Dissertations / Theses on the topic 'Georgian History and criticism'
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Bunni, Adam. "Springtime for Caesar : Vergil's Georgics and the defence of Octavian." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/998.
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Vergil’s Georgics was published in 29 BCE, at a critical point in the political life of Octavian-Augustus. Although his position at the head of state had been confirmed by victory at Actium in 31, his longevity was threatened by his reputation for causing bloodshed during the civil wars. This thesis argues that Vergil, in the Georgics, presents a defence of Octavian against criticism of his past, in order to safeguard his future, and the future of Rome. Through a complex of metaphor and allusion, Vergil engages with the weaknesses in Octavian’s public image in order to diminish their damaging impact. Chapter One examines the way in which the poet invokes and complements the literary tradition of portraying young men as destructive, amorous creatures, through his depiction of iuvenes in the Georgics, in order to emphasise the inevitability of youthful misbehaviour. Since Octavian is still explicitly a iuvenis, he cannot be held accountable for his actions up to this point, including his role in the civil wars. The focus of Chapters Two and Three of this thesis is Vergil’s presentation of the spring season in the Georgics. Vergil’s preoccupation with spring is unorthodox in the context of agricultural didactic; under the influence of the Lucretian figure of Venus, Vergil moulds spring into a symbol of universal creation in nature, a metaphor for a projected revival of Roman affairs under Octavian’s leadership which would subsequently dominate the visual art of the Augustan period. Vergil’s spring is as concerned with the past as it is the future. Vergil stresses the fact that destructive activity can take place in spring, in the form of storms and animal violence; the farmer’s spring labor is characterised as a war against nature, which culminates in the horrific slaughter of oxen demanded by bugonia. In each case destruction is revealed as a necessary prerequisite for some form of creation: animal reproduction, increased crop yield, a renewed population of bees. Thus, the spring creation of a new Rome under Octavian will come as a direct result of the bloodshed of the civil wars, a cataclysm whose horrors are not denied, but whose outcome will ultimately be positive. Octavian is assimilated to Jupiter in his Stoic guise: a providential figure who sends fire and flood to Earth in order to improve mankind.
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Ungar, Ruti. "The boxing discourse in late Georgian England." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät I, 2012. http://dx.doi.org/10.18452/16616.
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Die Arbeit untersucht den Diskurs um das Boxen in der englischen Gesellschaft zwischen circa 1780 und 1820. Sie zeigt, dass er ein wichtiger Schauplatz für die Austragung sozialer, politischer und kultureller Konflikte war. Im Diskurs um das Boxen spiegeln sich in besonderem Maße die Konflikte zwischen civic humanism und politeness wieder, des Konfliktes zwischen zwei einander entgegengesetzten Männlichkeitsidealen: das Ideal vom starken Mann, das von den Boxern verkörpert wird und dem gegenüber das Ideal des verweichlichten und einfühlsamen ‚polite man‘. Boxen nimmt auch eine zentrale Funktion in den Debatten über die Rolle der Arbeiterklasse im ‚body politic‘ ein: von Konservativen wurde es eingesetzt als gegenrevolutionäre Maßnahme, um die Masse zu mobilisieren ohne Ihnen eine politische Teilhabe zu geben. Radikale sahen es als ein Instrument, um die Arbeiter zu ermächtigen, sie über Ihre Rechte zu informieren und deren Ansprüche auf Emanzipation zu legitimieren. Boxen war zudem ein Schlachtfeld, um verschiedene Verständnisse von Rasse und nationaler Identität auszutragen: einem Verständnis, dass das nationale Ganze als ethnisch homogen konstruierte und einem inklusiveren Verständnis der englischen Nation, das Minoritäten nicht ausschließen musste.The study examines the discourse on boxing in English society circa 1780 to 1820. It shows that it was a site of struggle between diverse notions of gender, class, race, and nation. Boxing was a central arena for the opposition between civic humanism and politeness. It was an arena for the struggle between two diametrically opposed manly ideals, the strong and corporeal ideal epitomized by the boxers versus the feminine and sensitive polite ideal. Boxing took on an important role in the debates on the place of the working class in the body politic; conservatives perceived boxing as a counter-revolutionary measure and way to mobilise the masses in defence of their country without granting them political rights. Radicals viewed it as a tool to empowering the workers, educating them on their rights and legitimizing their claims for emancipation. Boxing was also a site of struggle between conflicting notions of race and differing ideas of national identity, specifically between one which saw the nation as ethnically homogenous and another, more cultural understanding of national identity, which was more inclusive to minorities.
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Brodie, Daniel. "The Jewish strong man: Daniel Mendoza and the assault on stereotype in late Georgian England." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106591.
