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Panzarella, Gioia. "Disseminating migration literature : a dialogue with contemporary Italy." Thesis, University of Warwick, 2018. http://wrap.warwick.ac.uk/113827/.
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This thesis engages with migration literature in Italian keeping at the centre of the analysis its dissemination. I argue that this approach offers new insights into the ways migration dialogues with contemporary Italian literature - and, more generally, with contemporary Italy - with a focus on the work of translingual authors writing in Italian. The aim of this research is not to engage critically with the body of texts written by migrant writers. Rather, it focuses on sites of dissemination of this production, analysing the aims, content, and outcomes of selected case studies from this perspective. Key concerns are the public perception of migration and growing attention in the media: this thesis seeks to explore to what extent these tensions emerge when migration literature is communicated to a wide public audience and whether they affect the way in which these writers and their works are presented. This thesis considers these case studies in relation to the scholarly debate on transnational and migration literature in Italian. Thanks to the notion of 'cultural intermediary', I discuss the role and prerogatives of agents involved, for example the creative nature of their work. The case studies cover a range of time that spans from the early nineties to 2017 and they include: initiatives devoted specifically to migration literature such as series of book launches and workshops (Centro culturale Multietnico La Tenda in Milan, Seminari della Sagarana); television broadcasts (with a focus on three television broadcasts on the Italian public television channel RAI 3); educational materials for schools; and writers (Compagnia delle poete and Gabriella Ghermandi). Thanks to this approach, this thesis inserts some crucial moments of the dissemination of migration literature in Italian into a polycentric network of initiatives that uses the internet as a means to communicate and as a repository of materials. The thesis demonstrates the impact that these modes of dissemination have had not only on reception, but also on artistic practices and the production of literary texts.
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Bulcaen, Chris. "The dialogue of an author:." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-96426.
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In Swahili Forum III Elena Bertoncini-Zubkova (1996) discussed some of the political criticisms, expressed in the form of literary motifs and imagery, that emerged in the works of the Tanzanian Swahili writer Euphrase Kezilahabi since 1978 onwards. She situates this emergent critique in the new political discoursive context where critical reviews of the Ujamaa policy could now be publicly voiced since President Nyerere himself admitted the failure of Ujamaa in his delivery Azimio la Arusha baada ya Miaka Kumi (The Arusha Declaration Ten Years Later, 1977). According to Bertoncini this admission `clear[ed] the way for critical literary works` of which Kezilahabi satirical play Kaputula la Marx (Marx`s Shorts, 1978) and his short story Mayai- Waziri wa maradhi (Eggs- Minister of Sickness, 1978) were among the first.
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Stretch, Heather J. "Dialogue to discourse, active listening and First Nations literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0021/MQ49449.pdf.
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Hobaugh, Gregory Charles. "Reformed apologetics and American literature a dialogue of worldviews /." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.
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Gunderson, Kory Marika. "Re-constructing dialogue." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/gunderson/GundersonK0809.pdf.
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Comiskey, Barbara Anne. "Margaret Atwood : fiction and feminisms in dialogue." Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308988.
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Gallagher, Robert L. "The structure of Socratic dialogue : an Aristotelian analysis /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794983620773.
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Wilmotte-Bourrelly, Marie-Odile. "Le dialogue dans l'Heptaméron de Marguerite de Navarre." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9992.
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S'inquieter du dialogue a la Renaissance et choisir l'Heptameron comme exemple d'investigation est, a priori, surprenant. En effet, le dialogue n'est pas la seule forme dicursive de l'oeuvre. Lui sont concomitantes des narrations breves. Dans l'Heptameron, des dialogues encadrent des narrations. Dix personnages-narrateurs sont charges de conter et de commenter les nouvelles rapportees. Postuler un lien entre dialogues et contes oblige a rejeter la definition fermee, et inexacte, qui reduit le dialogue a un discours entre deux personnes alors que, selon l'etymon, il est une parole "qui traverse", qui circule et s'echange. L'etude du dialogue n'est donc pas seulement l'etude des formes dialoguees. Dans l'Heptameron, le dialogue est present dans l'architecture meme de l'ovrage. La premiere partie de la these expose les termes du contrat, les dispositifs unificateurs de la matiere narrative qui les fonde. La ditribution des roles et les regles dialogales sont ensuite etablies. Elles donnent non seulement une stabilite a l'identification personnelle de chacun des devisants mais elles montrent, en plus, que l'activite dialogale est a meme d'integrer les ruptures, telles les disputes et les polemiques, sans nuire a la coherence de l'ecrit, malgre la mimetique supposee de l'oral. Des outils regulateurs, tels le don de la voix, l'alternance des tours de parole, sont mis en place et permettent la gestion de la polyphonie. En consequence, dans la deuxieme partie de la these, on peut dire que la polyphonie est une richesse et non un dysfonctionnement. Grace au contrat, formule dans le premier prologue, la realite peut etre interrogee dans sa diversite, dans ses contradictions, dans ses opacites. Cela n'est possible que parce que les instruments d'investigation choisis sont aptes a entrer dans cette diversite, dans ce foisonnement et dans les formes rhetoriques et symboliques qui sont pregnantes pour nourrir ce chatoiement. La troisieme partie de la these est associee sur le plan philosophique et religieux a la double articulation precedente, l'une ayant expose les mecanismes regulateurs du dialogue, l'autre ayant montre comment le reel s'echappe et s'elaire a la fois. Entre la volonte de regle l'ordre du monde et la necessaire reconnaissance d'une epaisseur du monde qui echappe a des plans simples, on retrouve, sur le plan philosophique et religieux, la resistance du profane a une dogmatique et l'incapacite du dogmatique a categoriser. Cela correspond a "l'inquietisme", pour reprendre le mot de Verdun-Louis Saulnier, de Marguerite de Navarre. En conclusion, l'image du pont s'impose comme metaphore par excellence de la perspective de Marguerite de Navarre dans l'Heptameron et de celle de la these. Cet inquietisme de la princesse rejoint les preoccupations des penseurs de la Renaissance, conscients d'une diffraction du sens, d'une impossbilite d'acceder a l'evidence de la revelation qui est une source d'inquietudes, voire d'angoisses, autant qu'un facteur dynamique. (Abstract shortened by UMI.)
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Lipson, Lesley. "Dialogue and deception in the works of Cervantes." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239074.
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Liebert, Elisabeth Mary, and n/a. "Speaking selves : dialogue and identity in Milton�s major poems." University of Otago. Department of English, 2006. http://adt.otago.ac.nz./public/adt-NZDU20061106.160106.
