words, a “craving for material reality.” This focus on authenticity betrays an antipathy to the imagination, which is often assumed to be fantastical, escapist, or utopian – groundless, and therefore useless. Such a prejudice, however, has blinded scholars to the value of the dreams of western literary characters. My project argues that the western imagination, far from constituting a withdrawal from reality, is worthy of critical attention because it is grounded in the land itself: the state of the land is directly correlated to a character’s ability to formulate a reliable vision of his setting, and this image can enable or disable agency in that space. By investigating changes in western land practices such as gold-mining, homesteading, and transportation, I show that the ways characters imagine western landscapes not only model historical interpretations of the West but also allow for literary explorations of potential responses to the land’s real social, political, and economic conditions. This act of imagining, premised on Louis Althusser’s explanation of ideology, follows Arjun Appadurai’s conception of the imagination as “social practice.” Ultimately, my dissertation explores geographical visions in western novels across the 20th century in order to demonstrate the imagination’s vital historical function in the creation of the West.
Temple University--Theses
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Kennedy, Colleen Elizabeth. "Comparisons Are Odorous: The Early Modern English Olfactory and Literary Imagination." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437648106.
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Marsden, Stevie L. "The Saltire Society Literary Awards, 1936-2015 : a cultural history." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24749.
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This thesis presents a history of the Saltire Society Literary Awards and examines their status and role within Scotland’s literary and publishing culture. The Society was founded at a critical inter-war period during which Scottish writers, artists and cultural commentators were re-imagining Scotland’s political and cultural identity. The Society, therefore, was a product of this reformative era in Scotland’s modern history. The Society’s identity and position within this inter- and post-war reformation is reflected in the Literary Awards, which are a means by which the Society attempts to accomplish some of its constitutional aims. The purpose of this thesis is three-fold. Firstly, it has filled a conspicuous gap in modern Scottish cultural history by offering a historically accurate description of the founding of the Saltire Society in 1936 and the development of the Society’s Literary Awards up until 2015. Secondly, this thesis demonstrates how the Society’s Literary Awards function in relation to key critical discourses pertinent to contemporary book award culture, such as forms of capital, national identity and gender. Finally, this thesis proffers an in-depth analysis of book award judgment culture. Through an analysis of the linguistic and social interactions between Saltire Society Literary Award judges, this thesis is the first study of its kind which considers exactly how literary award judging panels facilitate the judgement process. What this thesis reveals is how, despite often being plagued by problems regarding finances and personnel, the Society’s Literary Awards have endured as a key feature of Scottish literary and publishing culture, so much so that they are now the only series of awards dedicated to awarding Scottish fiction, non-fiction, poetry and first books, as well as academic history and research books. Due to the persistence and enthusiasm of the Society’s administrators and literary award judges the awards have continued to thrive and evolve to accommodate developments and demands within Scottish literary culture.
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Attard, Karen Patricia, University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "Lost and found : a literary cultural history of the Blue Mountains." THESIS_CAESS_HUM_Attard_K.xml, 2003. http://handle.uws.edu.au:8081/1959.7/568.
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This thesis is a cultural tour of the Blue Mountains, New South Wales, Australia. It is concerned with the way in which Europeans employed stories to claim land and, conversely, their fears that the land would claim them.The stories considered are taken from literature and folk legend. The concept of liminality is important to the work because the mountains are a threshold, a demarcation between the city and the bush. Allied with the notion of liminality in the mountains is that of the uncanny (as defined by Freud). The work is divided into four sections. The first section, A POCKET GUIDE, introduces the terrain to be traversed. Section 2, FOUND, centres around the notion of foundation. Section 3, PASSAGE, links LOST and FOUND. LOST is the converse of FOUND. It explores our fears that the land will consume us.This fear is often expressed in the notion that the bush, beneath a surface beauty, has a dark and dangerous aspect and that it will swallow up the unwary. This idea is evident in the notion of possession - that a certain place can take hold of a person and induce a prescribed response from them - and of haunting, in which a spirit is tied to a specific location.Doctor of Philosophy (PhD)
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Attard, Karen Patricia. "Lost and found : a literary cultural history of the Blue Mountains /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040420.110911/index.html.
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Thesis (Ph. D.)--University of Western Sydney, 2003.A thesis submitted in fulfillment of the requirements for the degree of Doctor of Philosophy at the University of Western Sydney, School of Humanities, 2003. Includes bibliographical references.
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Micaković, Elizabeth Joan. "T.S. Eliot's voice : a cultural history." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/18902.
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This thesis is a diachronic account of T. S. Eliot’s speaking voice, which, over fifty years, developed into the meticulously crafted tool of the twentieth-century author and critic and the politically and socially powerful instrument of the public intellectual. Eliot’s voice, although certainly the offspring of the nineteenth-century marriage of authorship as a bona fide profession and oral performance, was, however, unique in its responsiveness to twentieth-century legal and political debates on national identity and stability, copyright, and the powerful potential of recording technologies to both disseminate an author’s words almost exponentially whilst simultaneously encroaching on the traditional material of authorship: print. Indeed, what underpins this thesis is the argument that he was both fascinated by and actively involved in shaping those very discourses on the authority of the spoken voice in the belief that the power of the spoken word, and ultimately of his own voice, held an unrivalled ability to impact on social behaviour and national stability.
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Schillinger, Stephen. "Common representations : Jack Straw and literary history as cultural history on the early modern stage /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.
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Neufeldt, Bradley. "Cultural confusions, oral/literary narrative negotiations in Tracks and Ravensong." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22548.pdf.
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Walsh, Bridget. "Dark desires : a literary and cultural history of domestic murder, 1828-1891." Thesis, Birkbeck (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539789.
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Nineteenth-century newspapers were awash with accounts of sexualized domestic murders which gripped the Victorian cultural imagination. This thesis examines the mediation of these crimes through a range of genres, arguing that the portrayal of domestic murder reflected significant discontent with the codes of behaviour imposed upon sections of society, particularly around the issues of gender and class. The thesis first examines the coverage of domestic murder trials in street literature and newspapers, before moving on to examine how the theatre was enlisted in the depiction of an idealized domestic sphere. The chapter then examines the public disarray at the 1828 trial of William Corder, which reflected a discontent with the constraints imposed within the theatre, and by the ideology of the domestic sphere. Chapter three engages with the debate surrounding the Newgate Novel, examining Sikes in Dickens's Oliver Twist (1838) and the eponymous 'heroine' of Thackeray's Catherine (1840). The ambivalent presentation of both murderers reveals an incongruity between public opinion, fictional representation, and press coverage. Chapter four assesses how debates on models of male behaviour were played out in five novels featuring sexually-motivated acts of violence: Wilkie Collins's Basil (1852), Hardy's Desperate Remedies (1871) and Far From the Madding Crowd (1874), and Dickens's Our Mutual Friend (1865) and The Mystery of Edwin Drood (1870). The relationship between desirable male behaviour and the domestic sphere in these novels is shown to be a contested one. Chapter five argues that the ambivalent portrayal of the female domestic murderer at the fin de siecle reflected developments in psychology and the changing relationship between women and the domestic space. The chapter focuses on the trials of Florence Maybrick (1889) and Eleanor Pearcey (1890), and the female domestic murderers in Mona Caird's The Wing of Azrael (1889), Hardy's Tess of the d'Urbervilles (1891) and Ibsen's Hedda Gabler (1890).