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The focus of this study is Daniel Mendoza (1764-1836), an exceptional boxer and a controversial figure of Georgian Anglo-Jewish society. It will chart his meteoric rise from greengrocer's apprentice to champion boxer, and his sudden decline. The thesis aims to put Mendoza in his proper historical context, focussing on the dominant issues for the Jewish community at the time. To do this, there will be a review of the major works of Jewish and English history from the period. It also attempts to bring Mendoza, previously overlooked by Anglo-Jewish historians, to the forefront of any debate about the position of Anglo-Jewry at the beginning of the nineteenth century. The study will examine, in particular, the effect of Mendoza on the stereotyping of Jews in late eighteenth century England, and how he presents himself, through his writings and manipulation of the press, as the antithesis of the traditional Jewish stereotype. To show this, the thesis draws on many primary sources, predominantly newspapers and boxing reports from England, as well as Mendoza's own memoirs, and Old Bailey proceedings.Le sujet de cette étude est Daniel Mendoza (1764-1836), un boxeur exceptionnel et un personnage controversé de la société juive en Angleterre durant les reines des roi George III et IV. Elle documentera son ascension fulgurante d'un épicier apprenti à un boxeur champion, et son déclin soudain. Ce mémoire tente de mettre Mendoza dans son contexte historique approprié, concentrant sur les questions dominantes pour la communauté juive de l'époque. À cette fin, il inclura une revue des œuvres majeures d'histoire juive et anglaise de la période. Il tente aussi d'amener Mendoza, jusqu'ici négligé par les historiens anglo-juifs, au premier plans de quelconque débat sur la position des juifs anglais au début du XIXe siècle. Cette étude examinera, en particulier, l'effet de Mendoza sur les stéréotypes des juifs en Angleterre à la fin du XVIIIe siècle, et comment il se présente à travers ses écrits et à travers ses manipulations de la presse, comme l'antithèse du stéréotype juif traditionnel. À ces fins, la thèse s'appuiera sur plusieurs sources primaires, principalement des journaux et des rapports de boxe d'Angleterre, ainsi que les mémoires de Mendoza lui-même et les procédés de l' «Old Bailey », la cour criminelle de Londres.
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Brownlie, Robin. "A fatherly eye, two Indian agents on Georgian Bay, 1918-1939." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ27779.pdf.
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Simpson, Nigel. "Post-structuralism and history." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282616.
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Stewart, Hailey A. "The Power of Perception: Women and Politics at the Early Georgian Court." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699945/.
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The early Georgian period illustrates how the familial dynamic at court affected women’s opportunity to exert political influence. The court represented an important venue that allowed women to declare a political affiliation and to participate in political issues that suited their interests. Appearances often at variance with reality allowed women to manipulate and test their political abilities in order to have the capability to exercise any possible power. Moreover, some women developed political alliances and relationships that supported their own interests. The family structure of the royal household affected how much influence women had. The perception of holding power permitted certain women to behave politically. This thesis will demonstrate that the distinction between appearances and reality becomes vital in assessing women at the early Georgian court by examining some women’s experiences at court during the reigns of the first two Georges. In some cases, the perceived power of a courtier had a real basis, and in other instances, it gave them an opportunity to assess the extent of their political power. Women’s political participation has been underestimated during the early Georgian period, while well-documented post-1760.
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Bork, Debora J. "History and criticism of photographically illustrated children's books /." Online version of thesis, 1988. http://hdl.handle.net/1850/11490.
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Riding, Christopher John Livsey. "The art criticism and history of Michael Fried." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272737.
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Amley, Hollis Marie. "The Evolution of Criticism on Jean-François Millet." NCSU, 2005. http://www.lib.ncsu.edu/theses/available/etd-03282005-154529/.
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AMLEY, HOLLIS MARIE. The Evolution of Criticism on Jean-François Millet. (Under the direction of Keith Luria.) The nineteenth-century French painter Jean-François Millet?s social context, compositional style, and rustic subject matter invite a wide variety of interpretations of his art. To his biographer and contemporary Alfred Sensier, the rustic canvases were the work of a stoic ?peasant painter,? removed from the political controversies of his day. To the Marxist art historian T. J. Clark, on the other hand, Millet?s paintings interacted with and challenged the dominant values and institutions of the Second Republic. To the social art historian Robert Herbert, the paintings reveal the artist?s response to urban-industrial change and his Parisian exodus. In presenting these three formative readings of Millet?s canvases, this thesis demonstrates how each particular writer?s vantage point in history affected both his methodology and vision of the artist?s identity. The criticism on Millet shows not merely a series of antithetical, isolated opinions, but a kind of evolution, one that has gradually come to include both the artist and the society in which he worked.
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Bales, Brittany. "Viewing History Through a Lens: The Influence of Film on Historical Consciousness." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3688.