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In his Dialogue on the State of a Christian Man (1597), William Perkins articulated the popular early-modern understanding that the individual is a "double person" organised under "spiritual" and "temporal" regiments. In the one, he is a person "under Christ" and must endeavour to become Christ-like; in the other, he is a person "in respect of" others and bound to fulfil his duties towards them. This early-modern self, governed by relationships and the obligations they entail, was profoundly vulnerable to the formative influence of speech, for relationships themselves were in part created and sustained through social dialogue. Similarly, the individual could hope to become "a person...under Christ" only by hearing spiritual speech - Scripture preached or read, or the "secret soule-whisperings" of the Spirit. The capacity of speech to effect real and lasting change in the auditor was a commonplace in seventeenth-century England: the conscious crafting of identity, dramatised by Stephen Greenblatt in Renaissance Self-Fashioning, occurred daily in domestic and social transactions, in the exchange of civilities, the use of apostrophe, and strategies of praise. It happened when friends or strangers met, when host greeted guest, or the signatory to a letter penned vocatives that defined his addressee. It lacked a sense of high drama but was nonetheless calculated and effective.
Speaking Selves proposes that examining the impact of speech upon the "double person" not only contributes to our understanding of selfhood in the seventeenth century, but also, and more importantly, leads to new insights into some of that century�s greatest literary artefacts: Paradise Lost, Paradise Regained, and Samson Agonistes. The first chapter turns to conduct manuals and conversion narratives, to speech-act theory and discourse analysis, and draws out those verbal strategies that contributed to the organisation of social and spiritual selves. Chapter 2 turns to Paradise Lost and traces the Father�s gradual revelation to the Son, through apostrophe, how he is to reflect, how enact the divine being whose visible and verbal expression he is. Chapter 3 discusses advice on address behaviour in seventeenth-century marriage treatises; it reveals the positive contribution of generous apostrophe and verbal mirroring to Adam and Eve�s Edenic marriage. The conversational dyads in heaven and prelapsarian Eden enact positive identities for their collocutors. Satan, however, begetting himself by diabolical speech-act, discovers the ability of words to dismantle the identity of others. Chapter 4 traces the development of his deceptive strategies, drawing attention to his wilful misrepresentation of social identity as a means to pervert the spiritual identity of his collocutor. The final chapter explores the reorganisation of the complex social-spiritual person in the postlapsarian world. We watch the protagonist of Samson discriminate between the many voices that attempt to impose upon him their own understanding of selfhood. Drawing on spiritual autobiographies as structurally and thematically analogous to Milton�s drama, this final chapter traces the inward plot of Samson as its fallen hero redefines identity and rediscovers the "intimate impulse" of the Spirit that alone can complete the reorganisation of the spiritual self.
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Mikita, Clara Elizabeth. "STUDENT DIALOGUE ABOUT BOOKS: CRITICAL ENCOUNTERS." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619040209887649.
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Şaim, Mirela. "La traversée du discours moderne par le dialogue /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=70221.
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Dialogue is a written text representing an oral exchange between two or more persons; it also includes catechisms and rhetorically formulated series of queries and responses presenting an argument. The purpose of my thesis is to identify the main non-dramatic dialogues published in France and Italy between 1800 and 1914 and--through their discursive analysis--to provide an assessment of their signification and their impact on modern social discourse.The first part focuses on the general discourse elements of modern dialogue, such as narrativity, rhetorical devices, character definition and function, paratextual structures, etc.
The second part includes a series of text analyses that proposes a study of ideological tendencies of modern social discourse through the most representative dialogues of the age.
Finally, the third part concentrates on the literary value and the build-up of dialogue as an aesthetic structure towards the end of the XIXth century and at the turn of the XXth century.
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Shayegh, Elham. "Sufism And Transcendentalism: A Poststructuralist Dialogue." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1373984875.
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Cox, Virginia. "Speaking volumes : the uses of literary dialogue from Castiglione to Tasso." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333277.
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Gaulin, Pascale. "Quelques mondes possibles ; suivi de Dialogue avec la poésie de René Char." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36694.pdf.
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Gabor, Octavian. "Dialogical Writing in Philosophy and Literature. A Study on Plato's Crito and Gorgias and Peacock's Nightmare Abbey." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/36008.
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Both Thomas Love Peacock and Plato use dialogue for their works while they differ in what they envisage and what they achieve, i.e. same form, different objectives. Thus, having Peacock and Plato writing dialogues in different frames - one literary and one philosophical - raises an important question: can literary writers be more provocative of thought in the audience than writers of philosophical dialogues? If so, what then are the features of dialogical writing, whether literary or philosophical, or common features that pertain to both these fields, that cause it to be respectful or nurturing to the minds that encounter it?
This question will underlie the whole paper. It actually comes from the fact that in dialogue, whether deployed in philosophical or literary texts, we do not see the author's opinion clearly expressed. In dialogue, and this is often true for Plato, the author's dogma loses itself under the various dogmas that the characters have; the author hides himself behind his personages. The readers do not encounter only one mind that has claims of revealing a truth - the philosophical approach - or that lays out a story - the literary one. In dialogue, the reader finds an ongoing discussion and becomes part of it. Through the analysis of two of Plato's dialogues, the Crito and the Gorgias, and Peacock's satirical novel, Nightmare Abbey, I intend to show that, used in philosophy or literature, dialogue seems to be the perfect tool to communicate the idea that once expressed becomes its negative: the only thing that we know is that we do not know anything.Master of Arts
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Fain, Jeanne G. "Children's dialogue about issues of language diversity and culture." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280471.
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This dissertation study examines urban and bilingual children's dialogue in the contexts of school and home. First and second graders talked about children's literature in literature circles throughout one academic school year. I was guided by the following main purpose in this qualitative classroom study: What issues of language diversity and culture do first and second grade students discuss in home and school contexts? Data sources connected to the children's dialogue in school included audiotapes, transcripts, response journals, and field notes. All families discussed the literature and three bilingual families consistently audiotaped their home discussions. The findings from this research demonstrate that working class bilingual children and their families do have the resources to construct rich literacy experiences through dialogue related to complex issues of language diversity and culture. Key issues that parents and children discovered to be relevant for discussion in the home and school contexts are: literacy, positionality within society, and resistance to structural inequality. Additionally, this study reveals how the home context ultimately scaffolds the child's native language by acting as a linguistically rich resource for the child. The child draws upon his or her linguistic resources from the home and has linguistic support as he/she enters the primarily English dialogue within small group literature circles in the schooling context. This study demonstrates the significance of drawing upon the home as a resource to support children in their native languages. Additionally, this study examines how one classroom uses children's native languages as a resource.
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Badura, Matthew David. "The Form of Talk: A Study of the Dialogue Novel." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/68620.
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EnglishPh.D.
