Dissertations / Theses on the topic 'Fiction subjects'
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Ken, Stephanie Wong. "Human Subjects." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/4023.
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Human Subjects is a collection of eight short stories that explore the role of identity, otherness, and personhood in contemporary life. Two sex workers try to buy new faces after a botched plastic surgery, a young girl struggles to find her place in a religious sweat cult, mixed race orphans commune with ghosts in a Korean orphanage, best friends embark on a road trip across America in search of a mother. Human Subjects works to tell stories about deeply felt wants and desires from perspectives at the margins, caught in a state of in between. This collection grapples with what it means to be a subject, and what it means to be subjected.
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Schwab, Gabriele. "Subjects without selves : transitional texts in modern fiction /." Cambridge (Mass.) ; London : Harvard university press, 1994. http://catalogue.bnf.fr/ark:/12148/cb374408707.
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Kuykendall, Sue A. Morgan William Woodrow Strickland Ron L. "The subject of feminist literary practices radical pedagogical alternatives (teaching subjects/reading novels) /." Normal, Ill. Illinois State University, 1993. http://wwwlib.umi.com/cr/ilstu/fullcit?p9411040.
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Thesis (D.A.)--Illinois State University, 1993.Title from title page screen, viewed February 23, 2006. Dissertation Committee: William Morgan, Ronald Strickland (co-chairs), Victoria Harris, Thomas Foster, Anne Rosenthal. Includes bibliographical references (leaves 228-242) and abstract. Also available in print.
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Lundgren, Jodi. "Narrative aesthetics, multicultural politics, and (trans)national subjects : contemporary fictions of Canada /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9523.
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Rebry, Natasha L. "Disintegrated subjects : Gothic fiction, mental science and the fin-de-siècle discourse of dissociation." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44052.
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The end of the nineteenth century witnessed a rise in popularity of Gothic fiction, which included the publication of works such as Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde (1886), George Du Maurier’s Trilby (1894), Arthur Machen’s The Great God Pan (1894) and The Three Impostors (1895), and Richard Marsh’s The Beetle (1897), featuring menacing foreign mesmerists, hypnotising villains, somnambulistic criminals and spectacular dissociations of personality. Such figures and tropes were not merely the stuff of Gothic fiction, however; from 1875 to the close of the century, cases of dual or multiple personality were reported with increasing frequency, and dissociation – a splitting off of certain mental processes from conscious awareness – was a topic widely discussed in Victorian medical, scientific, social, legal and literary circles. Cases of dissociation and studies of dissociogenic practices like mesmerism and hypnotism compelled attention as they seemed to indicate the fragmented, porous and malleable nature of the human mind and will, challenging longstanding beliefs in a unified soul or mind governing human action. Figured as plebeian, feminine, degenerative and “primitive” in a number of discourses related to mental science, dissociative phenomena offered a number of rich metaphoric possibilities for writers of Gothic fiction. This dissertation connects the rise of interest in dissociation with the rise of Gothic fiction in the fin-de-siècle, arguing that late-nineteenth-century Gothic fiction not only incorporated and responded to the theories of Victorian mental scientists on dissociation but also intelligently grappled with and actively challenged the often hegemonic and regulatory nature of such theories by demonstrating the close proximities between normal and so-called deviant psychologies. Fin-de-siècle Gothic fiction posed a fundamental challenge to predominant views on the dissociative subject by demonstrating that Englishmen were not exempt from the experience of multiplicity and psychic fragmentation, hence not as different from women, “degenerates” and “primitives” as they believed. Furthermore, Gothic texts at times even influenced the theories of mental science, providing mental scientists with a language for the expression of the distressing nature of mental disunity, thus demonstrating the circuitous nature of the relationship between mental science and Gothic fiction.
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Forshaw, Mark. "Affectless subjects, atrocious bodies : thematics and history in fictions by Burroughs, Ballard and Gibson." Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391222.
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Hedberg, Sebastian. "Concep Art : En praktisk studie om arbetsprocessen bakom skapandet av konstformen med dystopi/postapokalyptisk science fiction som tema." Thesis, University of Skövde, School of Humanities and Informatics, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-3437.
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Howell, Victoria. "Disordered subjects : narratives of 'becoming' in contemporary Anglo-American and French feminist theory and women's fiction." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387574.
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Nordby, Wernø Johanne. "Engaged encounters : fiction as art writing - a practical investigation of the borders of art criticism." Thesis, Konstfack, Institutionen för Interdisciplinära Studier (IS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2859.
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The thesis project Engaged Encounters has been a multi-part investigation into art criticism. Its main components are one of practice and one of theory: a fiction text – Transatlantic Journeys – which I am publishing as a small book in an edition of 200 and exhibiting at Konstfack´s Spring Show, and the present reflective essay. In the essay, I identify the central elements of the current «crisis of art criticism» and ask what impact experimental writing modes can have on the practice and its alleged crisis. I give an account of fields of contemporary writing where the text is acting with or through, rather than being about, art. I find that a common view is that the crisis, real as it might be, can serve as a possibility to re-envision art writing. The fiction text, a two-part short story, is a critical response to my one month internship at Henie Onstad Art Centre. A character is extracted from a chosen artwork of the then current exhibition and "cast" in the narrative opposite the history of the art institution. In the fiction as well as in the essay, I treat the «engaged encounter», the face to face meeting with the other. This is the aspect of art criticism I at present find to be most pertinent: criticism as an encounter between work and viewer, a reciprocal addressing analogous to the risky business of face-to-face human relations. The Norwegian word henvendelsen (approximately approach, address) is the key term used to denote this relation. The insights of the linguist Benveniste and the philosopher Levinas are important references.WIRE, Critical Writing and Curatorial Practice
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Chia, Leigh Stephen. "The novel as panopticon : exploring surveillance." Thesis, University of Northampton, 2012. http://nectar.northampton.ac.uk/8852/.
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Liljeqvist, Hanna. "Royal Subjects : Feminist Perspectives on Diary Writing and the Diary Form in Meg Cabot's The Princess Diaries Series." Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131228.