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This thesis presents an interdisciplinary study of the significance of contemporary film in our understandings of gender, race, and sexuality in Georgian England. I argue that while films set in this period may lack the subtleties and depth of the realities that make up the Georgian era, they are still valuable in informing current discussions concerning race, gender, and sexuality. By examining such films, we learn not only more about the Georgian period and how it is presented and understood by contemporary audiences, but these films tell us much about our own biases, attitudes, and society.
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Ryan, Matthew. "Self, nation and novel in contemporary Irish writing." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5421.
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Henrikson, Marina Helena. "Nation-building in times of conflict : the discursive construction of Russian national identity through the Russo-Georgian War." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/nationbuilding-in-times-of-conflict-the-discursive-construction-of-russian-national-identity-through-the-russogeorgian-war(effdcae1-69b8-40a5-a990-311d5f404dc5).html.
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This thesis examines the discursive construction of Russian national identity through the 2008 war in Georgia with a focus on how this process was influenced by the Russian leadership’s desire to gain the support of both the domestic and international audiences for its actions outside its borders. These actions involved forceful military intervention, the recognition of the independence of the two Georgian break-away republics of South Ossetia and Abkhazia and the decision to place Russian military troops in the two republics during the aftermath of war. The study critically examines the official Russian discourse, with a focus on particular visions of national identity that this discourse utilized. The study demonstrates how the official discourse in the context of the 2008 war contributed to the construction of Russian national identity and thereby seeks to highlight the performative power of language. By placing considerable focus on the internal dimension of the Russian leadership’s conduct in the international arena, i.e. the consolidation of the national community in the event of war, the thesis contributes to an oft overlooked element of Russian foreign policy initiatives. Consequently, it seeks to challenge the tendency to explain Russian actions with regard to the war as a natural result of a neo-imperialistic identity – a tendency that fails to take into account how national identity can be constructed in its more immediate context. By making use of Rogers Brubaker's concept of nationalism as an event, the study discusses the increased force of nationalism during war and demonstrates how this was clearly the case during the 2008 war in Georgia. The analysis concentrates on three main identity visions within the official Russian discourse. Firstly, it examines how contemporary Russia was constructed as a great power, partly as a response to the claims that it was an imperialist state. Secondly, it discusses the role of certain historical concepts, i.e. the Cold War and the Soviet Union, within the discourse and elaborates upon the act of politicising history. Thirdly, the study analyses the Russian leadership’s protection narrative that emphasised the responsibility to protect Russian citizens and compatriots in South Ossetia and Abkhazia. It is demonstrated how these different identity visions were intertwined, resulting in a rather contradictory official discourse that speaks to many different audiences simultaneously, while foregrounding the first of the above-mentioned identity visions, namely of Russia as a great power.
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Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.
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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Schillinger, Stephen. "Common representations : Jack Straw and literary history as cultural history on the early modern stage /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.
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Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.
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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
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Wallis, Lesley Ann. "History, politics and tradition : a study of the history workshop 1956-1979." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369414.
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何倬榮 and Cheuk-wing Ho. "Engendering children: from folk tales to fairy tales." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227363.
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Haddad, Ziyad Salem. "The Jordanian contemporary art criticism : a methodological analysis of critical practices /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487588939088645.
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Charlesworth, J. J. "Art criticism : the mediation of art in Britain 1968-76." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1803/.
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This thesis studies the changes in the nature of critical writing on contemporary art, in the context of the British art world across a period from 1968 to around 1976. It examines the major shifts in the relationship between the artistic production of the period and the forms of writing that addressed it, through those publications that sought to articulate a public discourse on art in a period where divergent accounts regarding the criteria of artistic value, and the terms of critical discourse, came increasingly into conflict. This thesis takes as its main subject a number of publication venues for art-critical writing of the time, and their responses to the rapidly changing scene of artistic production. It examines the forms of writing that attended emerging artistic practice and the theoretical and critical assumptions on which that writing depended, highlighting those moments where critical discourse was provoked to reflect self-consciously of the relation between discourse and artistic practice. By tracing the repercussions of the cultural and political revolts of the late 1960s, it examines how the orthodoxies of art criticism came to be challenged, in the first instance, by the growing influence of radical artistic practices which incorporated a discursive function, and by leftist social critiques of art. It explores how, in the first half of the 1970s, radical and political artistic practice was promoted by a number of young critics, and sanctioned by its presentation in public art venues. Examining the history of magazines such as Studio International and a number of smaller specialist and non-specialist magazines such as the feminist Spare Rib and the left-wing independent press, it attends to how debates over the cultural and social agency of art began to draw on continental theoretical influences that put into greater question the role of subjective experience and the nature of the human subject. It examines how this shift in the relation between practice and discourse manifested itself in the editorial and critical attitudes of publications both from within the field of artistic culture, and from a wider context of publications embedded in the radical political and social currents of the early 1970s. It gives particular attention to the careers of a number of prominent critics, while situating the later reaction against alternative artistic practices in the context of the politically conservative turn of the end of the decade.