The “dialogue novel” is best understood as an ongoing novelistic experiment that replaces narration with dialogue, so that such basic narrative constituents as character, setting, chronology, and plot find expression not through the mediation of an external or character-bound narrative consciousness, but through the presented verbal exchange between characters. Despite sustained critical attention to the variety and “openness” of the novel form, dialogue novels have been largely ignored within English studies— treated as neither a sustained tradition within, nor a perverse manifestation of, the novel. This study seeks to address that absence and to situate the dialogue novel within narrative and novel studies. Drawing from analytic philosophy, narratology, literary theory, and the dialogue novels themselves, this study demonstrates how the unique formal texture of the dialogue novel opens onto valuable discussions about such topics as cooperative language communities, narrative desire, the power dynamics implicit in talk, and the relationship between time and narrative. Overriding these concerns is an attention to how the social nature of conversation determines how the dialogue novel represents institutional power and character agency, as well as how the dialogue novel establishes a dynamic between reader and text for the refiguration of meaning and the reconstruction of fictional worlds. Chapter One uses Paul Grice’s Cooperative Principle as a baseline for delineating how communities are formed and maintained through dialogue in Henry James’s The Awkward Age. Chapter Two considers Henry Green’s late dialogue novels alongside his novel theory and René Girard’s theory of mimetic desire to illustrate how both character and readerly desire function as imitative practices. Chapter Three considers the novels of Ivy Compton-Burnett through Aaron Fogel’s theory of “forced dialogue” to argue that dialogue’s constraints can offer liberative structure to the novel form and those who are subject to these strictures. And Chapter Four reads dialogue novels by William Gaddis and Nicholson Baker through Paul Ricoeur’s threefold mimesis and Lubomír Doležel’s possible-worlds theory to argue that the dialogue novel presents an ideal form for examining the complex intersection of formal texture and history, as well as the dialectic between narrative configuration and human time.
Temple University--Theses
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Wallbank, Adrian J. "Political, religious, and philosophical mentoring of the Romantic period : the dialogue genre." Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/1068/.
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This thesis examines the strategies, diversity and evolution of political, religious, and philosophical dialogues between the publication of Sir William Jones’s The Principles of Government (1782) and Robert Southey’s Colloquies on Society (1829). The dialogue genre during the Romantic period has received scant critical attention, and little is known about its evolution between the ‘death’ of the ‘Dialogues of the Dead’ style towards the end of the eighteenth-century and the satirical and literary innovations demonstrated in the dialogues of Peacock and Landor. This thesis elucidates the very significant changes that occurred in dialogue writing during this period in relation to wider contemporaneous issues concerning the Revolution Controversy, evangelical ‘enthusiasm’, reading audiences, the formation of class identities, the diffusion of knowledge, and the burgeoning of the novel to name but a few. Central to my argument is the notion that dialogue enacts a form of mentoring – a procedure that is intended to either directly or indirectly facilitate a ‘conversion’ within the reader, (and which ultimately becomes subverted only in satire). Such tactics go to the heart of debates concerning education, didacticism, and the reading process itself. Dialogue’s encapsulation of the primal constituent in communication - linguistic interchange - raises fundamental questions regarding the exchangeability of ideas, power relations and ideological manipulation, and as such, I look at how writers and propagandists used dialogue to bolster or critique various ideological standpoints, whilst constantly interrogating the many philosophical and textual problems that the genre poses. I argue that such questions, coupled with the increasing sophistication and interpretative capabilities of reading audiences, made the didacticism of the mentoring scenario untenable by the 1820s. However, I conclude that philosophical dialogue becomes an ‘impossible’ venture without some form of direction and coercion, and following this realization, the satirizing of philosophical debate and the process of dialogue itself became a more viable way of dialogue writing.
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張秋林 and Chau-lam Karen Cheung. "Dialogue, the dandy and divided self: individualism in selected works of Oscar Wilde." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B3122054X.
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Woodrow, Kristina L. "Dialogue of the sphinx and the chimera : the dialectic of Gautier's poetics in "Emaux et camees" /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487864986611507.
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Brandist, Craig Steven. "Dialectics and dialogue : the politics of ideological struggle in the works of the Bakhtin school." Thesis, University of Sussex, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239545.
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Ledo, Jorge. "Prolegómenos para el estudio del diálogo y la conversación en el Renacimiento europeo." Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=136916.
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Ephrem, el-Boustani Leila. "La femme au cœur du dialogue des cultures dans Leon l'Africain /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31103.
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The purpose of our thesis is to show the important role of the woman in the novelistic autobiography of Leon l'Africain. Inspired by the Description de l'Afrique, written by the famous arab geographer Mohamed al-Wazzan ez-Zayyati, Maalouf converted this autobiography to a quest of a man in search of an identity exceeding the geographic, ethnic and religious boundaries. If he succeeded in arriving to the end of his journey, it's mainly due to the contribution of the woman who is present under different names and faces throughout the novel and who leads him to the dialogue of cultures.
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O'Beirne, Emer. "Irony, dialogue, and the reader in the novels of Nathalie Sarraute." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:bfd4b2a5-305b-4984-8091-17cd99bb3c0e.
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This thesis explores the concept of dialogue, and of reading as a dialogue, in relation to Sarraute's novels. Its view of dialogue draws on various theories of (spoken and written) communication which see dialogue as transcending the limits of linguistic expression (Ch.l). This transcendence of language through language is epitomised by the ironic exchange, where communication succeeds in spite of the utterance which is openly recognised to be defective. Full participation in dialogue entails ironically recognising the inadequacy of one's discourse; if the subject's language constitutes his identity, then engaging in dialogue further involves acknowledging one's lack of authority as a subject. However, reading Sarraute complicates this idealistic notion of dialogue: despite her writing's formal dialogism, it not only represents but also enacts aspects of communication which oppose rather than promote consensus. The way the authorial voice inevitably reasserts an initially renounced unitary identity (something her fiction condemns), demonstrates how speaking always unifies the subject despite itself, reaffirming that authority which the aspiration to dialogue should reject (Chs.3 and4). Secondly, reading as a form of dialogue raises the question of the relationship of writing to speech: their structural identity means that spoken communication cannot offer mutual presence but always involves alienation (Ch.2). Thus Sarraute's attempt to counter the alienation of writing by simulating speech cannot succeed, and so she replays a conversational strategy of her characters to control the distant reader's response she defines him (as passive and assenting) in her address. But the mediation of writing preserves the reader from this definition, and so Sarraute finally rejects this uncontrollable other (Ch.5). However, spoken dialogue also illuminates the text-reader exchange: its reciprocity, which counters the alienation of writing, indicates how the text too can "answer" the reader by resisting his interpretation and making him revise it. Some text-reader communication is possible, for the text's language exceeds both its author's intention and its reader's interpretation, uniting them in the symbolic universe within which they define themselves (Ch.6). But their linguistic selfdefinition means that their dialogue around the text will always be oppositional as well as consensual.
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Guarnieri, Ambra. "Interrogating cross-cultural dialogue : histories and techniques of representation in post-colonial literature (1954-2001)." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/24960/.
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Martinez-Roldan, Carmen Maria. "The power of children's dialogue: The discourse of Latino students in small group literature discussions." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289185.