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Fay, Sarah. "The American tradition of the literary interview, 1840-1956 : a cultural history." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1596.
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"The American Tradition of the Literary Interview 1840 - 1956: A Cultural History" is the first study to document the development of the literary interview in the United States. A handful of critics have discussed the literary interview and traced it back to various European cultural traditions; however, I argue that, like the interview, which the British journalist William Stead wrote "was a distinctly American invention," the literary interview was a particularly American form. Drawing on archival research and new readings of primary sources, this project examines the literary interview's systemic growth and formal characteristics between 1842 and 1956. I trace connections among the American press, culture, and literary marketplace to offer an as-yet unwritten history of the literary interview. During Charles Dickens's 1842 North American tour, the first literary interviews were published in written-up, or paragraph form and resembled written snapshots or sketches. As a result of the cult of domesticity and the popular scandals of the mid-to-late nineteenth century, the literary interview developed into a slightly longer and more narrative form that focused on an author's surroundings and living quarters. With the rise of yellow journalism and muckraking reporting during the first decades of the twentieth century, the literary interview became a more investigative and intrusive form; yet at the same time, the first in-depth, literary conversations with American authors were published. During the interwar period, the second wave of "girl reporters" and lady interviews transformed the written-up literary interview into a more nuanced form that exhibited rhetorical and literary flourishes. With the development of the New Yorker profile and the Paris Review interview in the mid-twentieth century, the literary interview branched off into two distinct modes: the profile and the author Q & A. This history of the literary interview offers a model of reading mass media communications in terms of both content and form. In doing so, this project chges the critical frameworks that dismiss the literary interview as ancillary to literature and articulate the importance of interviews, communication, and conversation in American culture.
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O'Byrne, Alison F. "Walking, rambling, and promenading in eighteenth-century London : a literary and cultural history." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/2533/.
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Harrisson, Juliette Grace. "Cultural memory and imagination : dreams and dreaming in the Roman Empire 31 BC – AD 200." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/469/.
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This thesis takes Assmann’s theory of cultural memory and applies it to an exploration of conceptualisations of dreams and dreaming in the early Roman Empire (31 BC – AD 200). Background information on dreams in different cultures, especially those closest to Rome (the ancient Near East, Egypt and Greece) is provided, and dream reports in Greco-Roman historical and imaginative literature are analysed. The thesis concludes that dreams were considered to offer a possible connection with the divine within the cultural imagination in the early Empire, but that the people of the second century AD, which has sometimes been called an ‘age of anxiety’, were no more interested in dreams or dream revelation than Greeks and Romans of other periods. This thesis outlines, defines and applies the newly developed concept of cultural imagination, developed from cultural memory, to its examination of dreams and dream reports in Greco-Roman literature. Using the concept of cultural imagination in preference to discussing ‘belief’ is shown to have advantages for the study of ancient religion, as it allows the historian to discuss religious ideas that may or may not have been widely ‘believed’ but which were present within the imagination of the members of a particular society.
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Firca, Stefan. "Circles and Circuses: Carnivalesque Tropes in the Late 1960s Musical and Cultural Imagination." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306865194.
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Turner, Catherine Jane. "Hot air and hydrogen : a literary and cultural history of ballooning in France (1783-1936)." Thesis, Royal Holloway, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414720.
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Ortabasi, Melek. "Japanese cultural history as literary landscape : scholarship, authorship and language in Yanagita Kunio's native ethnology /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6692.
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Wood, Michael S. "Literary subjects adrift : a cultural history of early modern Japanese castaway narratives, ca. 1780-1880 /." Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2009. http://hdl.handle.net/1794/10071.
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Wood, Michael S. 1969. "Literary subjects adrift: A cultural history of early modern Japanese castaway narratives, ca. 1780--1880." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10071.
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xvii, 417 p. : ill., maps. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.In the postwar era, early modern or Edo period (1600-1868) Japan has most often been represented as a culture in isolation due to ostensibly draconian Bakufu regime policies that promised death to any one returning from abroad ( sakokuron , or the "Closed-Country" theory). While historians of Japan acknowledge limited contact with Dutch, Chinese, Korean, and Ryukyuans, the two hundred and sixty-some years of the Edo Period has consistently been interpreted as a time in which an indigenous Japanese culture developed and flourished without the corrupting influence of extensive foreign contact. This project takes as its subject the stories of thousands of Japanese fisherman and sailors who became distressed at sea ( hyôryûmin ) and subsequently drifted throughout the Pacific before being rescued and repatriated by foreigners during the late 18 th and 19 th centuries. The hundreds of narratives that comprise this textual category of early modern hyôryûki or "castaway narratives" served as the primary means of representing encounters with foreigners in and around the Pacific region and, in turn projecting an emerging Japanese national consciousness. The origins of these hyôryûki are tied to the earlier establishment of diplomatic protocol for handling repatriated castaways primarily within an East Asian context and the kuchigaki ("oral testimonial") narrative records that resulted from interrogations of the repatriated subjects by both bakufu and domain officials. Late Edo castaways also had their stories of drift recorded in kuchigaki form, however with the encroachment of first Russian, and later English, American, and other western ships in the waters off the coast of Japan in the late Edo period (post-1780) other hyôryûki forms--both scholarly and popular--came to proliferate, as it became imperative to translate and re-imagine geopolitical developments in the greater Pacific. This dissertation not only uncovers a diverse textual and cultural category of hyôryûki , but also the complicated interrelationship between cultural production and concrete territorial and political concerns of the State. In so doing, it not only challenges traditional historiography of early modern Japan, but also reclaims a certain cultural specificity for the late Edo Japanese hyôryûki , contextualizing these texts within a more global process of colonization and modern Nation-State formation.
Committee in charge: Stephen Kohl, Chairperson, East Asian Languages & Literature; Alisa Freedman, Member, East Asian Languages & Literature; Maram Epstein, Member, East Asian Languages & Literature; Jeffrey Hanes, Outside Member, History
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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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Anderson, Robin. "Bridging the Past and the Present: The Historical Imagination in the Criticism and Narrative Poetry of C. S. Lewis." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/25482.
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C. S. Lewis is best known as the author of The Chronicles of Narnia, but Lewis’s poetry tends to be treated separately from his other works, or as an antecedent to his more famous prose works. This thesis shows that Lewis’s paradoxical views of literary history, cultural death, reason and imagination are reflected in his narrative poems. George Watson says that Lewis was “a paradoxical thing, a conservative iconoclast, and he came to the task well-armed” (1). He is both a traditionalist and a rebel against his times. I explain Lewis’s paradoxes in terms of the concepts of history, memory, reason and imagination, and show that Lewis’s position was a negotiation of his own historical and cultural context. Lewis’s poems and scholarly work indicate that his approach to historical terms is first to underline divergence, and then to emphasize a use of seemingly polarized terms in order to unify them.