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Hart, Sally. "Derrida and postmodernity : at the end(s) of history." Thesis, University of Chichester, 2007. http://eprints.chi.ac.uk/836/.
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This thesis erects and defends the proposition that Jacques Derrida's readings of 'metaphysics in deconstruction' and his raising to theoretical consciousness of the 'differential matrix', have the capacity to inaugurate a 'brave new world' in this postmodern 'age of the aporia'. Beginning with an examination of Derrida's readings of Husserl and Saussure, it is argued that the radical historicity uncovered here qua an originary synthesis of language, time and the other, opens the possibility for greatly more democratising and emancipating self-creations and human solidarities to be thought. In terms of 'self-creations', and borrowing from the work of Elizabeth Deeds Errnarth, Chapter Two follows Derrida as modernity's sovereign subject and its 'History' are dis-placed by an absolutely affirmative postmodern subjectivity whose axiom might be 'I inherit, therefore, I am ... yes, yes ... ' Construed through his deconstructive reading of Kant, Derrida shows the way in which this postmodern subjectivity without alibi, makes of us all (like it or not, know it or not) resistance fighters, so many singularities existing in constant tension with all normalising/totalising tendencies (social, economic, techno-scientific, political, legal etc ... ) which profess to know the secret. Turning to co-extensive 'human solidarities', Chapter Three subsequently demonstrates the way in which Derrida's call for a 'New International', orientated through a 'new figure of Europe', enables us to imagine new polysemic communities (local, national, international) founded on the 'aporia of the demos', a 'foundation' that construes its hyper-relativity as a positive (ethico-political) condition of decision in terms of a radical responsibility (on an individual and communal level) for the moral/aesthetic decisions we make. It is thus that I will argue that Derrida's vision for a 'new world order' is born out of an aporetic condition which is both a risk and a chance of both the best - and the worst - happening; as someone who shares Derrida's desire for a fairer, freer, more peaceful world, one respectful of difference and otherness, I believe this to be a 'poker like gamble' well worth taking. Chapter Four offers a comparative analysis between the work of Jacques Derrida and Jean Baudrillard, two theorists counter-signing differently many of the 'same' discourses/ traditions/cultures/languages, etc ... to which they are both heirs. The chapter examines their respective 'quasi-philosophies of the limit', together with their differing conceptions of the issues surrounding globalisation and universalisation, as well as Baudrillard' s elevation of America (as opposed to Europe) as the exemplary site of resistance against the dangers of totalisation in 'postmodem' societies. The central argument here, in line with my previous remarks, is that Derrida's thought arguably remains 'the best' way to navigate the postmodem condition and the challenges it produces. The originality of this thesis lies in two main areas, the first having to do with my presentation and conception of Derrida's oeuvre and the second having to do with the comparisons made in this study between Derrida and Ermarth and Derrida and Baudrillard. In terms of the former, I offer what I consider to be a unique, sustained, in-depth analysis of the 'development' (on a theoretical and practical level) of the thematics of 'radical historicity' and of 'post-historical man' - effectively the development of Derrida's quasi-philosophy of history- from his earliest works so that they can be seen to inform his later intervention(s) in what are conventionally understood as ethical and political matters; transforming this understanding in the process and, after the end of history's ends (upper case, lower case and the totalising 'history of meaning' per se), quite literally and radically changing the way we see what we call 'the world'. For while in the conventional literature Derrida's politics come late, I argue here that his indeed later political work is but an emphasis of constant political thematics acting as a leitmotif from beginning to end. Turning to the latter, in terms of the comparisons I make - first between Derrida and Ermarth in Chapter Two and more especially between Derrida and Baudrillard in Chapter Four - the claim to originality lies in the fact that there is no comparison of any note or depth in the literature between these thinkers; nothing that compares Derrida's 'affirmative postmodem subjectivity' and its 'inheritance' with Ermarth's 'rhythmic time' and 'muIti-level consciousness', and nothing comparing Derrida's corpus - specifically his optimistic emancipating and democratizing hopes for the future - with Baudrillard's more pessimistic conceptualization of 'simulation society' and the loss of our European universal values under the hegemonic, globalising movement of the 'American model'. The aim of these two comparisons is to support my claim that Derrida's historico-political position is the 'best' way of essaying the quasi-ground of an in(different) politics in such a way that it keeps the future open to what he calls a 'better world' to come, a world without ends.
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Siviter, Clare. "Rewriting history through the performance of tragedy, 1799-1815." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87637/.