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This study examines the discourse of second grade bilingual students participating in small group literature discussions over one academic year. The main research question is "What is the nature of the talk in which second-grade bilingual Spanish/English students engage as they discuss children's literature in small groups?" The study is based on a qualitative research design, using methods and techniques from ethnography and case study research, and was conducted in a collaboration with a teacher researcher. It describes the conversations of 21 Latino students, Mexican American children from working-class families, during 19 literature discussions. Each literature discussion consisted of four small groups of students for a total of 75 literature circles. Ten students were English dominant, and 11 were Spanish dominant. The students were sometimes grouped by language dominance, but most of the time they were heterogeneous groups where both English and Spanish dominant students talked with each other about the same self-selected book. Nine students and 11 literature circles were chosen as case studies to examine in depth the range of the students' responses to literature. Data gathering methods included field notes from participant observation, audiotapes, transcripts, videotapes of 75 literature circles, and samples of the students' written responses to literature. Through a detailed description and analysis of the children's responses to literature, this study documents how young bilingual children can have sophisticated literary responses and meaningful discussions of texts given opportunity and an appropriate context. Small group literature discussions, informed by Rosenblatt's reader-response theory, are proposed to be a crucial component of an intellectually challenging curriculum, especially in facilitating various forms of talk about text. This study shows that the small groups created a collective zone of proximal development for students' meaningful discussions. The findings of this research illustrate that there is no need for delaying children's development of critical thinking until they first learn to decode, emphasizing skills at the expense of content and thoughtfulness. A collaborative approach to research where the classroom teacher participates in the study is also proposed as an effective research model aimed toward educational change.
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Cheung, Chau-lam Karen. "Dialogue, the dandy and divided self : individualism in selected works of Oscar Wilde /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20906821.
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Yantolo-Sotyelelwa, Betty Matase Ngewu L. L. Taleni Yvonne Yoliswa. "The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives /." Link to the w online version, 2006. http://hdl.handle.net/10019/1322.
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Hall, William. "Kleist and Hoffmann in dialogue with enlightenment." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/kleist-and-hoffmann-in-dialogue-with-enlightenment(be9c0ed9-14f6-4efe-9ce5-12a464a94c17).html.
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This thesis considers how Kleist and Hoffmannâs fiction might be considered as responding to the perceived shortcomings of enlightenment. The two writers, despite the barriers of literary categorisations, have a striking affinity in their sense that notions of truth and knowledge are intertwined with social and political agendas, rather than forming part of some natural teleology. The thesis breaks new ground in viewing the texts within a more expansive discourse context as literary interventions within a broad, cross-society engagement with enlightenment, in its various streams and factions. The texts studied, I argue, represent thought experiments, not merely reflecting and re-articulating the influences of literary peers and historically significant events, but instead testing the real-world application of key enlightenment ideas. The driving force for this thesis is the need to locate their work more rigorously in relation to enlightenment thought of their time than has previously been attempted. This is not so much a question of retrieving past influences, as one of viewing their work as being in dialogue with contemporary thought. Moving away from attempts using Kleistâs letters to theorise the relation between Kleist and Kant, this investigation instead turns to aspects of Kantâs philosophy to illuminate the texts. Hoffmannâs relationship to enlightenment, too, is explored beyond the prism of Romanticism. Taking a more comparative approach than previous work on the two writers, I identify not only thematic commonalities, but also a parallel aesthetic, in which multiple narratives coexist and where âtruthâ is manufactured by the dominance of one particular narrative. The notion of 'MÃ1⁄4ndigkeit', central to Kantâs famous definition of 'Aufklärung' offers a useful guiding concept for the investigation and captures the emancipatory promise of self-realisation and the positive trajectory of human progress at the heart of the miscellany of moral and political theories and philosophies collectively known as âenlightenmentâ. The latter refers not to the historical period, but rather to a process of intellectual emancipation and an assemblage of ideals and values. As an intellectual movement, enlightenment was not, as is often assumed, monolithic, but encompasses conflicting notions of reason, freedom, and how its goals were to be achieved. Not only are the certainty and consequences of this intellectual emancipation evaluated in the texts, but I have also identified a radical questioning of the paradigms of thought which condition our understanding of narratives. Both Kleist and Hoffmannâs texts are narratively complex, often with shifts in focalisation, jumps in time, occasionally, figures whose identity changes leave the reader uncertain whether they are dealing with more than one character, and depictions of events which resist clarification through conventional understandings of time, space and causality. This project seeks to reconcile these âblind spotsâ with a broader critique of enlightenment, in which absolute knowledge is shown to be illusory and truth simply reflective of constellations of power. The spatiotemporal and causal frameworks foundational to rational understanding and used to make sense of the world are revealed to be inadequate.
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Yantolo-Sotyelelwa, Betty Matase. "The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/3361.
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Thesis (MA (African Languages))--University of Stellenbosch, 2005.This study aims at highlighting one of the crucial aspects of Xhosa drama: how women have been regarded by a variety of communities as being inferior to men. This stereotype pervades almost all spheres of life. The low status assigned to women find its way into literature as well. Ngewu’s drama “Yeha mfazi obulala indoda” and Taleni’s drama “Nyana nank’uNyoko” has been examined. In most Xhosa literature, women are portrayed as submissive, obedient and minor characters. The advent of Ngewu’s work changed this scenario by portraying women as independent characters. This has led to great conflict with male characteristics and this demonstrates clearly that partriarchal domination is deep rooted in Xhosa culture.
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Halloran, Susan Margaret. "The Mirror Speaks : the female voice in Medieval dialogue poetry and drama /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1998.
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Pethica, James Linus. "A dialogue of self and service : Lady Gregory's emergence as an Irish writer and partnership with W.B.Yeats." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385591.
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Gera, Deborah Levine. "The dialogues of the Cyropaedia." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:fd2e7159-de3a-4186-9d4f-f320eec2a40a.
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This thesis is an examination of the dialogues of Xenophon's Cyropaedia. Chapter I opens with a brief introduction to the Cyr. - its genre, date, epilogue and place in modern scholarship. The second half of the chapter is devoted to an overall survey of the work's dialogues. The dialogues are listed and divided into seven main categories; various formal features of the dialogues - their length, number of speakers, presence of an audience, dramatic background etc. - are noted. The second chapter deals with the "Socratic" or didactic dialogues of the Cyr. These conversations are first compared to Xenophon's actual Socratic dialogues, particularly those of the Memorabilia, and are shown to have several of the same characteristics: a leading didactic figure, discussion of ethical questions, the use of analogies and a series of brief questions and replies etc. A detailed commentary on the "Socratic" dialogues of the Cyr. follows; some of these dialogues are seen to be livelier and more dialectical than Xenophon's genuine Socratic conversations and his hero Cyrus is not always assigned the role of teacher. Symposium dialogues are the subject of the third chapter. These conversations are shown to have several features or themes in common, such as a blend of serious and light conversation, a discussion of poverty and wealth, a love interest and rivalry among the guests. The symposia of the Cyr. are compared to earlier literary symposia, including those of Plato and Xenophon, and some of the more Persian features of these parties are pointed out. Chapter IV deals with the novelle or colourful tales of the Cyr. - the stories of Croesus, Panthea, Gobryas and Gadatas. The characters and plots of these stories are found to have much in common with the novelle of Ctesias and Herodotus. Nonetheless, it is argued in a detailed commentary on these dialogues that Xenophon displays considerable skill and originality in the telling of these tales. The fifth chapter is a brief commentary on the remaining categories of dialogues: short or anecdotal conversations, negotiation, planning and information dialogues. These dialogues are compared to similar conversations in other works by Xenophon. Finally, there are three appendices. The first questions whether Cyrus is portrayed as an ideal hero even after the conquest of Babylon, and the second discusses the problem of Persian sources in the Cyr. The third appendix is a list of the speeches of the Cyr.