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Downing, Phoebe C. "Fabians and 'Fabianism' : a cultural history, 1884-1914." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:425127c1-94c1-4d20-ba58-fdd457c1f6b8.
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This thesis is a cultural history of the early Fabian Society, focusing on the decades between 1884, the Society’s inaugural year, and 1914. The canonical view is that ‘Fabianism,’ which the Oxford English Dictionary defines as the ‘doctrine and principles of the Fabian Society,’ is synonymous with State socialism and bureaucratic ‘efficiency.’ By bringing the methods of cultural history to bear on the Society’s founding members and decades, this thesis reveals that ‘Fabianism’ was in fact used as a dynamic metonymy, not a fixed doctrine, which signified a range of cultural, and even literary, meanings for British commentators in the 1890s and 1900s (Part 1). Further, by expanding the scope of traditional histories of the Fabian Society, which conventionally operate within political and economic sub-fields and focus on the Society’s ‘official’ literature, to include a close examination of the broader discursive context in which ‘Fabianism’ came into being, this thesis sets out to recover the symbolic aspects of the Fabians’ efforts to negotiate what ‘Fabianism’ meant to the English reading public. The Fabians’ conspicuous leadership in the modern education debates and the liberal fight for a ‘free stage,’ and their solidarity with the international political émigrés living in London at the turn of the twentieth century all contribute to this revised perspective on who the founding Fabians were, what they saw themselves as trying to achieve, and where the Fabian Society belonged—and was perceived to belong—in relation to British politics, culture, and society (Part 2). The original contribution of this thesis is the argument that the Fabians explicitly and implicitly evoked Matthew Arnold as a precursor in their efforts to articulate a kind of Fabian—latterly social-democratic—liberalism and a public vocation that balanced English liberties and the duty of the State to provide the ‘best’ for its citizens in education and in culture, as in politics.
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Linnemann, Emily Caroline Louise. "The cultural value of Shakespeare in twenty-first-century publicly-funded theatre in England." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1355/.
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This thesis argues that in the plural cultural context of the twenty-first century the value of Shakespeare resides in his identity as a free and flexible resource. This adaptable Shakespeare is valuable to theatres because they are dialectical spaces. Free-resource Shakespeare is able to contain a range of different cultural values and theatres provide a space for producers and consumers of culture to negotiate between them. It has been established that tensions of cultural value, for example innovation/tradition or commercial/non-commercial govern the production, dissemination and critique of culture. Building on this idea, this work shows that when tensions are dealt with as negotiations rather than confrontations, new cultural value is generated. It identifies Shakespeare as a site for the debate of value tensions and contends that he can be simultaneously commercial and non-commercial, traditional and innovative. Cultural value is thus created because Shakespeare is reinvigorated and redefined through a process which negotiates between tensions. In publicly-funded theatre this process manifests itself in an ambiguous relationship to the market, myriad adaptations and a move towards event-theatre. The cultural value of Shakespeare in publicly-funded theatre mirrors the continual redefinition of the Shakespearean object and, rather than being a concrete ‘thing’, is better defined as a constant process.
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Abodunrin, Olufemi Joseph. "The literary links of Africa and the black diaspora : a discourse in cultural and ideological signification." Thesis, University of Stirling, 1992. http://hdl.handle.net/1893/24387.
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The politics of the Middle-Passage and its attendant socio-cultural and historical trauma is the starting point of this study. The dispersal of Africans, or at least people of African origin, to different parts of the world has produced over the past few decades numerous dissertations and theses describing socio-cultural linkages between Africa and the Black diaspora. On the part of creative writers and literary critics of every persuasion, there exists a consensus of creative and critical opinion that seeks to establish that "the history of Africa and the Africans ... is one of iron, blood and tears." (Nkosi, 1981, p.30) The study is in agreement with Omafume Onoge's submission that the cultural imperialist process went beyond mere acts of vandalism to produce a period in the history of Africa and the black diaspora in which "many educated Africans (and their counterparts in the diaspora) required a major act of intellection to ascribe aesthetic value to our traditional arts." (Dnoge, 1984, p.5) The study grapples with the source(s) of this socio-cultural apathy, and how the liberal humanist discourse which replaced the body of the colonialist's mythologies is predicated on what JanMohammed describes as "an ironic anomaly." (JanMohammed, 1985, p.281) My exploration of this ironic anomaly begins from the premise of the myths, legends and traditions that are subsumed, truncated, misread or simply repressed to propound this 'humanist' philosophy. What emerges from this cultural and ideological exploration is a vernacular theory of reading built around the carnivalesque figure of Esu Elegbara (the Yoruba 'trickster' god) whose "functional equivalent in Afro-American profane discourse is the Signifying Monkey." (Gates, 1990, p.287) The study is in two parts. Part One consists of three chapters exploring different aspects of the cultural and ideological discourses between Africa and the black diaspora from historical and theoretical perspectives. Part Two focuses, in four chapters, on the works of five writers from Africa (Nigeria and Ghana), South America (Brazil), the West Indies (St. Lucia) and the United States. These are Ayi Kwei Armah, Wole Soyinka, Jorge Amado, Derek Walcott and Amiri Baraka respectively. The conclusion summarises the major arguments of the thesis.
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Bartholomew, Sherlene Hall. "An Annotated Bibliography of Literary Mormon Humor." Diss., CLICK HERE for online access, 1998. http://contentdm.lib.byu.edu/u?/MTAF,40619.
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Schuman, Samuel A. "Representation, Narrative, and “Truth”: Literary and Historical Epistemology in 19th-Century France." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1621948796558803.
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Williams, Vivien Estelle. "The cultural history of the bagpipe in Britain, 1680-1840." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/5085/.
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Bagpipes and pipers, as cultural identifiers, are embedded within their national culture, charged with symbolisms. British authors have often viewed bagpipes as cultural icons, endowing them with connotations from devilish to virtuous, from rural to military. By analysing literary and artistic references one can perceive how the attitude towards the bagpipe changes with the evolution of Britain’s internal dynamics. Jacobitism contributed in casting a particular light on the bagpipe: it was the ‘voice of the rebellion’. In Scotland this constituted a reason for national pride, while in England the ‘common denominator’ of the Scot-enemy charged the bagpipe with the worst connotations. After Jacobitism stopped being seen as a threat, authors and artists came to view the bagpipe in a different light: the once negative icon was now imbued with ancestral values. The Scot – and the bagpipe by synecdoche – was romanticised: as James Boswell wrote, “The very Highland names, or the sound of a bagpipe, will stir my blood, and fill me with [...] a crowd of sensations with which sober rationality has nothing to do” (1785). The words of many Romantic authors contributed in characterising the instrument, endowing it with implications the influence of which is still relevant today.