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This thesis constitutes the first extensive study of tragedy during the Napoleonic era. The new tragic productions of this period have been sidelined by French theatre history, allegedly because they were tired copies of seventeenth-century classical models, conduits for propaganda, and suffocated by censorship. I challenge this judgement by excavating this period’s theatre and by applying renewed critical approaches, notably André Lefevere’s notion of rewriting which posits that all productions are subject to poetics and ideology. This thesis is comprised of two principal axes. The first focuses on poetics to contend that new productions were not simply copies of classical plays. Although tragedy was based on the imitation of seventeenth-century models, which scholars refer to as classiques, these examples were rewritten during the eighteenth century, an activity which continued under Napoleon. Therefore, there was no stable example to imitate, rather there was a particular contemporary understanding, which I label the ‘classique’ model to underline its specificity. Using contemporary treatises to form a generic framework, I examine how new tragedies performed at the Comédie-Française depart from this inheritance, reconsidering the passage from theatrical Classicism to Romanticism. The second axis engages with Napoleonic cultural politics by rethinking the terms ‘propaganda’ and ‘censorship’. Although tragedy was used for its propagandistic properties, this policy was not always successful. Moreover, the works’ reception reveals that playwrights and the public appropriated tragedy’s rewriting of historical narratives as a means of mediating the Revolution. Finally, I examine censorship, investigating how the State’s bureaucratic and the Comédie-Française’s lateral systems combined to control and tailor tragedies in performance and print for contemporary audiences. Consequently, this thesis sheds light both on the transition from Classicism to Romanticism in the theatre, and the public and the regime’s use of tragedy as a means of reconstructing the French nation after the Revolution.
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Fairley, Ian. "Criticism in history : the work of György Lukacs, 1902-1914." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333708.
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Hilton, Austin W. B. "King Fred: How the British King Who Never Was Shaped the Modern Monarchy." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3064.
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This thesis examines the British monarchy in the eighteenth century and how the philosophy of Frederick, Prince of Wales, helped to shape that monarchy. The early Hanoverians were seen with contempt by many of their subjects, often being ridiculed as ignorant outsiders. They helped matters none by their indifference to Britain, its people, or its culture. Prince Frederick, George II’s eldest son, however, changed all of this. His philosophy on kingship, influenced by Henry, Viscount Bolingbroke’s work, The Patriot King, helped to change the perception of the Hanoverian dynasty. When Prince Frederick died in 1751 before he could take the throne, it was left up to his son, Prince George, to carry out Frederick’s vision. As George III, he fulfilled the philosophy and became the embodiment of the patriot king. This resulted in a surge in popularity for the Hanoverians, solidifying their place on the British throne.
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Pelletier, Valérie. "Etude sur l'entremêlement des concepts d'histoire et de fiction dans la littérature historique et fantastique en Chine." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79969.
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The fantastic stands as an important part of Chinese culture. It is in fact through its literature that it has been made possible for us to enjoy this heritage. With the study of fantastic tales and anomaly accounts, this thesis tackles the problem of rationalism in relation with supernatural. It attempts to understand the mechanisms of the intermingling of the concepts of fiction and history, through the comparison of Chinese historical and fictional texts, as well as parallels between China and Europe. It will also deal with the concepts of nature, in both the perspectives of China and Europe, and the Enlightenment.
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Turner, Seth. "Revelation 11:1-13 : history of interpretation." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:57efe3b3-7c61-412f-9001-5269860a896d.
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The thesis provides a descriptive survey of the history of interpretation of Revelation 11:1-13. Prior to 1000 AD it aims to be comprehensive, but after this date concentrates on Western interpretation. Ch. 1 - Prior to 1000 AD. Rev 11:1-13 is examined in relation to the wider complex of traditions concerning Antichrist and the return of Enoch and Elijah. The commentary tradition on Revelation is examined, including an extensive reconstruction of Tyconius. The passage is applied in two ways: 1. to two eschatological figures, usually Enoch and Elijah. 2. to the Church from the time of Christ's first advent until his return. Ch. 2 -1000-1516 Exegesis similar to that of chapter 1 is found. There is new exegesis from Joachim of Fiore, who believes that the two witnesses will be two religious orders, and Alexander Minorita, who reads the entirety of the Apocalypse as a sequential narrative of Church history, arriving at the sixth century for 11:1-13. Ch. 3 -1516-1700 Protestants interpret the beast as the papacy/Roman Church, and the two witnesses as proto-Protestants prior to the Reformation, often interpreting their 1260 day ministry as 1260 years. Catholics respond by applying the passage either to the eschatological future or the distant past. Ch. 4 -1701-2004 Protestants continue to see the 1260 days as 1260 years, although this interpretation declines markedly in the nineteenth century. Both Catholics and Protestants apply the passage to the distant past of the early Church. Historical critical exegesis introduces a new exegesis, where John is regarded as having incorrectly predicted the return of two individuals shortly after his time of writing. Applications to the entirety of the time of the time of the Church increase in popularity in the twentieth century.
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Chapin, Charles Nicholas. "The turn to reading in twentieth-century literary criticism." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609859.