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Jackson, Nicholas Anthony. "Dialogue and spiritual formation : form and content in early Christian texts." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610690.
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Calvo, Clara. "Power relations and fool-master discourse in Shakespeare : a discourse stylistics approach to dramatic dialogue." Thesis, University of Nottingham, 1990. http://eprints.nottingham.ac.uk/11387/.
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This study undertakes an examination of fool-master discourse in Shakespeare with the help of discourse stylistics, an approach to the study of literary texts which combines findings from the fields of discourse analysis, conversation analysis and pragmatics. The analysis aims to show how the relations of power which exist between dramatic characters are manifested by the linguistic organization of the dialogue as interactive process. Fool-master discourse in Shakespeare is analysed from three different perspectives: the use of the pronouns of address (you/thou); the organization of the discourse as a whole; and the politeness strategies used by fools and their employers in face-to-face interaction. With regard to the pronouns of address, it is shown that neither a structural model nor a sociolinguistic one are sufficient per se to satisfactorily explain the constant shift of pronoun which occurs in Early Modern English dramatic texts. It is suggested that a model of analysis rooted in discourse analysis and pragmatics ought to be developed. Burton's framework is used to study the conversational structure of fool-master discourse, and to show how the power relations obtaining between dramatic characters are manifested by the internal organization of dramatic dialogue. Politeness phenomena in fool-master discourse are studied following Brown and Levinson's model and it is shown that both the fools and their employers orient to face in interaction. Finally, this study of power relations in fool-master discourse shows that, contrary to much current critical opinion, the fools in Shakespeare are not licensed jesters who enjoy unlimited freedom of speech. Feste, Lavatch and Lear's Fool need to resort to complex linguistic strategies if they want to make their criticisms and, at the same time, avoid being punished.
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ANDRADE, NATALIA FRANCIS DE. "WRITING A WHALE, DRAWING A BLANK SPACE: THE REINVENTED DIALOGUE BETWEEN LITERATURE, COMICS AND EDITORIAL MARKET." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29519@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Enquanto muitas histórias em quadrinhos foram e são produzidas em escala industrial ou sem grandes pretensões de se perpetuarem, estas convivem, hoje,com outros tipos de iniciativa. Na contramão do que tem acontecido com aquilo que tradicionalmente se convencionou como literário, é no deslocamento cada vez mais frequente para o formato livro que as práticas dos quadrinhos têm se reinventado, especialmente em narrativas mais longas e voltadas ao público adulto. Esta dissertação toma como objeto as HQs Cachalote e Campo em Branco. Frutos de parcerias entre escritores e quadrinistas, elas foram produzidas pela RT Features e editadas pelo selo Quadrinhos na Cia., da Companhia das Letras. Partindo da análise das especificidades de produção e criação dessas obras, busca-se compreender o surgimento de novas nuances tanto nas relações entre o verbal e o visual quanto nas relações entre o literário, o editorial e o midiático. Problematiza-se, também, quais terminologias são mais adequadas a esses objetos e de que forma elas podem ou não aludir a antigas questões de hierarquias entre produtos culturais. Questiona-se que sentidos ganha, em plena era digital, marcada pela onipresença de imagens, o gesto de optar por contar histórias que recorrem ao manual e ao traço estilizado. Investiga-se a dinâmica horizontal de criação a quatro mãos e o empenho conjunto dos autores para evitar a mera repetição do sucesso das gerações anteriores, seja no campo da literatura, seja no campo dos gêneros gráficos. E, enfim, para expandirem os limites do diálogo natural entre estas duas linguagens.
While many comics were and still are produced, either on an industrial scale, or without great pretension to perpetuate, they coexist today with other types of initiative. In opposition to the current arrangements that involve what is usually called literary, comics, in their own way, have been reinvented by their increased displacement to book format, especially on longer narratives aiming adult audience. This dissertation takes as an object of discussion two graphic novels: Cachalote e Campo em Branco. As a result of partnerships between writer and cartoonist, they were produced by RT Features and edited by the label Quadrinhos na Cia. from Companhia das Letras. Starting from the analysis of specificity in production as well as in creation of these works, it is sought to understand the emergence of new shadings in the relations between the verbal and the visual, so much for in the links between the literary, editorial and media. In addition, we discuss of which terminologies are more suitable to these objects and in which way they may or may not allude to long-established issues of hierarchy among cultural products. In the midst of the digital era, marked by the omnipresence of images, we also wonder about what sense it grasps within the gesture of opting for narratives, that call upon manual and authorship trace. Furthermore, we investigate the horizontal dynamics of shared creation and the authors combined effort to avoid the simply-repeated success of previous generations, either in the field of literature, or in the field of graphic genres. Finally, there is an effort in the way the authors bring to new limits the natural dialogue between these two languages.
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Cadden, Michael J. Trites Roberta Seelinger. "Dialogues with authority children's literature, dialogics, and the texts of Ursula K. Le Guin /." Normal, Ill. Illinois State University, 1996. http://wwwlib.umi.com/cr/ilstu/fullcit?p9633412.
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Thesis (D.A.)--Illinois State University, 1996.Title from title page screen, viewed May 19, 2006. Dissertation Committee: Roberta Seelinger Trites (chair), Jan C. Susma, Janice W. Neuleib. Includes bibliographical references (leaves 218-234) and abstract. Also available in print.
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Tanner, Lindsay Elizabeth. "Testing the Test: Expanding the Dialogue on Workplace Writing Assessment." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6616.
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This project is a case study of writing assessment practices in a particular workplace called "High Hits," a local search engine optimization (SEO) company. The writing tests given to new hires serve a parallel purpose to academic placement exams, in that they are a high-stress, high-risk situation that aims to evaluate writer ability rather than the quality of the completed task (Haswell 242, Elbow 83, Moss 110). However, while academic assessment measures ability with the aim to improve the students' learning, workplace assessment is driven by market forces and is seen in terms of return on investment. This case study used qualitative and quantitative measurements to examine the writing tests of employees; this examination was followed by analyzing a random sampling of subsequent writing tasks of copywriters to determine whether the assessment methods being used by the company to assess the writing tests adequately predicted the writing ability of the copywriters.