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Meg Cabot’s young adult (YA) novel series The Princess Diaries (2000-2009) is one of many modern-day examples of attempts to redefine what Western society considers the classic princess narrative: the story of a beautiful princess passively waiting for Prince Charming. As critics such as Kay Stone and Sarah Rothschild emphasize, the fictional princess is traditionally linked to notions of ideal femininity which, in turn, makes princess stories interesting texts from a feminist perspective. Rothschild notes a surge in YA princess novels in recent years, with YA writers such as Cabot aiming to challenge the traditional image of the princess as a passive feminine stereotype in their re-workings of the princess story. Previous feminist research on The Princess Diaries series celebrates the main character Mia as a symbol of third wave feminism and as such, a positive role model for Cabot’s predominantly young, female readers. Mia’s characteristic Dr Martens boots are frequently cited as an example of how greatly Mia differs from her princess predecessors. However, these critics ignore important changes in Mia’s personality over the course of the series. By the end of the series, the Dr Martens-wearing heroine introduced in the first book has replaced her combat boots with high heels. In my thesis, I will argue that Mia’s transformation in terms of appearance and preoccupation with mainstream fashion, from quirky outsider to stereotype girly girl, complicates the idea of The Princess Diaries series as feminist texts. Moreover, previous feminist research largely ignores diary writing’s prominent role in the series, and the ways in which the diary format influences the reader-narrator relationship in the novels. In my feminist reading of The Princess Diaries series, I therefore use Mia’s diary writing and the diary format of the series as my starting points. I argue that while Mia’s diary writing is portrayed as empowering, and thereby inspiring, the diary format as a narrative structure creates a rather ambiguous tone and effect; questioning but simultaneously conforming to traditional, restricting notions of femininity.
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Persson, Erika. "Skönlitteraturens potential : Exempel på hur skönlitterära texter kan användas vid behandling av svårhanterliga ämnen." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53677.
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The study examines potential opportunities from reading fictional stories. It is focusing on different ways to use fiction as a tool when dealing with difficulties in life, such as death, bullying, injustice, racism, etc. Furthermore, the study investigates in what way the teachers consider how to process what has been read. The examination is based on qualitative interviews of six teachers, including three librarians, all with different workplaces. From the result it can be concluded that fiction is a versatile tool in many areas. Reading can be used as an aesthetic and relaxing activity, but has often a pedagogical design including an educational motive. A majority of the teachers use fiction to form pupils to good and respectful human beings. In addition, fiction is used to develop a positive approach to people’s differences and to multiculturalism. The results show that the single most important factor in reading is processing the read, and a majority of the teachers state that understanding is created when pupils discuss with others.
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Mighall, Robert. "The brigand in the laboratory : a study of the discursive exchange between Gothic fiction and nineteenth-century medico-legal science." Thesis, University of Wales Trinity Saint David, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683119.
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Clark, Fiona R. "Suburban/absurd : subjects of anxiety in the fiction of John Cheever and Richard Ford : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature /." ResearchArchive@Victoria, 2009. http://hdl.handle.net/10063/1076.
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Blomgren, Elin. "S(mothering) the subject formation in Jamaica Kincaid ́s Annie John : Female subject formation in postcolonial Caribbean fiction." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37501.
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This essay investigates Jamaica Kincaid´s the book Annie John (1985) and its protagonist Annie John´s search for a coherent self-and/or a de-colonized identity through a subject transformation. Using postcolonial feminism, including theorists such as Homi K. Bhabha and Stuart Hall, I suggest that the protagonist Annie John does not perform a subject transformation as she is unable to embrace the state of hybridity needed to perform such a transformation. Annie John is a colonial subject drawn to the two worlds in which she resided, the East and West- and cannot create herself in the presence of them both. I conclude that Annie John´s mother, under the influence of colonialism and patriarchy, is part reason as to why Annie John is unable to perform this transformation. With the help of postcolonial feminism, I find that as Annie John cannot recover her mother from this double oppression of colonialism and patriarchy. The conclusion of this essay proposes that the protagonist Annie John does not manage to create a subject formation as she is not able to reside in a state of hybridity between her own culture and that of her colonizer.
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Trono, Mario T. "Salvaging the subject, mediant fiction contra the mass media." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ60034.pdf.
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Donner, Mathieu. "Contagion and the subject in contemporary American speculative fiction." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/40336/.
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This thesis explores the relationship between the representation of contagion and those it affects offered by contemporary American speculative fiction and the ways in which this representative model has and continues to inform our understanding of real and actual pandemics. Over the past decade, the success of texts centred on such figures as the vampire, the werewolf and the zombie has triggered a return of contagion to the forefront of the American popular fictional imagination. Though this renewed fascination coincides with the emergence of new global biological threats, it also draws part of its power from a broader cultural anxiety regarding the structures of subjectivity, the relation between subject and State as well as the subject’s role within the collective deployed by our contemporary discourse of health. While critical studies on contagion have been predominantly concerned with real diseases and their narrativisation, this thesis focuses on five fictional representations—Robert Kirkman’s The Walking Dead, Richard Matheson’s I Am Legend and its adaptations, the American series Being Human, Octavia E. Butler’s Clay’s Ark and Charles Burns’s Black Hole—in order to explore the ways in which these texts engage with the modern medical discourse and the wider conceptualisation of subjectivity promoted by Western philosophy. By emptying the referential dimension of the diseases they mobilise, these texts provide a unique opportunity to analyse the underlying mechanisms of contagion as a cultural construction and to expose the set of assumptions (moral, political, social, etc.) upon which its production itself relies. Exposing the ways in which our cultural perception of contagion has been shaped by the limitations inherent to the traditional epistemic model dominating Western society, this thesis not only reveal the violence inherent in the structures of subjectivity surrounding the individual, it also highlights, by deconstructing the dominant model, new possible lines of flight for the contagious subject outside the normative structures of our current public health, medical, social and political discourses.
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Reinaudo, Alice. "Hierarchical text classification of fiction books : With Thema subject categories." Thesis, Linköpings universitet, Interaktiva och kognitiva system, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-154469.
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Categorizing books and literature of any genre and subject area is a vital task for publishers which seek to distribute their books to the appropriate audiences. It is common that different countries use different subject categorization schemes, which makes international book trading more difficult due to the need to categorize books from scratch once they reach another country. A solution to this problem has been proposed in the form of an international standard called Thema, which encompasses thousands of hierarchical subject categories. However, because this scheme is quite recent, many books published before its creation are yet to be assigned subject categories. It also is often the case that even recent books are not categorized. In this work, methods for automatic categorization of books are investigated, based on multinomial Naive Bayes and Facebook's classifier fastText. The results show some amount of promise for both classifiers, but overall, due to data imbalance and a very long training time that made it difficult to use more data, it is not possible to determine with certainty which classifier actually is best.
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Meagher, Stephen. "Subjects, Inscriptions, Histories: Sites of Liminality in Three Canadian Autobiographical Fictions." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92142.