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Zu-Bolton, Amber E. "All Trails Lead to Sterling: How Sterling Brown Fathered the Field of Black Literary and Cultural Studies, 1936-1969." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2711.
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Poet and professor Sterling A. Brown (1901-1989) played a significant role in the birth of black literary and cultural studies through his literary and academic careers. Brown helped to establish a new wave of black cultural and folklore studies during his time as the “Director of Negro Affairs” for the Federal Writers’ Project. As a professor at Howard University, Brown influenced black literary studies through his literary criticisms and seminars and his role as a mentor to literary figures of the next generations. Through letters to and from Sterling Brown and manuscripts, this thesis argues that Brown’s poetry, publications and folk studies in the nineteen twenties and thirties where the groundwork for his most prolific role of teacher-mentor.
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Carvalho, Bruno Berlendis de. "Traduções do vampiro, um estudo histórico-literário." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-26022014-145812/.
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No Ocidente moderno, o vampiro é mais do que uma personagem, é um tipo. Ao se tornar objeto de diversas modalidades de produção simbólica desde teórico-investigativa a poética e ficcional o vampiro é constituído em uma temática. Esta pesquisa busca compreender o alcance de tal tematização: premissas, procedimentos comuns. Muito problemático é o pressuposto de uma correlação derivativa entre vampiro literário e conteúdos folclóricos. De resto, ao longo do séc. XIX, o que será chamado de cultura popular sofrerá uma radical matização de significados. O trabalho consiste no esforço de contextualização histórico-interpretativa de um grande conjunto de textos; busca averiguar os modos pelos quais são relacionados os elementos tematicamente agrupados.More than a character, the vampire is best described as a type in the modern Western culture. Lending itself to many modalities of symbolic production comprehending viz. the theoretical-investigative bias as well as poetic and fictional treatments the vampire takes shape in its corresponding thematics. The scope of the present study lies in elucidating the extent of such thematisation: premises, common proceedings. The assumption of a derivative correlation between literary vampire and folkloric repertoires involves problematic underlying aspects. Furthermore, in the course of the Nineteenth century the meanings of what may be called popular culture achieve a radical variance. This study attempts to re-contextualize a large ensemble of texts from a historical-hermeneutical point of view; to instantiate some modes and means by which the thematically grouped elements are conformed to a mutual relation.
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Rukavina, Alison Jane. "Cultural Darwinism and the literary canon, a comparative study of Susanna Moodie's Roughing it in the Bush and Caroline Leakey's The broad arrow." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61491.pdf.
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Silva, Núbio Vicente da. "O Garimpo no Vale do Araguaia na década de 90: Mitos, Representações e Imaginário." Pontifícia Universidade Católica de Goiás, 2011. http://localhost:8080/tede/handle/tede/2277.
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Previous issue date: 2011-06-28This research seeks to inform readers of how the multicultural space of prospector works , the way of life, rites, beliefs and symbols that are part of this context in the gold mining region of the Vale do Araguaia, Aragarças municipality, state of Goiás, in the 1990s. It will be applyed the concepts of culture, myths, representations and imagery as a way to address a social reality narrated in part by chronic based on the sources of oral history with an emphasis and highlights the advent of the new Cultural History, with its strands oriented studies and appreciation of cultural minorities, this is one in which, before overlooked by traditional historians. This research meets its aim within its bounds whose categorization will be an applied, descriptive and explanatory form. And the approach to the problem involves the qualitative method because it seeks to interpret the phenomena from the understanding of their inter-relationships and examines the cultural coexistence within the mining. Techniques and procedures will be used for both the research literature, the research participant with the oral interviews by data collection applied to miners and former miners. The data will be also collected through research in archives of public bodies of the municipality. Include participant observation and non-participant, using a questionnaire with open questions using the form to be completed by the researcher before the informant. Therefore, the fruit of this production aims to contribute socially informative and enlightening as a tool that helps in the pursuit of scientific knowledge and demystifies the world of mining to romance, common sense and prejudices formed on top of gold mining activity and mining man, who turn, the social scene is fading due to bans these activities in Brazil, leading multinational mining companies. Why there was a concern to record these historical facts to perpetuate the importance that the mines were in the process of economic and social growth of the country and that this story comes to the attention of future generations.
Esta pesquisa procura levar ao conhecimento dos leitores como funciona o espaço multicultural do homem garimpeiro, o modo de viver, os ritos, as crenças e as simbologias que integram esse contexto na região garimpeira do vale do Araguaia, município de Aragarças, estado de Goiás, na década de 1990. Aplicar-se-á os conceitos de cultura, mitos, representações e imaginário como forma de abordar uma realidade social narrada em parte por crônicas fundamentadas nas fontes da história oral e destaca com ênfase o advento da História Cultural com suas novas vertentes voltadas aos estudos e valorização das minorias culturais, no qual essa é uma, antes menosprezadas pelos historiadores tradicionais. Pesquisa essa, que cumpre o objetivo dentro dos seus limites cuja classificação será de forma aplicada, descritiva e explicativa. E a abordagem do problema envolve o método qualitativo, pois busca a interpretação dos fenômenos a partir da compreensão de suas inter-relações e analisa a convivência cultural dentro do garimpo. Como técnicas e procedimentos serão utilizados tanto a pesquisa bibliográfica, quanto a pesquisa participante com a realização de entrevistas orais por meio de coleta de dados aplicada a garimpeiros e ex-garimpeiros. Os dados serão também coletados por meio de pesquisas em arquivos de órgãos públicos do município. A observação incluirá participante e não participante, aplicando um questionário de perguntas abertas com a utilização do formulário que será preenchido pelo pesquisador diante do informante. Portanto, o fruto dessa produção visa contribuir socialmente como instrumento informativo e esclarecedor, que ajuda na busca do conhecimento científico e desmitifica o mundo do garimpo quanto ao romantismo, o senso comum e os preconceitos formados em cima da atividade garimpeira e do homem mineiro, que por sua vez, esta desaparecendo do cenário social devido às proibições dessas atividades no Brasil, dando lugar as mineradoras multinacionais. Razão pela qual, houve a preocupação de se registrar esses fatos históricos para perpetuar a importância que os garimpos tiveram no processo de crescimento econômico e social do País e que essa história chegue ao conhecimento das futuras gerações.
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Judkins, Ryan R. "Noble Venery: Hunting and the Aristocratic Imagination in Late Medieval English Literature." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337896675.
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Fé, Maria Silvia Pinto Santa. "A imaginação no processo de ensino/aprendizagem: uma abordagem histórico-cultural." Universidade Presbiteriana Mackenzie, 2012. http://tede.mackenzie.br/jspui/handle/tede/1870.