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Kennedy, William John. "Antisthenes' Literary Fragments: Edited with Introduction, Translations, and Commentary." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16595.
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This thesis deals with the most important fragments of Antisthenes. The closest companion of Socrates, Antisthenes was himself a major thinker and far-famed writer of the late fifth and early fourth centuries BC. In antiquity he enjoyed a stellar reputation in the fields of literature and ethical philosophy, and was known as the equal of writers such as Plato, Xenophon, and Critias. In modern times, however, he has been largely ignored. The literary fragments are some of the most interesting and display Antisthenes' extraordinary variety and versatility. Compared with his more philosophical fragments, they have been the most neglected. These fragments throw positive light on all of Antisthenes' work. The major goal of this thesis is to demonstrate that Antisthenes was at least as much a literary as a philosophical figure. Another is to show that, in so far as Antisthenes was a philosophical figure, he was thoroughly Socratic, holding ethical values consistent with the elite, aristocratic class he kept company with, and undeserving of his reputation as a founder of Cynicism. The reputation of being a Cynic he only acquired in later antiquity, and yet it remains mostly unchallenged in modern scholarship. In demonstrating that Antisthenes was an important literary figure, this thesis will show that he played a seminal role in a range of literary innovations, including: the portrayal of character in prose writing (ethopoiia); the development of dialogue form; and the deployment of a systematic method of literary criticism. Among the very first Greek writers of prose fiction, Antisthenes used dialogue as a vehicle to convey his entire ethical programme – centred on excellence and justice. He wrote dialogues interpreting Homer, and he deployed a greater variety of strategies in his dialogues than most of his contemporaries – e.g. including mythical characters and himself as speaker.
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Degani, Salah. "L’art du dialogue dans l’œuvre romanesque de Julien Gracq." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040182.
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La présence du dialogue romanesque ne peut en aucun cas se résumer dans un souci d’effet-de-réel dans la littérature du XXè siècle, de manière générale, et dans l’œuvre gracquienne de manière particulière. Il s’ensuit que l’un des objectifs de notre investigation revient à questionner le(s) rôle(s) joué(s) par le dialogue romanesque gracquien dans la représentation littéraire dans l’ensemble de son œuvre de fiction, mais également dans chacun des récits gracquiens étudiés pour voir s’il y a un changement et, par là, une spécificité au niveau du statut de cette forme d’écriture relative à chacun de ces récits ou au genre auquel il appartient. Notre principal souci consiste, donc, à montrer que le dialogue romanesque gracquien joue un rôle fondamental dans la construction du texte narratif. D’ailleurs, nous verrons que l’analyse de cet espace discursif précis permettra de relever un certain nombre de problèmes relatifs à l’interprétation et à la signification au sein du texte littéraireIn the literature of the twentieth century, in a general way, and in the fictions of Julien Gracq, in a particular way, the presence of the dialogue cannot limit itself in the objective to represent the reality. It follows that one of the objectives of our investigation means questioning the roles played by the written dialogue in the representation within the novels of Julien Gracq but, at the same time, the diverse functions played by the written dialogue within the same novel. These operations are made to see if there’s a change and, consequently, a specificity in the status of the dialogue relative of gender of text from which the dialogue is extracted. Our main concern consists, thus, in showing that the written dialogue plays a fundamental role in the construction of the narrative text. Moreover, we shall see that the analysis of this discursive space will allow enumerating some problems relative to the interpretation and to the meaning within Julien Gracq’s text
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Rigault, Tom. "Yoko Tawada, ou le Comparatisme : l’œuvre et la critique en dialogue." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL175.
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Yoko Tawada, écrivaine contemporaine d’expression japonaise et allemande, mène depuis trente ans une carrière qui connaît un succès critique considérable dans ses deux langues et pays d’écriture. Œuvre hybride à la croisée des genres, des langues, des cultures et des littératures, définie par une démarche autoréflexive et métalinguistique, c’est un sujet de choix pour la littérature comparée, avec laquelle elle partage des affinités fondamentales. Pourtant, elle n’est encore que peu étudiée par les comparatistes ; cette thèse se donne donc pour objet de combler en partie cette lacune. Au long d’un parcours à travers les champs de recherche et plusieurs problématiques de la littérature comparée, nous éclairons réciproquement le fonctionnement de l’écriture tawadienne et les enjeux comparatistes contemporains dans le but de démontrer l’intérêt d’un véritable dialogue entre la démarche critique et son objet. La première étape consiste à établir la pertinence et la nécessité d’une approche comparatiste. Ensuite, mimant le geste autoréflexif de l’écrivaine, nous analysons les rapports de la critique à l’œuvre littéraire afin de déterminer leurs apports mutuels. Puis nous étudions le traitement littéraire et épistémologique de la notion d’espace, et plus précisément celle de passage, centrales dans la poétique tawadienne comme dans la pratique comparatiste, avant de nous pencher sur l’Europe, espace géographique et culturel au cœur de la création chez Tawada et de la définition de la littérature comparée. Enfin, nous achevons ce parcours sur une réflexion dans les termes de Tawada sur la traduction littéraire et la littérature en traduction, nœud gordien du comparatismeContemporary bilingual writer Yoko Tawada has received much critical acclaim for both her German and her Japanese literary work since 30 years now. Her hybrid writing between genres, languages, cultures and literatures, defined by a characteristic self reflexive and metalinguistic stance, is an ideal research topic for Comparative Literature. However, it has yet to be thoroughly studied by comparatists. In our thesis, we endeavour to fill part of this gap by connecting Tawada’s writing to comparative research fields and issues, in order for them to shed light on each other. Thus we aim to demonstrate what we can gain from a real dialogue between the researcher and its object of study. The first step will be to assess the meaningfulness and use of a comparative approach in the case of Tawada’s literature. Then, we will mimic the writer’s own self reflexive gesture in order to analyse the relationship between literary work and criticism and determine how they might benefit each other. Afterwards, we will study closely the epistemological and literary uses of space and passage, two crucial notions both for Comparatism and Tawada’s writing, before focusing on a more specific geographical and cultural space: that of Europe, which is also central to the writer’s literary journey as well as the very definition of Comparative Literature. Lastly, we will close with a study of Tawada’s thought-provoking take on the Gordian knot of Comparative Literature: literary translation and literature in translation
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Du, Toit Seugnet. "Of discourse and dialogue : the representation of power relationships in selected plays by Shakespeare." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53758.