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This thesis explores how Beatrice Culleton's In Search of April Raintree, JoyKogawa's Obasan, and Michael Ondaatje's Running in the Family trouble, by emulating and transgressing the protocols of the literary autobiography, formulations of the historical "subject" aligned to those conventions. Consequently, the primary site of interpretation of this thesis is the delineation of the se texts' narrators as "subjects" who both write and are written by history. This thesis will demonstrate how these "autobiographical fictions" in scribe histories which question "official" accounts and probe gender and race articulations both within those official inscriptions as weIl as in their own historically constructed communities. These textual (dis )placements are interpreted in the context of the critical discourses of postmodernism and post-colonialism.Cette thèse examine comment les ouvrages In Search of April Raintree, de Beatrice Culleton, Obasan, de Joy Kogawa, et Running in the Family, de Michael Ondaatje, perturbent, par leur respect et leur transgression des règles de l'autobiographie littéraire, les formulations du "sujet" historique liées aux conventions propres à ce genre. Le site principal d'interprétation réside donc dans la délimitation des contours des narrateurs de ces textes en tant que "sujets" qui, tout à fois, écrivent l'histoire et sont écrits par elle. Cette thèse démontre que ces "fictions autobiographiques" inscrivent des récits qui remettent en question les comptes rendus "officiels" et examinent les articulations au sexe et à la "race", tant à l'intérieur de ces inscriptions officielles que dans leurs propres collectivités historiquement constituées. Ces dé(placements) textuels sont interprétés à la lumière des discours critiques du post-modernisme et du post-colonialisme. fr
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Robinson, Sally. "Engendering the subject : gender and self-representation in contemporary women's fiction /." Thesis, Connect to this title online; UW restricted, 1989. http://hdl.handle.net/1773/9433.
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McDonald, Elizabeth Frances 1957. "Circulation differences between fiction books with subject headings and those without." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278569.
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Subject headings for works of fiction are one way to increase access to these books. Increased access should result in greater use for these books. Using a multi-branch, metropolitan public library, fiction books with subject headings were compared against fiction books without subject headings for overall use and circulations (use adjusted for time available to circulate). These same two categories were then compared to determine the affect of subject headings with respect to: fiction collection size, genre, and publication date for overall use and circulations.
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Abdelmohcine, Ahmed. "Dying in other words : the writing subject in Virginia Woolf's fiction." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297477.
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This thesis examines Virginia Woolf's fiction in light of structuralist and psychoanalytic theories of the subject, with particular reference to the works of Barthes, Bakhtin, Lacan, Kristeva, and Cixous. The orientation of my reading 'bridges' the gap between biographical and text-centred approaches to her fiction. Woolfs novels as the trace of a practice in which the subject is set in a continuous process of enunciation, is constantly questioned, 'put on trial', 'put to death', in pursuit of the 'new': new articulation of the subject with the writing of each novel, experimentation with new modes of writing the subject, with new formal decisions and enunciative strategies, and with a new writing of death and characterisation. The thesis attempts to provide a reading of 'death', not simply as a personal obsession for Woolf and as a thematic construct, but as a writing process which involves the writer's own 'death' in the text. Chapter one explores The Voyage Out, a novel which marks Woolf's laborious entree to the literary world. Woolf's aggressivity offers a cul-de-sac narrative solution with the death of twenty-four-year-old Rachel Vinrace; a formal decision which illustrates the subject's initial difficulties with narrative. Chapter two deals with Mrs Dal/oway, another novelistic attempt to write into the text a 'violent' death, with Septimus's suicide. The chapter pays close attention to the sequence of Septimus Smith's narrative appearances, characterisation, and his aggressivity. Chapter three explores the autobiographical claims of To the Lighthouse in terms of the factual and fictional representation of the mother. Through the artist-in-process Lily Briscoe, Woolf tries to construct a modernist outlook in writing about her own childhood and family. Chapter four examines the unfamiliar formal strategies Woolf experimented with in writing The Waves, using speaking voices as characters and working towards a kind of narrative 'murder' of the conventional omniscient narrator. Chapter five provides an intertextual reading of Woolf's 'Anon', the carnivalesque character of La Trobe's pageant, Kristeva's 'semiotic' language, and the heteroglossia which composes the enunciation of Between the Acts.
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Jenvey, Brandon John. "Subject of Conrad : a Lacanian reading of subjectivity in Joseph Conrad's fiction." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23438.
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This thesis examines how the fiction of Joseph Conrad anticipates and enacts the elaborate model of subjectivity that is later formalised in the psychoanalytic theory of Jacques Lacan. While modernist criticism has often utilised the work of post‐structuralism in reading key texts of modernism, the complexity and profundity of the conceptual relationship between Conrad and Lacan has not yet been explored in depth. Conrad’s work captures the impact and influence of emerging transnational capital upon forms of the subject in the later nineteenth and early twentieth centuries. Further, his fiction is also sensitive to how nascent global capital structures forms of space that the subject is embedded within in their daily experience. I argue that it is the intricate and finely woven theories of Lacan that are necessary in identifying this area of the novelist’s work, as Lacan’s model contends with both the individual psychic structure of the subject, and, crucially, how the individual is located and constituted within the broader matrix of social reality. Using four of Conrad’s novels from his early period to the end of his major phase, the thesis traces the evolution of the various fundamental modalities of Lacan’s subject across Conrad’s fiction. I examine how Almayer’s Folly offers the key tenets of Lacan’s primary model of the subject of desire, while Lord Jim presents the transition of the subject of desire into Lacan’s later mode of the subject of drive. Subsequently, The Secret Agent is shown to critique the role of rationalism in the structuring of the subject’s consciousness, while, finally, I read Under Western Eyes as a tour de force of Lacan’s four discourses. The deep and fundamental relationship between the two figures’ work attests to their acuity in observing the development of the subject in the twentieth century, while the method of theoretical analysis also, on a wider disciplinary level, suggests and helps to confirm the continued validity of the mode of deep reading in literary interpretation.
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Kuchciński, Bartłomiej. "The Evolutionary Subject : Science Fiction from the Perspective of Darwinian Literary Studies." Doctoral thesis, Katowice : Uniwersytet Śląski, 2019. http://hdl.handle.net/20.500.12128/11435.