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Previous issue date: 2012-08-10This dissertation was to discuss the imagination and its relations with teaching/learning process. Contemporaneously is expected that school develops innovative and creative individual to face problems and therefore need the imagination, not understood in its reproductive dimension, but a creative imagination. This study observed that all psycho-pedagogical phenomena need to be a study that keeps a close proximity to the cultural and political phenomena. The main focus is a reflection on the role of the imagination as teaching/learning strategy in three areas of knowledge: Reading Procedures, Portuguese Language and Mathematics. Students were chosen of 3rd year of elementary school and the strategies used by the teacher in the classroom to promote child development by considering the repertoire and the abilities of each student. This work has as theoretical-methodological reference contributions of cultural historical psychology, in particular those made by L. S. Vygotsky beyond the theories developed in particular with A. R. Luria, A. N. Leontiev and its contributors. For analysis of the material collected used Bardin and Content Analysis.
Esta dissertação tem como objetivo discorrer sobre o papel da imaginação e sua relação com o processo de ensino/aprendizagem. Contemporaneamente espera-se que a escola forme indivíduos inovadores, criativos para enfrentar problemas e, para tal, precisa da imaginação, não entendida na sua dimensão reprodutora, mas uma imaginação criadora. Observa-se neste estudo que todo fenômeno psico-pedagógico necessita ser um estudo que mantenha uma proximidade com os fenômenos políticos e culturais. O foco principal é uma reflexão sobre o papel da imaginação como estratégia de otimização do processo de ensino-aprendizagem em três áreas do conhecimento: Procedimentos de Leitura, Língua Portuguesa e Matemática. Optou-se por alunos do 3º ano do Ensino Fundamental I e as estratégias utilizadas pela professora em sala de aula para promover o desenvolvimento da criança aproveitando o repertório e as habilidades de cada aluno. Este trabalho tem como referência teórico-metodológica as contribuições da Psicologia Histórico-Cultural, com ênfase nas teorias apresentadas por L. S. Vygotsky, além das elaboradas em especial com A. R. Luria, A. N. Leontiev e seus colaboradores. Para análise do material coletado utilizou-se L. Bardin e a Análise de Conteúdo.
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Mcavoy, Meghan. "Critical nationalism : Scottish literary culture since 1989." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/23242.
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This thesis is a critical study of Scottish literary culture since 1989. It examines and interrogates critical work in Scottish literary studies through a ‘critical nationalist’ approach. This approach aims to provide a refinement of cultural nationalist literary criticism by prioritising the oppositional politics of recent Scottish writing, its criticism of institutional and state processes, and its refusal to exempt Scotland from this critique. In the introduction I identify two fundamental tropes in recent Scottish literary criticism: opposition to a cultural nationalist critical narrative which is overly concerned with ‘Scottishness’ and critical centralising of marginalised identity in the establishment of a national canon. Chapter one interrogates a tendency in Scottish literary studies which reads Scottish literature in terms of parliamentary devolution, and demonstrates how a critical nationalist approach avoids the pitfalls of this reading. Chapter two is a study of two novels by the critically neglected and politically Unionist author Andrew O’Hagan, arguing that these novels criticise an insular and regressive Scotland in order to reveal an ambivalent, ‘Janus-faced’ nationalism. Chapter three examines representations of Scottish traditional and folk music in texts by A. L. Kennedy and Alan Bissett, engaging with the Scottish folk tradition since the 1950s revival in order to demonstrate literature and music’s ambivalent responses to aspects of literary and cultural nationalism. Chapter four examines texts by Janice Galloway, Alasdair Gray and James Kelman, analysing the relationships they construct between gender, nation and class. Chapter five examines three contemporary Scottish texts and elucidates an ethical turn in Scottish literary studies, which reads contemporary writing in terms of appropriation and exploitation.
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Petronelli, Barbara Elizabeth. "“TO SECURE LITERARY CULTURE AND PROMOTE A SOCIAL FEELING”:RURAL OHIO CLUBWOMEN AS STEWARDS OF LOCAL LITERACY PRACTICE,1915." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1544379283827385.
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Takei, Shion. "An Ecocritical Analysis of Modern Japanese Literary History : Becomings of Self, Nature and Literature at the Beginning of the Twentieth Century." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-400546.
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Situated in environmental history and ecocriticism, this thesis traces the emergence of modern Japanese literature at the beginning of the twentieth century. Using agential realism and its concepts ‘diffraction’ and ‘becoming’, this thesis conducts an anti-essential ecocritical analysis. It aims to overcome recurring dualisms in literary analyses and to trace negotiations of concepts such as ‘nature’ and ‘self’ in modern Japanese literature. The thesis scrutinises ‘diffractions’ between the subject and the object in novels and through very acts of producing novels. These ‘diffractions’ are analysed in relation to ‘becomings’ of the concept ‘nature’ as well as ‘literature’ in the context of Japanese modernisation. Based on diverse struggles in ‘becomings’ in modern literary history, the thesis concludes with questioning the cliché of Japanese culture (the lack of absolute ‘self’ and ‘love of nature’) and also comments on analyses of ‘diffractions’ as a viable method for ecocritical analyses or the ‘ecologisation’ of literary analyses.
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Isbister, Dong. "The “Sent-Down Body” Remembers: Contemporary Chinese Immigrant Women’s Visual and Literary Narratives." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259594428.
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Hersh, Samuel Joseph. "Manhood and War Making: The Literary Response to the Radicalization of Masculinity for the Purposes of WWI Propaganda." Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1493915080610264.
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Marie, Vincent. "Les mystères de l'Egypte ancienne dans la bande dessinée : essai d'anthropologie iconographique." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30103.