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Thesis (MA)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: In this thesis I will look at the way in which power relationships are presented in Shakespeare's dramas, with specific reference to the so-called ''Henriad'', Measure for Measure and The Tempest. Each play consists of a network of power relationships in which different forms of power interact on different levels. Different characters in the above-mentioned plays have access to different forms of power according to their position within these networks. The way in which the characters interact could also cause or be influenced by shifts and changes in the networks of power relationships that occur in the course of the action. I will use Michel Foucault's theories on the relationship between power, knowledge and discourse as a guide to my analysis of Measure for Measure. I will also use selected aspects of Mikhail Bakhtin's theories on language and literature, with specific references to the concepts of "dialogism" and "heteroglossia" or "manyvoicedness", as well as his concept of carnival, which implies a temporary inversion in power relationships in an unofficial festive context, as a guide to my analysis of the Henriad. I will use a combination of the theories of Foucault and Bakhtin in my analysis of The Tempest. I have chosen the terms "discourse" and "dialogue" as key terms in the title of this thesis not only because they play an important role in the theories of Foucault and Bakhtin respectively, but also because they play an important role in the analysis and representation of power relationships. According to Robert Young, Foucault relates ''the organisation of discourse ...to the exercise of power" (10). One could also say that the power relationships in a society are reflected in the portrayal of a dialogue between different voices representing different sections of or classes in that society as in Bakhtin's principles of dialogism. I will explain the overall importance of these terms in more detail in the Introduction and the other relevant chapters. In the introductory chapter I will first provide a theoretical background for the thesis as a whole. Then I will look at the specific theoretical principles that are relevant to each chapter. In the chapter on the Henriad I will look at the way in which an alternative perspective on power relations and the role of the king are created by looking at them from the perspective of Bakhtin's concept of carnival. In the next chapter, I will show how Measure for Measure presents us with an evaluation of different strategies of power, which I will look at from the perspective of Foucault's theories on power, knowledge and discourse. In my chapter on The Tempest I will combine aspects of both theories in my analysis of a play that presents us with a complex analysis of power relationships as a social phenomenon. In the concluding chapter I will look at the different perspectives on power relationships that emerged from my previous chapters and attempt to see what its implications are for the representation of power relationships in Shakespeare's work and perhaps as a social phenomenon.
AFRIKAANSE OPSOMMING: In hierdie tesis gaan ek kyk na die wyse waarop magsverhoudinge uit gebeeld word in Shakespeare se dramas, met spesifieke verwysing na die sogenaamde "Henriad", Measure for Measure en The Tempest. Elke drama bestaan uit 'n netwerk van magsverhoudinge waarin verskillende vorme van mag op verskillende vlakke wisselwerking uitoefen. Verskillende karakters in bogenoemde dramas het toegang tot verskillende vorme van mag volgens hul posisie in die netwerke. Die manier waarop die wisselwerking tussen die verskillende karakters plaasvind kan ook verskuiwings en veranderinge in die netwerk van magsverhoudinge in die loop van die aksie veroorsaak, of daar deur beïnvloedword. Ek gaan Michel Foucault se teorieë oor die verhouding tussen mag, kennis en diskoers as 'n gids tot my analise van Measure for Measure gebruik. Ek gaan ook uitgesoekte aspekte van Mikhail Bakhtin se teorieë oor taal en literatuur, met spesifieke verwysing na die konsepte van "dialogisme" en "heteroglossia" of "meerstemmigheid", sowel as sy konsep van karnaval, wat 'n tydelike ommekeer in magsverhoudinge in 'n onoffisiële feestelike konteks impliseer, as 'n gids tot my analise van die Henriad gebruik. Ek sal 'n kombinasie van die teorieë van Foucault en Bakhtin gebruik in my analise van The Tempest. Ek het die terme "discourse" en "dialogue" as sleutel terme in die titel van hierdie tesis gebruik, nie net omdat hulle 'n belangrike rol in die teorieë van Foucault en Bakhtin onderskeidelik speel nie, maar ook omdat hulle 'n belangrike rol in die analise en uitbeelding van magsverhoudinge speel. Volgens Robert Young verbind Foucault die manier waarop diskoers georganiseer word met die uitoefening van mag (10). Mens kan ook sê dat die magsverhoudinge in 'n gemeenskap gereflekteer word in die uitbeelding van 'n dialoog tussen verskillende stemme wat verskillende dele van of klasse in die gemeenskap verteenwoordig soos in Bakhtin se beginsel van dialogisme. Ek sal die algehele belang van hierdie terme in meer besonderhede bespreek in die inleidingen die ander relevante hoofstukke verduidelik. In die inleidende hoofstuk gaan ek eers 'n teoretiese agtergrond vir die tesis as geheel verskaf Dan sal ek kyk na die spesifieke teoretiese beginsels wat relevant is tot elke hoofstuk. In die hoofstuk oor die Henriad gaan ek kyk hoe 'n alternatiewe perspektief op magsverhoudinge en die rol van die koning geskep word deur hulle te beskou van uit die perspektief van Bakhtin se konsep van karnaval. In die volgende hoofstuk sal ek kyk hoe Measure for Measure 'n evaluasie van verskillende magsstrategieë aan ons voorlê, waarna ek gaan kyk van uit die perspektief van Foucault se teorieë oor mag, kennis en diskoers. In my hoofstuk oor The Tempest gaan ek aspekte van albei die teorieë kombineer in 'n drama wat 'n komplekse analise van magsverhoudinge as 'n sosiale verskynsel aan ons voorln sosiale verskynsel aan ons voorlê. In die laaste hoofstuk gaan ek kyk na die verskillende perspektiewe op magsverhoudinge wat voortspruit uit die voorafgaande hoofstukke en kyk wat die implikasie daarvan vir die uitbeelding van magsverhoudinge in Shakespeare se werk en as 'n sosiale verskynsel is.
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Hornby, Catherine Muriel. "A history of confession: the dialogue between cynicism and grace in selected novels of J.M. Coetzee." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1002232.
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In introducing the four novels under discussion as a “History of Confession”, this study explores the resistance to the dominant discourse of ‘history’ offered by the sustained confessions of individuals. In examining Coetzee’s oeuvre it is possible to delineate the outline of a dialogue between cynicism and grace, and the effects of these on the process of confession in each of the works Chapter One, dealing with Age of Iron, draws on Levinas’ theory of ‘the Other’ in order to elucidate the role played by the interlocutor or confessor in the process of confession.The recognition of the passage of the self through the Other is integral to the attainment of a state of grace, without which confession cannot be brought to an end The countermanding claims of the writer's will-to-write and duty to society are illuminated as a source of cynicism which overwhelms the intervention of grace. The Master of Petersburg, discussed in Chapter Two, is a confession of the guilt and despair faced by the writer who sacrifices his soul to answer the urge to write. Chapter Three, which examines Coetzee’s excursion into autobiography, represents a continuation of the confessional trend. The distance between the narrator and protagonist of Boyhood illustrates the convolutions of self-deception in the process of confession. The chapter which deals with Disgrace identifies a new trend in Coetzee’s writing:the concern with animals. Levinas’ theory, which identifies the encounter with the Other as necessary to precipitate an intervention of grace, is again useful in explaining how Coetzee has postulated the unassimilable otherness of animals as primary to human ethical development. This chapter also concludes that Disgrace represents a high point in the recovery of both grace and agency in Coetzee’s oeuvre.The concluding chapter suggests that the accumulation of meanings to the term ‘grace’enables its definition as a semi-religious abstraction. Coetzee suggests that belief in its existence has the power to affect interactions on the physical plane, especially those between the self and the Other.