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Celem rozprawy jest analiza fantastyki naukowej z perspektywy literaturoznawstwa darwinistycznego w celu ustalenia jakie mechanizmy stoją za fabularnymi i narracyjnymi schematami poetyki fantastycznonaukowej; zbadania, czy możliwe jest aby fantastyka naukowa pełniła funkcję adaptacyjną, oraz, pośrednio, zbadanie użyteczności literaturoznawstwa darwinistycznego jako narzędzia analizy teoretycznej.
Rozdział pierwszy stanowi przegląd dotychczasowych badań skupiających się na wpływie uwarunkowań genetycznych i adaptacyjnych na formy i sposoby ludzkich zachowań kulturowych oraz przybliża pojęcie konsiliencji wprowadzone przez Edwarda O. Wilsona a stanowiące intelektualną podstawę do rozwoju ewolucyjnie zorientowanych badań literackich.
Rozdział drugi przybliża cele i metodologię literaturoznawstwa darwinistycznego, w dużej mierze wyrastającego z opozycji wobec dominujących obecnie w Teorii trendów poststrukturalistycznych. Odrzucenie centralnych dla postrukturalizmu założeń, pozwala na paradygmatyczną reorientację badań literackich, co z kolei otwiera drogę do analizy aktywności artystycznej, w tym także literackiej, w relacji do biologicznie motywowanych potrzeb adaptacyjnych. Rozdział stanowi próbę wykazania, że fantastyka naukowa, poprzez swoją koncentrację na eksperymentach poznawczych, myślowych i intelektualnych skupionych na interakcji z nowym, odmiennym i niezwykłym, stanowi ważny element w procesie zdobywania niezbędnej wiedzy o świecie, niemożliwej do zdobycia inaczej niż poprzez kontakt z fikcyjnymi fabułami.
Rozdziały trzeci i czwarty podejmują analizę schematów narracyjnych obecnych w fantastyce naukowej. Pierwszy z nich skupia się na heterotopijnym, a więc odmiennym i alternatywnym charakterze przestrzeni obecnych w fantastyce naukowej. Odmienność ta sprawia, że przestrzenie fantastyki zawsze są nieprzewidywalne, potencjalnie groźne i obiecujące równocześnie. Taki charakter przestrzeni lub krajobrazu, jak pokazują badania z zakresu psychologii ewolucyjnej, jest dla człowieka najatrakcyjniejszy, co w przypadku fantastyki naukowej zapewnia, że jej treść będzie dla czytelnika interesująca. To uchwycenie i zapewnienie uwagi stanowi zachętę do intelektualnej eksploracji, a ta może odgrywać rolę adaptacyjną.
Rozdział czwarty pokazuje, że elementem kluczowym dla przedstawienia fantastycznonaukowego uniezwyklenia poznawczego (cognitive estrangement) jest obecność obrzydzenia. Paradoksalny charakter tego uczucia, wzbudzającego równocześnie odrzucenie i fascynację, domagającego się natychmiastowej uwagi i reakcji, gwarantuje zainteresowanie czytelnika elementem odmienności i, ponownie, otwiera go na szeroką gamę interakcji poznawczych.
Przedstawione analizy pozwalają odpowiedzieć na postawione w rozprawie pytania dotyczące schematyczności fantastyki naukowej, jej potencjalnych funkcji poznawczo-adaptacyjnych oraz pokazują użyteczność literaturoznawstwa darwinistycznego.
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Rollason, Christopher Richard. "The construction of the subject in the short fiction of Edgar Allan Poe." Thesis, University of York, 1987. http://etheses.whiterose.ac.uk/113/.
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This study is primarily concerned with the diverse processes of constitution and deconstitution of subjectivity at work in the writing of Edgar Allan Poe. The analysis is largely confined to the short fiction, although some reference is made to Poe's other work; twentyone tales are examined, in greater or lesser detail, with the aid of various theoretical perspectives - sociological, structuralist and, above all, psychoanalytic. The aim is to present a new reading of Poe's texts which rejects traditional "unity"-based interpretations. The thesis privileges the psychological dimension, but in textual, not biographical terms; it stresses the tales' often undervalued element of modernity as well as their receptiveness to emergent processes and discourses. The psychological dimensions analysed include: the explicit presentation of mental splitting ('William Wilson') and institutionalised madness ('The System of Doctor Tarr and Professor Fether'); the signification of alienation ('The Man of the Crowd') and self-destruction ('The Imp of the Perverse', 'The Black Cat', 'The Tell-Tale Heart') as constitutive of the subject at a determinate historical moment; the simultaneous construction and subversion of mythical signifiers of an illusory "full" subject, both metonyms (the detective, the mesmerist) and metaphors (the artwork, the interior); the symbolic emergence from repression of active female desire, perceived as threatening in the male unconscious ('The Oval Portrait', 'Ligeia'); and the disintegration of the subject under the pressure of its own repressions ('The Fall of the House of Usher'). Particular stress is laid throughout on the textual undermining of the dividing-lines between "normal" and "abnormal", "sane" and "insane", "respectable" and "criminal". It is concluded that Poe's work constitutes a map of the vicissitudes and contradictions of subjectivity in patriarchal culture; from the study of these texts, the "I" emerges as formed out of a massive repression, and as therefore constantly liable to fragmentation and rupture.
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Worthington, Kim. "Self as text : representations of the subject in some contemporary fictions." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334239.
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Hollingsworth, Lauren Colleen. "Reading the (in)visible race African-American subject representation and formation in American literature /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019837021&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274464483&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2010.Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 21, 2010). Includes bibliographical references. Also issued in print.
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Payne, Christopher Neil. "Terminus intractable and the literary subject : deconstructing the endgame in Chinese avant-garde fiction." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29518.
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The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.
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Travis, Molly Abel. "Subject on Trial: The Displacement of the Reader in Modern and Post-modern Fiction." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392805130.
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Visser, Robin Lynne. "The urban subject in the literary imagination of twentieth century China." online access from Digital dissertation consortium access full-text, 2000. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9985970.
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Gold, Django. "Hodge-Podge: A Collection of Literary Claptrap and Fictive Nonsensery." Thesis, Boston College, 2007. http://hdl.handle.net/2345/588.
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Thesis advisor: Ricco SiasocoHodge-Podge: A Collection of Literary Claptrap and Fictive Nonsensery is a collection of eight short stories. The stories are unrelated in terms of subject matter or style, but all fall within the broad confines of the author's world, conveniently. Titles: "The Kill"; "Hot Breath"; "Sorcery"; "A Failure of Understanding"; "Currency"; "Deserter's Execution"; "The Box"; "Commencement"
Thesis (BA) — Boston College, 2007
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program
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Bolton, Philip Joseph. "Staat, Stadt, Subjekt : the body and the city in contemporary Austrian fiction." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/5904/.