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Comment l’Egypte ancienne s’inscrit-elle dans la mémoire collective ? La constitution d’un imaginaire de l’Egypte ancienne est à inclure dans un courant culturel et artistique parfois fait d’emprunts sélectifs au répertoire antique, tout en étant simultanément redevables à d’autres traditions artistiques et notamment à l’égyptomanie. L’égyptomanie acquiert alors dans la bande dessinée une dimension propre, caractérisée par des codes et un vocabulaire tout à fait spécifiques, favorisant l’invention narrative et graphique. Saisir les mystères de l’Egypte ancienne dans la bande dessinée revient à composer une « grammaire de la civilisation » des pharaons. Ainsi, la construction d’un cadre signifiant permet de dresser les lieux de mémoires (signifiants, significatifs, moins évocateurs ou carrément absents), le topos exotique (mytho-géographie, image de l’autre, références bibliques comme marqueur d’une distinction), l’image d’une société hiérarchisée (prédominance de Pharaon et des puissants sur le peuple de la vallée) et le tableau d’une religion et de croyances fascinantes (attraction du polythéisme et de l’univers des mythes égyptiens, illustration des rites funéraires, de la mort et de l’au-delà) comme autant de rouages structurels dans l’agencement d’une mémoire de l’Egypte ancienne. Cependant, il convient de ne pas négliger l’intégration dans la fabrique de l’imaginaire de l’Egypte ancienne des processus dynamiques qui s’opèrent dans la constitution d’un laboratoire d’imageries plus ou moins stéréotypées. Réfléchir sur la généalogie des images et distinguer les sources d’influences sur lesquels s’appuient les auteurs (sources héritées de l’Egypte ancienne et/ou sources puisées dans l’histoire des arts) démontre que les représentations qui nourrissent l’imagination des artistes ne naissent pas ex-nihilo mais sont le fait d’un long cheminement historique. Les auteurs recréent et réinterprètent l’Histoire avec des référents et des attitudes mentales qui leur appartiennent tout en laissant libre cours à des fantasmes parfois difficiles à décrypterHow does ancient Egypt remain etched on the collective memory ? The construction of an imagination of ancient Egypt is to be included in an artistic and cultural trend which is sometimes made of selective borrowings from the repertoire of antiquity as well as being indebted simultaneously to other artistic traditions, in particular egyptomania. Egyptomania acquires, then, in comics, a dimension of its own which is characterized by codes and very specific vocabulary, favouring narrative and graphic inventiveness. Grasping the mysteries of ancient Egypt in comics comes down to working out a “ grammar of the civilization” of Pharaohs. Thus, the construction of a signifying framework allows us to list places of memories (which are signifying, significant, less evocative or altogether lacking ), exotic topos (mytho-geography, image of otherness, biblical references as marker of distinction), the image of a society organized into a hierarchy ( the predominance of the Pharaohs and the mighty over the people in the valley) and the depiction of a religion as well as fascinating beliefs ( attraction to polytheism and to the universe of Egyptian myths, illustrations of funerary rituals, death and the beyond), all these structuring the construction of a memory of ancient Egypt. However, one must not neglect the integration of dynamic processes in the construction of the imagination of ancient Egypt. Those dynamic processes are at work in the building up of more or less stereotyped imagery. Reflecting on the genealogy of images and distinguishing the sources of influence on which the authors rely (sources inherited from ancient Egypt and / or sources out of the history of the arts) demonstrate that the representations that nurture the artists’ imagination are not born out of nothing but are the result of long historic development. Authors re-create and reinterpret History with reference points and mental attitudes of their own while giving free rein to a fantasy world which is sometimes difficult to decipher
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Knowles, Peter James. "A continuum from medieval literary networks to modern counterparts : the attractions and operations of social networks." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/23296.
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While the benefits of analysing social networks within the wider humanities are becoming more accepted, very little work of this kind has been done in medieval studies. This thesis seeks to begin to fill this lacuna by considering the advantages of examining historical moments through the lens of ‘network’. Focusing on the later medieval world (in particular c.1300-1520), but also drawing on parallel evidence from the modern day, it demonstrates how the paradigm of ‘network’ allows a more nuanced reading of, predominantly literary, historical moments, which in turn reveals a deeper understanding of collective social thinking and behaviour. This new methodological approach is threefold, drawing on analytic tools from various disciplines. It blends historical contextual investigation with literary analysis, and frames the results in the sociological and anthropological theories of belonging, exchange, and play. The thesis is structured around four case studies, each of which demonstrates a particular form of network formation, and also shows how far these networks reflect their respective cultural milieus and influences. Three medieval chapters focus on what I term ‘literary networks’, a concept ripe for network analysis thanks to the highly participatory nature of medieval literature, and thus theoretically comparable to modern networks based around information exchange. Across the thesis, instances of formal, informal, and virtual networks are considered from medieval France and England, as well as the twenty-first century West. This combination of interdisciplinary method and structure allows innovative new readings of underappreciated sources, whilst also highlighting a transhistorical continuum of universal appeals to social networks: namely, the satisfaction of the human need to belong, the facilitation of competitive play, and the opportunity to acquire social capital and build reputations. This investigative synthesis between medieval material and more modern network evidence reveals that, while realised through unrecognisably altered technologies and experiencing some resultant disruptions, these fundamental appeals of social network membership, in part, remain constant between the two periods.
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Hutton-Williams, Francis Brent. "Irish cultural politics, Thomas McGreevy and the Avant-Garde, 1922-1941." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:c6fbe4ba-3908-4e45-a012-00fa766cd1eb.
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This thesis analyses the responses of Irish writers and painters to a phase of national self-assertion that had arguably lost its liberating potential. It shows how the exhaustion of revolutionary pressures in Ireland after independence complicates the ties between creative activity and political activism. Drawing on a wide range of scholarship within political theory, literary criticism and art history, I chart an emerging network of literary and artistic techniques that confronts the representational aesthetics of the nation with strategies of paradox, reversal and renewal. My readings of the work of Denis Devlin, Samuel Beckett, James Joyce, Mainie Jellett, Jack Butler Yeats and, in particular, Thomas McGreevy, provide a means by which to distinguish other cultural possibilities that were imagined and pursued from 1922 to 1941, including McGreevy’s own aspiration to remould 'A Cultural Irish Republic'. The thesis argues that Ireland's political and artistic avant-garde were forcibly divided during this period: two factions that had been split apart by the effects of civil war and censorship. As such it will be preoccupied with a central question: how to sustain cultural strategies of revolutionary significance when the frontier between creative activity and political activism can no longer be straightforwardly crossed.
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Andersson, Elvis Sofia. "Recensionernas retorik : Om könsroller i kulturjournalistiken." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-12614.
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At the centre of this study lies the question if normative gender thinking affects the way poetry gets reviewed and how the reviews are written, this in relation to both the gender of the reviewer and the poet. The study crosses three academic fields; gender studies, poetry and journalism, and is based on the cultural studies theory of media affecting and even creating the world around it. The study is based on two types of analysis. One quantitative analysis based on the thematic criticism theory about detail studies that shows bigger patterns, this analysis focuses on how the poet and his/hers work are being treated in the reviews in areas such as how much space they´re given in the newspapers, how they are named by the reviewer and the tendency to quote the reviewed work. And one qualitative analysis based on the new criticism method of close reading, that focuses on the reviewers way of writing and how that may be connected with theories of gender differences, this both connected to the gender of the reviewers and the poets. The material chosen for this study are all the reviews that were published in the same newspapers and that reviewed two specific poetry works by two specific poets chosen with great sensibility to age and career so that their difference in gender would be the most significant difference between them. The works were chosen based on year of publishing, they were supposed to be published as newly as possible and as close to each other in time as possible. The works I ended up with were Dimman av allt (2001) and Svart som silver (2008) by Bruno K. Öijer and Silverskåp (2000) and Nu försvinner vi eller ingår (2007) by Birgitta Lillpers. The results of this study show several differences in how poetry is being judged and how poetry reviews are being written are connected with the gender of the poets and the reviewer. Lillpers got 35% less space in the newspapers and Öijers poetry got quoted a lot more which confirms that female poetry often is considered as less important than the male poetry, and that men in general tends to be judged as more professional than woman. The male reviewers tended to express themselves with greater certainty than the female reviewers who held a more professional tone in their reviews and focused more on the technical aspects of the poetry. This confirms the theory of the male words are being looked upon as the truth but contradicts the theory of women writing more based on personal experience and of women being less skilled in language techniques. In conclusion, there are differences in how poetry gets reviewed and how the reviews are written that are connected to the genders of the poet and the reviewer but these differences are complex and does not show a clear normative way of thinking about gender
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Saito, Satomi. "Culture and authenticity: the discursive space of Japanese detective fiction and the formation of the national imaginary." Diss., University of Iowa, 2007. https://ir.uiowa.edu/etd/145.