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Orth, Michael D. "Mirages Solidified: Myth, Beautification, and Tourism In The Creation of Santa Barbara’s El Pueblo Viejo Landmark District." DigitalCommons@CalPoly, 2011. https://digitalcommons.calpoly.edu/theses/615.
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A number of books and articles have been written on the social movement to reimagine Southern California’s past in the nineteenth and early twentieth centuries. While many of the pageants, parades, and public displays that defined this regional movement now reside in the pages of history, some architectural examples from this period are still visible today. In many cities, these examples are scattered throughout the community; while in others like Santa Barbara, they represent the centerpiece of the city’s architectural distinctiveness.
Santa Barbara’s architecture challenges urban scholars to successfully garner an accurate sense of the past. More importantly, such historic spaces divert attention away from the social efforts that led to their inception. This thesis charts the history of Santa Barbara’s architectural reinvention and how the stylistic proliferation influenced the way various generations would think about the city’s past. The renaissance in a uniform Spanish style not only inspired local beautification efforts but also historic preservation, which ultimately resulted in the creation of the El Pueblo Viejo Landmark District in 1960. Additionally, this narrative critically examines the area’s history prior to the district’s establishment to show how economic profitability guided city planning, beautification, tourism, and preservation toward the ultimate solidification of the town’s Spanish image.
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Rockhill, Paul Hunter. "The Reception Theory of Hans Robert Jauss: Theory and Application." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5153.
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Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.
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Ohm, Andrew Taehang. "Two faces of Manasseh : a comparative reading of 2 Kings 21:1-18 and 2 Chronicles 33:1-20." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources. Online version available for University member only until Dec 1, 2013, 2008. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=25472.
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King, Edward Carlos Richard. "Mapping the control society : science fiction tropes and digital technologies in contemporary Argentine and Brazilian narrative." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610135.
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Chau, Ka-wah Anna, and 周嘉華. "Imaginary spaces in children's fantasy fiction: a psychoanalytic reading of Lewis Carroll's Alice Booksand Philip Pullman's His Dark Materials Trilogy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364986.
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Moeketsi, Solomon Monare. "Space and characterization in Sesotho novels." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53060.
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Thesis (PhD)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: This study examines space and characterization in Sesotho novels focussing on three main categories such as the space of travelling characters; the space of migrating characters; and the space as an abstraction. CHAPTER 1 introduces the aims of study as well as the theoretical framework which forms the basis on which the study is analysed. The notions of space and character are discussed within the theoretical framework of structuralism, and the focus is placed on narratology. CHAPTER 2 studies the travelling characters, focus is on Mofolo's novels, Moeti wa botjhabe/a and Pitseng which depict two types of space where one space is presented as traditional, and the other as a westernized space. The traditional and westernized spaces are symbolized by means of bad and good characters respectively. The good characters are depicted as angels, and the bad characters as monsters. CHAPTER 3 examines the space of migrating characters that leave their rural spaces for the urban spaces. Their characters are shown by means of changes that they experience at different spaces. In most of the novels examined, characters are motivated by certain desires to act in a particular way, and the change in them is the result of a crucial situation in life, hence we say characterization and space in those novels are reconciled in an appropriate way. CHAPTER 4 deals with the space as an abstraction which shows how the characters' personalities are affected by the political, psychological and socio-economic factors. Characterization in these novels is good except in Makappa's novel, Thatohatsi. In CHAPTER 5 we look as to whether the novels are good or bad in terms of literary appreciation and conclusion is drawn to the effect that it is not heredity that makes up a character, but the social environment. This is achieved through the literary aspects such as the way conflict is handled, types of characters and the portrayal of the space in which the characters live.