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Duguay, Sylvain. "Le dialogue homosexuel dans Les feluettes de Michel Marc Bouchard /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30163.
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This thesis proposes to apply Queer theory as the framework for examining Michel Marc Bouchard's play Les Feluettes. This study is built around two methodological axes, one being the analysis of dialogue; the second, the application of Queer theory. Dialogue and staging are scrutinized in an effort to discover the Queer. The links between sex, power, language and knowledge will be specifically studied. The intention is to show how their relationship, based on opposition, can be modified by a subversive discourse. By way of introduction, a brief discussion of Queer theory will be presented to familiarize the reader with its origins, sources of inspiration and strategies of deconstruction. The first chapter will focus on the homosexual's interior monologue. Chapter two will focus on the homosexual's dialogue with other homosexuals. The third, and final chapter, will round out the analysis by studying the dialogue between the homosexual and heterosexuals. (Abstract shortened by UMI.)
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Blake, Elizabeth Ann. "F. M. Dostoevskii's dialogue with time of troubles narratives : reading the Russo-Polish tensions of the 1860s through the lens of history /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486400446371385.
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Popovich-Semeniuk, Maria. "Sonata Pathétique by Mykola Kulish and The days of the Turbins by Mikhail Bulgakov : a literary dialogue." Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/5917.
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Moore, Peter Nielson. "INTERPRETING THE REPUBLIC AS A PROTREPTIC DIALOGUE." UKnowledge, 2018. https://uknowledge.uky.edu/philosophy_etds/20.
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Protreptic is a form of rhetoric, textual and oral in form, which exhorts its recipients to reorient their lives both morally and intellectually. Plato frequently portrays Socrates' use of this rhetoric with interlocutors who are enticed by the moral and political views of figures from Athens' intellectual culture. During these conversations Socrates attempts to persuade his interlocutors to reorient their lives in a way that conforms more closely to his own moral and intellectual practice of philosophy. Plato's depiction of protreptic, however, also exerts a protreptic effect on readers of his dialogues. Plato's writing thus performs a dual function, simultaneously depicting instances of protreptic at work and attempting to exert a protreptic effect on readers.
In this dissertation I argue that understanding this dual function of Plato's writing is inseparable from understanding his conception of philosophy. I analyze the structure of protreptic in Plato's writing by identifying four aspects essential to an interpretive method that takes full stock of the protreptic function of Plato's dialogues. These aspects are (1) the proper recipient of protreptic; (2) the persuasive means available to protreptic; (3) the immediate target of persuasion; (4) the ultimate philosophical aim toward which protreptic advances the recipient. While some of these aspects must be determined with respect to particular dialogues, those that concern the form of Plato's writing—such as the means of persuasion and ultimate philosophical goals—can inform a general approach to Plato's dialogues. The means that Socrates uses to persuade his interlocutors are sometimes affective, influencing their emotions, and other times intellectual, appealing to them exclusively with logical argument. I argue that a combination of these means into a form I call “provocative-aporetic” better accounts for the means that Plato uses to exert a protreptic effect on readers. Aporia is a simultaneously intellectual and affective experience, and the way that readers choose to respond to aporia has a greater protreptic effect than either affective or intellectual means alone.
The Republic is a crucial dialogue for studying protreptic because it addresses the ultimate moral and intellectual ends toward which Plato hopes to reorient readers, and puts the various protreptic means at Socrates' and Plato's disposal on full display. The dialogue offers both an argument for a life committed to virtue, and an outline of the theoretical insights—mathematical and dialectical—that philosophers may hope to gain from more serious study. It also portrays Socrates in conversation with characters of a variety sufficient to show his rhetorical and argumentative repertoire. In this dissertation I carry out a reading of the Republic according to the four aspects of the structure of protreptic discussed above. More specifically, I identify moments at which Glaucon and Adeimantus answer Socrates' questions in such a way that they concede to Socrates the truth of premises that contradict their defense of the unjust life. These moments reveal that the central point of dispute in the Republic concerns the nature of moral agency— particularly the functions of reason, desire, and habituation for moral agents. Accordingly, I identify two models of agency—a Technē Model and a Virtue Model— that ground their respective defenses of justice and injustice, and hold their own assumptions about reason, desire, and habituation within their respective moral psychologies. Glaucon and Adeimantus' moments of capitulation, function as moments of aporia for readers, who are then provoked to overcome the aporia by explaining why the capitulation is reasonable. In doing so, we gain an account how Glaucon and Adeimantus are coaxed to abandon their original views about justice, injustice, and moral agency and to accept those of Socrates. This account in turn yields insight into protreptic by depicting how Socrates brings about a reorientation toward philosophy from within a non-philosophical perspective.
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O'Byrne, Cheryl. "An Ethos of Dialogue: The Aesthetics, Ethics and Politics of Australian Matriography." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29796.
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This project explores life narratives Australian daughters have written about their mothers and published since 1990. It analyses how the daughters navigate the tensions between their desire to write the mother’s story and the myriad factors that impede their view and process; and it concentrates on the ethical and political implications of their aesthetic choices. At one end of the aesthetic spectrum (chapter 1) is a realist memoir which disregards the layers of mediation between text and mother. At the other end (chapter 5) is an avant-garde matriography which thematises these layers. Rather than argue that the move away from realism corresponds to a more ethical rendering of the mother—as hypothesised at the commencement of the project—the thesis argues that ethics derives from the extent to which the daughter acknowledges the complexity of her matriographical endeavour and of her mother subject. The thesis shows the ethical imperative for complexity is relevant on the interpersonal level, between daughter and mother, and that it extends to the political level: matriographies that depict complex maternal subjects, whether descriptively or through formal experimentation, contribute to undermining a Western cultural imaginary that, in Jacqueline Rose’s words, identifies motherhood as “the ultimate scapegoat for our personal and political failings.” A sixth chapter attends to Aboriginal daughter-mother writing and shifts attention from the ethics of settler writing to the ethics of settler reading. Echoing the interest in complexity that animates the first five chapters, it argues that an ethical reading position requires the settler to adopt a nuanced recognition of Aboriginal daughter-mother texts as aesthetic and political objects. The thesis, therefore, highlights the potential for activism inherent in Australian matriographies, and it articulates the conditions of composition and reception that should be met to ensure this potential is realised.
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Jackson, Sarah E. "Becoming Human Through Multicultural and Anthropomorphic Children's Literature: A Case Study of Dramatic Read-Alouds with Preschoolers." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1597880934614368.
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