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In my thesis, I examine the discursive space of the detective fiction genre following Kasai Kiyoshi's periodization in his two-volume seminal work Tantei shosetsuron (The Theory of Detective Fiction, 1998). I investigate how Japanese detective fiction has developed in relation to Japan's modernization, industrialization, nationalism, and globalization, specifically in the 1920s-30s, the 1950s-60s, and from the 1990s to present. By historicizing the discursive formation of the genre in decisive moments in Japanese history, I examine how Japanese detective fiction delineated itself as a modern popular literature differentiating itself from serious literature (junbungaku) and also from other genres of popular fiction (taishu bungaku). My study exposes the socio-political, cultural and literary conditions that conditioned the emergence of the detective fiction genre as a problematic of Japanese society, stitching fantasy and desire for the formation of the national subject in the cultural domain.
I investigate the dynamics through which Japanese detective fiction negotiates its particularity as a genre differentiating itself from the Western model and domestically from the conventional crime stories of the Edo and Meiji periods. Chapters One through Three of my study examine Japan's socio-cultural contexts after the Russo-Japanese war, specifically magazine culture and the rise of the detective fiction genre (Chapter I), the I-novel tradition and its relation to the genre (Chapter II), and representations of Tokyo as an urban center, focusing on Edogawa Ranpo's "Inju" (Beast in the Shadows, 1928) (Chapter III). Chapters Four through Six investigate the socio-cultural contexts after World War II, especially Japan's democratization in the 1950s-60s and the rearticulation of the genre through repeated debates about authenticities in Japanese detective fiction (Chapter IV), and the transition from tantei shosetsu (detective fiction) to suiri shosetsu (mystery) focusing on Yokomizo Seishi's Honjin satsujin jiken (The Honjin Murder Case, 1946) and Matsumoto Seicho's Ten to sen (Points and Lines, 1957) as representative works of the two trends (Chapter V), and finally the postmodern "return" to the prewar tradition in the 1990s (Chapter VI).
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Chevreux, Elodie. "Le Magazine littéraire 1966-2003 : parcours éditorial et médiatisation de la littérature." Thesis, CY Cergy Paris Université, 2020. http://www.theses.fr/2020CYUN1060.
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Les années 1966-1967 sont marquées par un renouvellement de la presse littéraire française avec l’apparition de La Quinzaine littéraire, du Magazine littéraire puis du « Monde des livres ». Il nous est apparu nécessaire d’éclairer ce tournant en définissant l’identité d’une publication littéraire d’un genre nouveau : le Magazine littéraire. Mensuel créé en novembre 1966, il se caractérise au premier abord par sa vocation commerciale, par son ouverture à un large public, par ses illustrations abondantes, et par sa dimension encyclopédique propres au support magazine. Pendant près de trente-cinq années (1967-2003), Jean-Jacques Brochier en fut le rédacteur en chef. Le corpus de la thèse correspond aux 418 numéros publiés entre novembre 1966 et mars 2003. Nous avons cherché à saisir le Magazine littéraire dans son environnement médiatique autant que dans son parcours éditorial, depuis ses conditions d’émergence, en passant par ses innovations et ses évolutions, jusqu’à son essoufflement. Ses liens avec la maison Grasset interrogent la structure du champ littéraire et montrent la dépendance mutuelle des milieux de l’édition et de la presse littéraire. La publication est une chambre d’enregistrement et d’écho des grandes tendances culturelles et littéraires en France. L’étude des discours polyphoniques et l’analyse des entretiens littéraires du Magazine littéraire ont pour ambition de mettre en évidence l’influence exercée par les médias dans la construction d’imaginaires collectifs de la littérature et de l’écrivain. Au fil des trois décennies, le mensuel constitue son propre Panthéon littéraire mais aussi, assigne des fonctions variées à la littérature et travaille à sa propre patrimonialisation. L’originalité du Magazine littéraire a résidé dans l’alliance paradoxale mais bienvenue du discours médiatique, qui répand souvent une pensée préconstruite sur la littérature, et du discours universitaire, qui a donné une certaine aura et scientificité au titreThe years 1966-1967 were marked by a renewal of the French literary press with the appearance of La Quinzaine littéraire, the Magazine littéraire and then the "Monde des livres". Our thesis proposes to clarify this turning point by defining the identity of a literary publication of a new genre: the Magazine littéraire. A monthly magazine created in November 1966, it is characterized, as is typical of the medium, by its commercial vocation, by its openness to a large public, by its abundant illustrations, and by its encyclopedic dimension. For nearly thirty-five years (1967-2003), Jean-Jacques Brochier was its chief editor. The corpus of the thesis includes the 418 issues published between November 1966 and March 2003. We sought to examine the Magazine littéraire in its media environment as well as through its editorial history, from its conditions of emergence, through its innovations and its developments, to its commercial decline. Its connections with the Grasset company shed light on the structure of the literary field and show the mutual dependence of the publishing and literary press circles. The publication reflects the major cultural and literary trends in France. The study of polyphonic discourse and the analysis of literary interviews in the Magazine littéraire aim to demonstrate the influence exerted by the media in the construction of a common perception of both literature and writers. For three decades, the monthly magazine built up its own literary pantheon, but also assigned various functions to literature. The originality of the Magazine littéraire resides in the paradoxical but productive alliance of media discourse, which more often than not promotes pre-constructed ideas of literature, and of academic discourse, which gave a certain aura and a scientific angle to the publication
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Wallberg, Ulrika, and Anna Andersson. "Skönlitteratur i undervisningen : En studie gjord på lärares användning och elevers tankar kring skönlitteratur i undervisningen." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-26947.
Full textAbstract:
Vi har valt att undersöka hur skönlitteratur används i undervisningen då vi anser att skönlitteratur kan utveckla lärandet och användas i många olika aspekter i undervisningen. Vårt gemensamma intresse av skönlitteratur skapade tanken att se hur det används i klassrummet. Målet var att få en insikt i hur skönlitteraturen används i undervisningen och få lärarnas samt elevernas tankar kring ämnet och hur de överensstämmer. För att få informationen om detta gjordes kvalitativa intervjuer med åtta lärare, en skolbibliotekarie och hundra elever. Resultaten visar hur lärarna arbetar kring skönlitteratur och även deras syn på hur den skulle kunna användas. Även elevernas tankar kring skönlitteratur i både undervisning och hemmamiljö sammanställdes. Analysen av resultaten visar att skönlitteratur används i ämnet svenska och att det då är störst fokus på högläsning. Eleverna ser till största del positivt på skönlitteratur och vill ha mer av det i undervisningen. Lärarna menar att de skulle vilja använda skönlitteratur mycket mer men att det framförallt är tidsbrist som hindrar dem.We chose to examine how fictional literature is used in education because we believe that fictional literature can aid learning and be used in many different aspects of education. We share a mutual interest in fictional literature and wanted to see how it is being used in the classrooms. The goal was to gain insight into how teachers, as well as students, are using fictional literature, their thoughts about the subject, and if the teacher´s and student´s views correspond. To gain this information we chose to conduct qualitative interviews with eight teachers, one librarian, and one hundred students. The results show how the teachers implement fictional literature in their education, as well as their view on how it could be used further. We also compiled information from the students in regard to both using fictional literature in the classroom as well as how they use it at home. The analysis show that fictional literature is used when learning Swedish and that the focus is on reading aloud. The students mostly view fictional literature positively and would like to see more of it in their learning. The teachers reported that they would like to use it more as well, but that lack of time prevents them from doing so.