AFRIKAANSE OPSOMMING: Die navorsing wat hierdie proefskrif gedoen is het die soeklig op ruimte en karakterisering in Sesotho novelles laat val. Klem is op drie hoof-kateqorie gele. uimte wat deur rondreisende karakters ingeneem word, die ruimte wat deur nomadiese of rondtrekkende karakters beslaan word, en ruimte as n bepaalde begrip. Hoofstuk 1 stel die leser voor aan die doelwitte van die navorsing, sowel as die teoretiese raamwerk wat die grondslag waarop die studie berus, vorm. Die begrippe 'ruimte' en 'karakter' word binne die teoretiese raamwerk van die strukturalisme bespreek en die fokus word in hierdie geval op die vertelkunde geplaas. Hoofstuk 2 Ie klem op rondreisende karakters en ondersoek Mofolo se novelles Moeti wa botjhabela en Pits eng waarin twee soorte ruimtes uitgebeeld word; naamlik, tradisionele ruimte en verwesterse ruimte. Tradisionele en verwesterse ruimtes word onderskeilik deur slegte en goeie karakters versinnebeeld. Die goeie karakters word as engele uitgebeeld, terwyl die slegte karakters as monsters voorgestel word. In Hoofstuk 3 word die ruimte van die nomadiese karakters wat hulle plattelandse ruimte vir 'n stedelike ruimte verruil, ondersoek. Hierdie karakters word deur middel van veranderinge wat in verskillende ruimtes plaasvind, voorgestel. In die meeste novelles wat ondersoek is, het die karakters op n sekere manier opgetree omdat hulle deur bepaalde begeertes daartoe gedryf is. Die verandering in die lewens van hierdie karakters as gevolg hiervan, kan dan beskou word as die direkte gevolg van sekere deurslaggewende gebeurtenisse. Karakteriseering en ruimte word dus in hierdie novelles op n geskikte wyse met mekaar verbind. Hoofstuk 4 neem die begrip 'ruimte' onder die loep om sodoende aan te dui hoe die karakters se persoonlikhede deur politieke, sielkundige en sosio-ekonomiese faktore beinvloed word. Karakterisering in hierdie novelles is geslaagd, behalwe in Makappa se novelle Thatohatsi. In Hoofstuk 5, word aandag geskenk aan die beoordeling van die novelles in terme van die hulle literere waarde en daar word tot die gevolgtrekking gekom dat dit nie oorerflike eienskappe is wat gestalte aan 'n bepaalde karakter gee nie, maar veel eercer sy omgewing. Oit word veral duidelik as gelet word op bepaalde literere aspekete soos die manier waarop konflik uitgebeeld word, asook die beskrywing van die ruimte waarin die karakters hulle bevind.
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Van, Huyssteen Konstant. "Populêre vs. literêre grensverhale : twee beelde van die Angolese oorlog (1966-1989)." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/19512.
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Bibliography: pages 198-207.In this dissertation, a study is made of two bodies of fiction documenting the South African soldier in Angola. The fiction was limited to Afrikaans short stories, as this genre is believed to best reflect the fragmentary, explosive experience of combat. This demarcation also served as a way of limiting the body of fiction for the study. A cut-off year of 1990 was taken. The rationale for this is that the late seventies and eighties was the golden age for the publication of border fiction, and that Southwest AfricaNamibia gained independence in 1990 with a SWAPO (South West Africa People's Organisation) government, thus largely defeating the purposes of South African military involvement in Namibia and Angola. The collections of short stories that were analyzed in this study, were divided into two categories. The stories published in popular family magazines such as Die Huisgenoot were considered to be popular fiction. These stories are overtly accepting of South Africa's involvement in Namibia and Angola, and are highly propagandistic. The collections Ses Wenverhale (1988) by Maretha Maartens and others, and Verby die wit brug (1978) by Johan Coetzee, were analyzed as examples of this category. In the category of literary short stories, Wie de hel het jou vertel? (1988) by Gawie Kellerman and 'n Wereld sonder grense (1984) by Alexander Strachan were analyzed. It is important to note that the texts were selected thematically i.e. the criterium was that they had to have the South African soldier in South West AfricaAngola as main theme. Analyses of the texts are based on the thesis formulated by H P van Coller in his article "Afrikaanse literatuur oor die gewapende konflik in Suider-Afrika sedert 1963 - 'n voorlopige verslag". In this report, Van Coller mentions that studies comparing the literary border fiction with the popular border fiction, have been left behind. The study aims at examining this unexplored territory and looks extensively at how these two bodies of fiction differ. It was found that two radically different images of the border war emerge from the two bodies of fiction: the popular fiction is uncritical, war is presented more as an exciting game in the popular fiction, whereas it is presented as deadly, yet addictive, in the literary fiction. The ideological backgrounds from which the stories are written, are fundamentally opposed: the popular fiction often sees the war as a continuation of the white man's struggle for survival on a violent continent, and God is assumed to be on the South African side. The literary fiction documents a loss of God and criticises the government, censorship and apartheid. The literary fiction also fulfills a function of reporting - that which has not been said in the media due to censorship by government. The scope of the popular fiction is much narrower than the literary fiction, ignoring issues such as homosexuality in the army, torture and atrocities. Finally, the conclusions differ, with a sentimental "all will be well" in the popular fiction, as opposed to the fundamental pessimism in the literary fiction.
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Osinkina, Lyubov. "The textual history of Ecclesiastes in Church Slavonic." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:105639ae-dbd0-49bb-a7aa-f36bac2ee221.