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Since the publication in 1960 of Hans Lebert’s, Die Wolfshaut, Austrian fiction has been dominated by the so-called Anti-Heimatroman or ‘critical regional novel’, which deploys the provincial setting as a key vehicle for the socially-critical representation of the Austrian nation. Such is the dominance of the Anti-Heimatroman that critics have identified a concern with regional Austria as one of the few constants of post-war Austrian writing. In the vast majority of the literature produced since the 1960s, therefore, Vienna has no role to play; the capital has occupied only a marginal position on Austria’s literary landscape. Recently, however, critics have acknowledged a return to the city in Austrian fiction. This thesis provides the first detailed account of this ‘urban turn’, focussing on the question of how the literary text’s socially-critical function has evolved as a result of the transition from province to metropolis. Placing its focus at the intersection of the body and (primarily urban) space, it provides readings of five novels published during the 1990s and 2000s. Its five case studies draw on the work of Michel Foucault and Walter Benjamin to explore the role that the subject’s interaction with urban topographies plays in contemporary literature’s critical engagement with Austrian realities. Chapter One challenges the established view that the Anti-Heimatroman became obsolete during the 1980s. It examines the construction of the gendered Heimat in Norbert Gstrein’s Das Register (1992), and explores in particular the extent to which Gstrein’s work draws on the generic norms of the Anti-Heimatroman. Turning to novels that are set in Vienna, subsequent chapters isolate two phases in the evolution of literature’s engagement with the realities of present-day and historical Austria. Readings of Lilian Faschinger’s Wiener Passion (1999) and Doron Rabinovici’s Suche nach M. (1997) show that during the 1990s, the city replaces the province as a privileged backdrop for critical engagement with the problematic discourses that structure Austria’s post-war identity politics. By contrast, the post-Jahrtausendwende texts discussed here, Arno Geiger’s Es geht uns gut (2005) and Thomas Stangl’s Ihre Musik (2006), are marked by a turn inward, as writers become more interested in the emotional, psychological and existential orientation of the urban subject. But this turn inward results ultimately in a shift outward, enabling Austrian writers to focus on more universal socio-political issues. This thesis explores the development of literary engagement with Austrian realities during two decades of Austria’s literary history that remain conspicuously under-researched. The contemporaneity of the urban turn demands a critical focus on younger authors who have traditionally stood in the long shadows cast by their better-established colleagues. This unconventional approach, which leads away from the Austrian canon, is the source of second contribution that this thesis makes to Austrian Studies. By engaging explicitly with novels produced by younger authors, this thesis asks what the work of newer constellations of Austrian writers can tell us about the changing status of literature, and of its relationship to the society of which it is a product.
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Lyle, Messina. "Reviving the Subject: A Feminist Argument for Mimesis in Literature." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2204.
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For centuries we have taken for granted Aristotle's assertion that fiction must encourage emotional identification by representing life realistically. With the development of a more pluralistic society, Postmodernist writiers have come to question that assumption. Having repudiated our ancestor's notions of identity, these writers create stories whose sole purpose is to comment on other stories. However, as some feminist critics have shown us, we must each have an identity in order to have the collaborative society that is the Postmodernist's goal. Therefore, the notion that a story must make a sensory impression on us and stand on its own as a story in itself is just as valid today as it was in the past.
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Berg, Annika. "Att bli subjekt i sin egen historia : En studie i Alice Lyttkens Flykten från vardagen och - kommer inte till middagen." Thesis, Södertörn University College, School of Gender, Culture and History, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1543.
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Alice Lyttkens (1897-1991) was a very popular author in Sweden during several decades in the middle of the twentieth century. She was most famous for her historical novels. During her first period as a novelist in the 1930s, however, she wrote contemporary fiction, reflecting the situation of contemporary Women. The traditional view of the two sexes as “complementary” permeated the interwar period. Complementary at this time was presupposed as an asymmetrical and hierarchical relation between the two sexes. The male was seen as superior to the female in being strong when she was weak etc. According to the Swedish researcher Kristina Fjelkestam’s dissertation Ungkarlsflickor, kamrathustrur och manhaftiga lesbianer this view was close at hand in representations of femininity. In this paper I discuss how the protagonists in Alice Lyttkens novels Flykten från vardagen (1933) and - kommer inte till middagen (1934) relate to this social norm, or ”doxa”. By making such an analysis I come to the conclusion that this ”doxa” is represented in both novels, but strongly challenged by the protagonists in their actions and life choices. The narrator also questions the predominated complementary view and demonstrates the protagonist’s thoughts and feelings throughout the novels. The author there by emphasizes a critical feminist attitude. The narrator is also critical of the superficial so-called modern characters, which apparently is under the influence of the ”doxa”.
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O'Brien, Monica. "Bombed-out consciousness the negative teleology of the modern subject in Adorno, Beckett and DeLillo /." Diss., Online access via UMI:, 2005. http://wwwlib.umi.com/dissertations/fullcit/3164708.
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Ward, Frazer. "Science/fictions: the writing of William S. Burroughs and the body of the subject." Thesis, The University of Sydney, 1988. https://hdl.handle.net/2123/26190.
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The outback is littered with advertising icons, cans and packets, logos fading but still readable in that harsh cinematic light. And it is littered in places with the wreckage of outlandish (or, perhaps, outbackish) vehicles, The Cars That Ate Paris and those bricoleurs' machines, the designers' as well as the characters' of Mad Max movies. There are bits and pieces of satellites, burnt almost and sometimes no doubt entirely beyond recognition on re—entry. In some places the red earth itself is radioactive. Picture the still and, perhaps, from now on perpetually smouldering ruins of the napalmed Global Village, that wide—eyed electric Utopia of McLuhan's after more than a century of electric technology we have extended our central nervous system itself in a global embrace, abolishing both space and time as far as our planet is concerned. Rapidly, we approach the final phase of the extensions of man — the technological simulation of consciousness, when the creative process of knowing will be collectively and corporately extended to the whole of human society, much as we have already extended our senses and our nerves by the various media (1964:11).
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Fredriksson, Sophia. "The Schizoid Subject : Filth and Desire in Samuel R. Delany's Hogg." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-39605.