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Ikoff, Ventsislav. "Mediación cultural entre Bulgaria y el mundo hispánico: la circulación de las traducciones literarias y sus mediadores (1882-2012)." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/462204.
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Esta tesis doctoral estudia la circulación de las traducciones literarias en formato libro entre Bulgaria y el mundo hispánico (España e Hispanoamérica) durante el periodo situado entre 1882 y 2012. La investigación se ocupa de tres aspectos de la traducción literaria: 1) los flujos de traducción; 2) el papel y las prácticas de los mediadores culturales —traductores y editores— que favorecieron el intercambio cultural; y 3) los factores culturales, políticos y económicos que determinaron dicho intercambio. Un corpus de traducciones en formato libro de literatura hispánica en lengua búlgara y de literatura búlgara en lengua española, elaborado ad hoc para llevar a cabo el estudio, constituye la base para el análisis cuantitativo de los flujos de traducción. Entrevistas con traductores y editores, así como publicaciones relevantes para el tema forman la base de un análisis cualitativo de los mediadores culturales y de las dimensiones culturales, políticas y económicas de la traducción literaria entre Bulgaria y el mundo hispánico. La tesis está articulada desde la perspectiva de Bulgaria como espacio que exporta e importa literatura de múltiples campos de producción literaria y está dividida en tres periodos claves para el campo cultural y editorial búlgaro, así como con respecto a las relaciones con la cultura hispánica: un primer periodo de contactos iniciales (1882-1947), un periodo de traducción politizada (1948-1989) y un periodo de relaciones post-totalitarias (1990-2012).Aquesta tesi doctoral analitza la circulació de traduccions literàries en format llibre entre Bulgària i el món hispànic (Espanya i Hispanoamèrica) durant el període situat entre 1882 i 2012. La investigació s’ocupa de tres aspectes de la traducció literària: 1) els fluxos de traducció; 2) el paper i les pràctiques dels mediadors culturals —traductors i editors— que van afavorir l’intercanvi cultural; i 3) els factors culturals, polítics i econòmics que van determinar aquest intercanvi. Un corpus de traduccions de literatura hispànica en llengua búlgara i de literatura búlgara en llengua espanyola, construït ad hoc per tal de portar a terme l’estudi, constitueix la base per a l’anàlisi quantitativa dels fluxos de traducció. Entrevistes amb traductors i editors, així com publicacions rellevants per al tema formen la base d’una anàlisi qualitativa dels mediadors culturals i de les dimensiones culturals, polítiques i econòmiques de la traducció literària entre Bulgària i el món hispànic. La tesi s’articula des del punt de vista de Bulgària com a espai de exportació i importació de literatures de múltiples camps de producció literària i es divideix en tres períodes claus per al camp cultural i editorial búlgar, així com pel que fa a les relacions amb la cultura hispànica: un primer període de contactes inicials (1882-1947), un període de traducció polititzada (1948-1989) i un període de relacions post-totalitàries (1990-2012).
This doctoral thesis studies the circulation of literary book translations between Bulgaria and the Hispanic world (comprising Spain and the Spanish speaking countries in South America) from 1882 to 2012. Specifically, the research focuses on three aspects of literary translation: 1) translation flows, 2) the role and practices of cultural mediators—translators and publishers—who enabled the cultural exchange, and 3) the cultural, political, and economic factors which determined said exhange. An ad hoc corpus of book translations of Hispanic literature in Bulgarian language and of Bulgarian literature in Spanish is the basis for quantitative analysis of translation flows. Interviews with translators and publishers, as well as relevant literature and publications, inform qualitative analysis on the subject of cultural mediators and the cultural, political and economic dimensions of literary translation between Bulgaria and the Hispanic world. The study takes the perspective of Bulgaria as an exporter and importer of literature to and from multiple fields of literary production and is divided in three key periods for the Bulgarian cultural and publishing field and with respect to the relations with the Hispanic culture: initial contacts (1882-1947), politicized translation (1948-1989) and post-totalitarian relations (1990-2012).
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Oelze, Micah J. "The Symphony of State: São Paulo's Department of Culture, 1922-1938." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2549.
Full textAbstract:
In 1920s-30s São Paulo, Brazil, leaders of the vanguard artistic movement known as “modernism” began to argue that national identity came not from shared values or even cultural practices but rather by a shared way of thinking, which they variously designated as Brazil’s “racial psychology,” “folkloric unconscious,” and “national psychology.” Building on turn-of-the-century psychological and anthropological theories, the group diagnosed Brazil’s national mind as characterized by “primitivity” and in need of a program of psychological development. The group rose to political power in the 1930s, placing the artists in a position to undertake such a project. The Symphony of State charts this previously unexamined intellectual project and explains why elite leaders believed music to be the most-promising strategy for developing the national mind beyond primitivity. In 1935, they founded the São Paulo Department of Culture and Recreation in order to fund music education, train ethnomusicologists, commission symphonies, and host performances across the city. Until now, historians of twentieth-century Brazil have praised music as a critical site for marginalized groups to sound out political protest. But The Symphony of State shows the reverse has also been true: elite groups used music as a top-down civilizing project designed to naturalize racial hierarchies and justify class difference.
The intellectual history portion of the dissertation turns on archival sources, newspaper accounts, personal correspondence, modernist literature, and the period’s scholarly journals. The examination of literary form, discourse analysis, and marginalia lends depth to a carefully-documented study of ideas. Then, The Symphony of State brings to bear an innovative reading of ethnographic field books, vinyl records, and music scores to show that the department’s scholarship and symphonic compositions alike furthered the narrative of a nation jeopardized by primitivity. What is more, the department’s composers employed musical properties such as harmony and dissonance as metaphors to convince listeners that a harmonious society required the maintenance of racial and class hierarchies. In bringing further clarity to the department’s intellectual project, the sections featuring music analysis speak to the value of reading music as an historical text.
The dissertation accomplishes multiple goals. It uncovers the theory of national psychology driving the musical institution; examines ethnographic material to further understand racial and regional prejudice in the period; and analyzes concert music commissioned and performed by the municipal department. The examination of the musical institution reveals a moment in Brazilian history in which national identity was constructed atop the notion of a shared psychology and in which modernity was believed to come with the musical tuning of the body politic and the training of its mind.