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This thesis investigates in which ways Samuel R. Delany’s novel Hogg challenge the discourse of normality as stipulated, supported and maintained by the capitalist Oedipal repression of desire. Drawing from Deleuze and Guattari’s theory of the Anti-Oedipus, this thesis explores how Deleuze and Guattari’s notion of desire as a free and productive force can be seen as a disruptive element in a society that relies on repression of the subject for its stability. Furthermore, this thesis explores how the novel questions the understanding of civilisation being dependent on the individual’s submission to the Oedipus triangulation and in extension the Oedipal capitalist separation between the public and the private sphere. Ultimately, the main argument claims that Oedipal repression of desire only allows desire to invest in a restricted number of representations, making other identities than the heteronormative suspicious or invisible. Hogg depicts a society where capitalism commodifies everything, and need the Oedipal subject to ensure its stability. The characters in the novel that do not subject themselves to the capitalist discourse escape the subjection to the Oedipal triangulation, and are thus free to invest their desire in any way they choose, primarily in non-heterosexual and salirophiliac activities. These characters can be seen as schizoid subjects that are constantly threatening to expose the fragility of the social structure by embodying a contrast to the hegemonic discourse and therefore constantly question its authority as main creator of reason and reality.
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Amorena, Maria Florencia. "Science, art, fiction : l'image chez Juan José Saer." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080143.
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Cette recherche se donne pour objectif d’analyser les images verbales dans l’œuvre de l’écrivain argentin Juan José Saer (Serodino 1937- Paris 2005). Elle s’appuie sur une étude du corpus littéraire ainsi que sur le scénario inédit Las nubes de Magallanes. Elle vise à comprendre dans quelle mesure les images verbales et mentales sont pertinentes dans la construction d’une esthétique et d’une épistémologie saeriennes. A partir d’une analyse des images verbales et mentales dans l’œuvre de Saer, cette étude veut non seulement montrer que description et narration sont intimement liées, mais que leur relation constitue une possibilité pour penser la présence des arts et des sciences dans l’œuvre de Saer autrement que de manière dichotomique. En tant qu'éléments de son programme d’écriture, les arts et les sciences sont insérés dans un ensemble plus vaste. En conséquence, la structure narrative configurée à partir des images vise davantage à la complémentarité des contraires. Elle implique donc également une possibilité pour penser le lien entre l’homme et le monde, ainsi qu’entre les sciences et les arts, à partir d’un système holistique et non dualiste. La clé de cette nouvelle forme narrative sera, non l’opposition, mais au contraire une esthétique de l’empathieThe objective of this thesis is to analyze verbal images in the work of the Argentinian writer Juan José Saer. By analyzing his novels, shorts stories and the unpublished film script Las nubes de Magallanes, we wish to understand the implications of the verbal images in the construction of a specific aesthetics and epistemology.Throughout the analysis of verbal and mental images in the work of Saer, this study has two fundamental aims: first, to show that description and narration are intimately linked; second, that this link enables us to think arts and sciences in the work of Saer in a non-dualistic way. The narrative structure by which we analyze the images seeks the complementarity of the opposites. This allows us to think the connection that man has with the world as well as the link between art and sciences as elements of a holistic system, instead of dualistic. The key to this new form of narration will be an aesthetic of empathy
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Anandan, Prathim. "Child/subject : children as sites of postcolonial subjectivity and subjection in post-Independence South Asian fiction in English." Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711768.
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Fanning, Ursula J. "Gender meets genre : woman as subject in the fictional universe of Matilde Serao /." Dublin : Irish Academic Press, 2002. http://catalogue.bnf.fr/ark:/12148/cb39260253b.
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Ward, Simon. "#Anders, wahr und realistisch' : negotiations between the modernist subject and recent German history in the fiction of Wolfgang Koeppen." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363679.
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Amorena, Maria Florencia. "Science, art, fiction : l'image chez Juan José Saer." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080143.
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Cette recherche se donne pour objectif d’analyser les images verbales dans l’œuvre de l’écrivain argentin Juan José Saer (Serodino 1937- Paris 2005). Elle s’appuie sur une étude du corpus littéraire ainsi que sur le scénario inédit Las nubes de Magallanes. Elle vise à comprendre dans quelle mesure les images verbales et mentales sont pertinentes dans la construction d’une esthétique et d’une épistémologie saeriennes. A partir d’une analyse des images verbales et mentales dans l’œuvre de Saer, cette étude veut non seulement montrer que description et narration sont intimement liées, mais que leur relation constitue une possibilité pour penser la présence des arts et des sciences dans l’œuvre de Saer autrement que de manière dichotomique. En tant qu'éléments de son programme d’écriture, les arts et les sciences sont insérés dans un ensemble plus vaste. En conséquence, la structure narrative configurée à partir des images vise davantage à la complémentarité des contraires. Elle implique donc également une possibilité pour penser le lien entre l’homme et le monde, ainsi qu’entre les sciences et les arts, à partir d’un système holistique et non dualiste. La clé de cette nouvelle forme narrative sera, non l’opposition, mais au contraire une esthétique de l’empathieThe objective of this thesis is to analyze verbal images in the work of the Argentinian writer Juan José Saer. By analyzing his novels, shorts stories and the unpublished film script Las nubes de Magallanes, we wish to understand the implications of the verbal images in the construction of a specific aesthetics and epistemology.Throughout the analysis of verbal and mental images in the work of Saer, this study has two fundamental aims: first, to show that description and narration are intimately linked; second, that this link enables us to think arts and sciences in the work of Saer in a non-dualistic way. The narrative structure by which we analyze the images seeks the complementarity of the opposites. This allows us to think the connection that man has with the world as well as the link between art and sciences as elements of a holistic system, instead of dualistic. The key to this new form of narration will be an aesthetic of empathy
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Taylor, Karen Ann. "“Her knowledge of flora and fauna came mostly from fiction" : the adolescent as green subject in three Canadian young adult novels." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42893.
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Using the lens of ecocriticism, this thesis focuses on the literary portrayal of nature in three contemporary realistic Canadian young adult novels: Mistik Lake by Martha Brooks, The Lightkeeper’s Daughter by Iain Lawrence, and The Uninvited by Tim Wynne-Jones. Ecocriticism—the critical and political inquiry into the discourses influencing our ideas of nature—questions our understanding of and relationship to the environment and to ecological concerns as portrayed in literary texts. As such, this research takes a green cultural-studies approach and draws upon sources from environmentalist criticism and literary studies to investigate the ways in which the three novels characterize the natural world, the quality of the relationship between the adolescent and nature, and how this relationship might influence readers’ attitudes toward the environment. The resultant explication describes the ways the narratives construct the natural world and produce the adolescent as green subject and provides insight into the young adult’s indeterminate and ambiguous relationship to the natural world.
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Kim, Angela. "Relate, Relative, Relationship." Thesis, Boston College, 2007. http://hdl.handle.net/2345/514.
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Thesis advisor: Susan MichalczykIsaac Newton's third Law of Motion states that "for every action, there is an equal and opposite reaction." When things collide, there is an immutable effect on both the initiator and the reactor. In the same way, people are in constant motion, "colliding" with one another and irrevocably changing in the process. It was only when I had to live on my own at Boston College that I realized how much the people in my life had such a powerful influence in my life. They are the ones who guided me to evolve into the person I am today. Swayed by my scientific background, I had always believed that I was mostly predestined by my genetic makeup: who I will ultimately become was written in my DNA from conception. However, living in a suite with seven other women and developing close relationships with people who were so unique made me question everything: my beliefs, my approach, my reactions, my opinions. The first chapter is a personal experience I had with my mother in dealing with the cultural and language barriers we had to face. A great deal of our misunderstandings arose because I was the first generation in my family to be born in America and to pursue a higher education at college. Many children come to a point when they rebel against everything their parents tell them to do because they do not understand why their parents do and say the things they do. It is only after the child and the parents can come to a mutual comprehension of each other that steps can be made toward building a stronger relationship, a relationship that goes beyond the simple acts of obedience — or rebellion — and of giving commands. My parents had immigrated to America in their early twenties in pursuit of better opportunities for their future. It was not until I was older and when my relationship with my mother had deepened that I could begin to comprehend her side of the story, her journey, her past which had influenced her decisions that she had made for her children. In order to recount this experience creatively, pieces of conversations that I had with my mother are woven throughout my scenes and my mother's scenes, which, in their stark contrast, causes a palpable tension. Being able to recount the memories in retrospect gives the ability to compare each experience and to reach an understanding. The second chapter is an exploration of the ripple effect amongst strangers and how individuals are all connected in one way or another. Our influences are felt by those around us, even though we may not be directly connected with them. Opening with a dramatic scene, the reader is taken sequentially backwards in time, tracing the steps that the seemingly unconnected characters had taken, ultimately understanding the woman's motivation. Each individual's secrets and conditions all culminate into that moment where one person tries to take her own life. It is rarely one isolated moment that triggers action. Like a snowball that rolls down a hill, increasing its speed and its size over time, various facets of one's life and of other's lives collect together to produce a bigger consequence of which one is aware. The concluding chapter of this series explores the fictional world of a family dealing with the repercussions of their past actions. Each individual's decisions had ramifications for the rest of the family, which they struggle to deal with years later. Characters face guilt, anger, bitterness, and responsibility, as they are constantly reminded of the day when their lives came crashing down. Instead of telling these characters' story by starting from the past and proceeding to the present in chronological order, I decided to include pieces of information and scenes from their memories for the reader to piece together. In the end, the reader is left with having to make a decision: with whom will he or she ultimately sympathize? Will he or she even make that choice? This comprehensive and tedious project provided many obstacles and tensions throughout the year, but it was a journey and a journey worth taking. Before this year, I was never afforded the opportunity to pursue a goal I had set for myself after watching "A Walk to Remember" in high school: to write a novel. It has been rewarding to see the end product of constant revisions, of constant criticisms, and of constant growth
Thesis (BA) — Boston College, 2007
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program
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Joyner, Carol L. "Cultural mythology and anxieties of belonging : reconstructing the "bi-cultural" subject in the fiction of Toni Morrison, Amy Tan and Annie Proulx." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1531.
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The thesis considers the construction of cultural identity in the writings of Tom Morrison, Annie Proulx, and Amy Tan. It consists of three chapters, one dedicated to each of the writers. In the examination of these writers the focus is upon the construction of the "bicultural" subject in the contemporary United States. The paradigm of analysis is constructed through discourses of space, landscape and physical geography. The first chapter is devoted to Toni Morrison and is divided into two sections dealing with the novels Beloved and Jazz. The first section examines how spatial discourses disrupt binaries that marginalise the black community. It concentrates upon the location of the "porch" in the novel and parallels it with the "porch" as a black spatial icon. The Jazz section examines the idealised space of the City. It focuses on the material layout of American Cities and discusses its relationship to constructions of American cultural identity. The debate is used to highlight how the geographical marginalisation of communities parallels their cultural alienation. The second chapter is split into two sections, the first focuses upon The Joy Luck Club, the second concerns The Kitchen God's Wife. Tan's work is discussed in relation to cultural geographic debates about mythic geography. It deals with the different ways in which Tan's texts try to palliate cultural anxieties about "belonging" by constructing a culturally soothing mythic location. An idealised version of the Chinese-American community is sustained through her constructions of both San Francisco and China, which she employs and negotiates in different ways in the two texts. The third chapter examines three Proulx texts, Postcards, Accordion Crimes, and Close Range Wyoming Stories. The chapter explores the different ways these texts negotiate cultural belonging in relation to geographic migration. Postcards is considered in relation to the literary discourse of migration. In Accordion Crimes the employment of similarly positivist conceptions of the construction of a "home" in North America is examined. The final section examines the problematic nature of "location" as both geographically and textually soothing. The Epilogue suggests the possible extension of the thesis and foregrounds the importance of the materiality of spatial construction to the cultural anxieties the thesis examines.
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Ngo, Quang. "We Have Always Been Posthuman: The Articulation(s) of the Techno/Human Subject in the Anthology Television Series Black Mirror." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1588760350394684.
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Albin, Jennifer L. "A subject so shocking the female sex offender in Richardson's Clarissa /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4514.
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Thesis (M.A.) University of Missouri-Columbia, 2006.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 21, 2007) Includes bibliographical references.
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Phiri, Aretha Myrah Muterakuvanthu. "Violent subject(ivitie)s : a comparative study of violence and subjectivity in the fiction of Toni Morrison, Cormac McCarthy, J.M. Coetzee, and Yvonne Vera." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10655.
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This thesis examines the links between and intersections of violence and subjectivity in a comparative, transatlantic and transnational study of the fiction of four recognized international authors, namely, Toni Morrison, Cormac McCarthy, J. M. Coetzee, and Yvonne Vera. Despite their differing geographical, temporal, cultural and socio-political situations and situatedness, these writers’ common, thematic concerns with taboo topics of violence such as rape, incest, infanticide and necrophilia, situate violence as a constitutive, intimate and intricate part of subjectivity. In providing varied, and not unproblematic, renderings of the mutuality of violence and subjectivity, their novels do not just reveal the ambiguous and ambivalent character and the fragile and tenuous processes of (exercising and asserting) subjectivity; their fiction enacts and engenders its own kind of textual violence that reflects and refracts the (metaphysical and epistemological) violence of the subjective process. Raising crucial questions about the place, role and efficacy of literature in articulating violence and subjectivity, this thesis argues that violence is meaningful to and constitutive of the subjective process in these authors’ works that offer an experiential, lived appreciation of subjectivity. Providing an historical and socio-political contextualization of the novels, the thesis maintains that these authors’ specific interpretations of violence in their fiction necessarily interrogates and reconfigures questions of race and culture, gender and sexuality, as well as morality; that is, it reexamines and repositions conventional interpretations of being and belonging, of subjectivity in general. In this way, their fiction reveals literature’s ability not merely to disprove theory but, through its very textuality, extend and enhance it to reflect the materiality of being.
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Bennini, Aïda. "Le Voile de l'intérêt social." Cergy-Pontoise, 2010. http://www.theses.fr/2010CERG0470.
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Après quelques décennies de discussions, le débat relatif à l’intérêt social a donné l’illusion d’avoir épuisé toutes ses ressources. Voilà que cette notion est propulsée au coeur des nouvelles thématiques du droit des sociétés, dont celle de la gouvernance des sociétés. Depuis l’avènement du gouvernement d’entreprise en France, le rôle de l’intérêt social a pris une nouvelle dimension. Mais d’autres événements bousculent cette notion, particulièrement la dématérialisation de l’entreprise et du capital social. Assurément, un conflit naissant entre l’horizontalité des droits et la verticalité de l’intérêt social émerge. Une évolution de l’intérêt social serait imminente. D’autant que le droit des sociétés s’est transformé pour mieux répondre aux nouvelles exigences économiques, lesquelles ont favorisé le pluralisme des intérêts. Ce changement s’est notamment exprimé par une subjectivisation de la norme encadrée par une procéduralisation du droit, comme pour promouvoir une meilleure démocratie dans les sociétés. En introduisant la raison dans le droit, le législateur a insufflé de la modernité dans les sociétés. Mais cette modernisation n’est pas signe de progrès, car elle s’approche davantage de la régression. Elle consacre un retour à l’état naturel des choses. Cette transformation profonde du droit des sociétés n’est pas restée sans conséquence sur l’intérêt social. En reconnaissant les conflits d’intérêts, le droit positif a démantelé la fonction traditionnelle de l’intérêt social qui consiste à dissimuler, par son voile, les divergences et les oppositions inhérentes à la vie des sociétés. A travers le rôle de l’intérêt social, le bilan et les perspectives de cette notion fondamentale du droit des sociétés se sont posés. Par l’analyse de son bilan, un rôle traditionnellement dévolu à l’intérêt social s’est affirmé. Il s’agit de la dissimulation par le voile. Incidemment, cela a permis de donner quelques éléments de réponse quant à sa nature juridique qui a tant divisé la doctrine. Cette étude propose une lecture renouvelée de ce concept, à travers une approche méthodique qui explore la rationalité procédurale, dans les profondeurs de notre système juridique. Par l’analyse de ses perspectives, cette étude a constaté une levée du voile de l’intérêt social, lequel s’inscrit dans la modernisation du droit des sociétés. Une fois le voile levé, le droit fait face au pluralisme des intérêts, et aux conflits. Afin de s’accommoder de cette tendance régressive du droit, cette étude propose la consécration d’une communauté d’intérêts en soutien à l’intérêt social. A cet égard, le rôle de l’intérêt social est appelé à changer, passant de la dissimulation par la fiction à la régulation des intérêtsAfter several decades of discussion, the debate on the corporate interest gave the illusion of having exhausted its resources. This notion has been propelled at the heart of the new corporate law topics, including that of corporate governance. Since the advent of corporate governance in France, the role of corporate interest has taken a new dimension. However, other developments erode the concept, particularly the dematerialization of the business and social capital. Imminently, the emerging conflict between horizontality and verticality of corporate interest makes the latter evolve. This is especially true since corporate law has changed to better respond to such new economic demands that encouraged the emergence of interests. This change was particularly expressed by a subjectivation of the standard of law shaped by a proceduralisation of law as to promote greater democracy in societies. By phasing reason in the law, the legislatures have modernized the societies. But this modernization is more alike regression than progress because it establishes a return to the natural state of things. This profound transformation of corporate law did not remain without consequences for the corporate interest. By recognizing the existence of the diverging interests the positive law has dismantled the traditional function of corporate interest which was to hide or, at least veil, the inherent differences and contradictions of corporate life. Through the role of corporate interest, the assessment results and prospects of this fundamental concept of company law have arisen. Upon its evaluation, the role to be traditionally associated with the corporate interest has emerged. This role is to conceal the veil. Incidentally, it has given some answers as to the legal nature of the corporate interest, a topic which has much divided the scholars. This study proposes a new interpretation of this concept through a systematic approach that explores the procedural rationale, going in depth of the French legal system. By analyzing its prospects, this study found a lifting of the veil of corporate interest, which is part of the modernization of company law. Once the veil lifted, the law faces a pluralism of interests and conflicts. To accommodate this regressive trend of the law, this study proposes the consecration of a community of interests in support of social interest. In this regard, the role of corporate interest changed from its concealment to its regulation, passing through its dissembling
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Fitzgerald, Caitlin Anne. "The Thorn Tree." Thesis, Boston College, 2007. http://hdl.handle.net/2345/376.
Full textAbstract:
Thesis advisor: Thomas Kaplan-MaxfieldWe remember childhood injustices for the rest of our lives. They are thorn-like memories, piercing and immediate, affecting us long after we have matured and moved on with our lives. The wounds of childhood have been written about by some of literature's greatest writers, including most notably James Joyce, in his masterpiece A Portrait of the Artist as a Young Man. In this creative work I try to investigate, through the voices of children, the role of wounds in the growing character of a child. Wounds both literal and metaphorical dominate the narrative, which is told from a variety of perspectives as one group of friends from one neighborhood advance through elementary school. My goal in this work is to portray the painfully observant nature of children — to show how much they absorb in the early years of their lives, the scope of which adults might not realize. I also try to capture the humor and tragedy of children's voices, and to create a whole world as seen through the eyes of children
Thesis (BA) — Boston College, 2007
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program