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So far only a limited number of biblical books in Church Slavonic has been studied and edited, and the book of Ecclesiastes does not feature among these. Ecclesiastes is not a mainstream book such as the Gospels and the Psalter but rather a peripheral biblical text never used in Eastern Orthodox liturgical services. Its late date and small number of witnesses, which also reflect its marginal status, are additional reasons why this particular book has not attracted much scholarly attention in the past. This thesis is intended to contribute to studies in the history of the Church Slavonic Bible by editing the unpublished text of Ecclesiastes including its catenary versions and discussing its textual tradition. Ecclesiastes surfaces as a complete text relatively late: the earliest extant Cyrillic manuscripts are from the 15th century. Such a late date may be an indication that there was no pressing need for translating the non-liturgical book of Ecclesiastes. Two Church Slavonic translations of Ecclesiastes are extant: one, attested in Cyrillic manuscripts, survives in three distinct types: a continuous version of the text (32 manuscripts of the 15th-17th centuries), a fragmentary commentated version (1 manuscript of the 16th century), a fragmentary commentated insertion (8 manuscripts of the 15th-16th centuries). The other translation is a Croatian Church Slavonic version in Glagolitic breviaries (17 manuscripts of the 13th-16th centuries). The structure of the thesis is determined by the nature of the subject, which deals with textual criticism. The chapters are organised into a series of sections which all have headings. This somewhat 'atomistic' approach is necessitated by the fact that we are faced with fragmentary and incomplete evidence of manuscript sources, and therefore only detailed examination and comparison of various manuscripts and versions of the text will enable us to solve, at least in part, the textual history of the book in question. The limitations of the present study are the scarcity of manuscripts and the lateness of the tradition. These, however, are familiar 'obstacles' recognised by Slavists working on similar subjects. The thesis consists of an introduction, which presents a brief historical outline of the Church Slavonic biblical translations, 4 chapters, conclusion, bibliography and 2 appendices: the first of these contains a variorum edition of the continuous text of Ecclesiastes; the second, the parallel texts from continuous, commentated and interpolated versions. Chapter 1 gives a list of all the extant manuscripts of Ecclesiastes with short descriptions including dating (on palaeographical grounds), and investigates the textual relationships between various groups of manuscripts using the classical method of textual criticism and stemmatics. This leads on to a discussion of the type of edition to be used. At the end of the chapter a stemma codicum is constructed. Analysis of the language is carried out in an attempt to date the translation on linguistic grounds. Chapter 2 provides an overview of the Greek and Slavonic catena and explores some of the key issues arising out of the existence of several versions and early fragments of Ecclesiastes. It deals with problems concerning the date and place of the translation of Ecclesiastes. Detailed analysis sheds some light on the textual peculiarities of the three versions: commentated, interpolated and continuous. The complex interrelationship between these three versions is investigated further and a comparison with the earlier extant fragments of the catena is also carried out. Chapter 3 deals with the quotations from Ecclesiastes in early translated texts and in original Old Russian literature. Quotations found in medieval Slavonic texts, both translated and original, appear to be independent of the translation of continuous Ecclesiastes known from manuscripts of around the 15th century. However, the quotations prove that parts of Ecclesiastes were known in some form of exegetical compilations. Chapter 4 investigates the translation of Ecclesiastes in the Croatian Church Slavonic breviary tradition. It examines claims made by scholars in the past and present with regards to its authorship and to the language of the source from which this text was translated. The conclusion is drawn that the text was translated purely from Latin. This conclusion is based on a number of findings: errors of translation, divergences in wording and grammatical forms between the Croat Glagolitic and Cyrillic Church Slavonic texts, and certain syntactical constructions such as periphrastic expressions for the future, which point unambiguously to a Latin original. In addition the date of the translation is placed roughly between the 12th and the 13th centuries. The conclusions summarize the findings of the study: textual analysis of the continuous text of Ecclesiastes indicates that all the extant Cyrillic manuscripts come from a single translation; this translation was made at some time between the 10th century and the beginning of the 15th century. Commmentated and interpolated versions should be treated as redactions deriving from a fuller catena. This fuller catena may have given rise to the continuous text through the removal of the commentary. Alternatively, the orginal plain text may have been added to the newly translated commentary to produce a commentated version. Bearing in mind that it is hard to decide conclusively between these possibilities, the difficulties of reconstructing archetypes of the plain text and the commentary are shown. The investigation of the text in the Croatian tradition demonstrates that the translation in the breviaries was made from Latin, and thereby eliminates the hypothesis that Methodius was the translator of this version. GB is chosen as a base text for the edition in Appendix 1. The main reason for doing so is pragmatic, for it offers as complete a text as is available to us. Besides, the availability of information on the cultural and historical circumstances surrounding the production of GB, in addition to its importance for the history of the East Slavonic biblical tradition makes it more worthwhile. By publishing the text from manuscript Sinodal'nyj 915 (GB) with a critical apparatus, supplying variants from other manuscripts, the editorial 'control' which the compilers of GB exercised while working with the text translated from Greek is illustrated. They appear to have compared their exemplar with another Slavonic witness to fill a lacuna in the middle of the text, and they shortened the interpolation by removing the commentary. It seems that they deliberately left the biblical verses in the interpolation intact. The textual evidence does not support the supposition that the compilers of GB collated their text of Ecclesiastes with any Greek or Latin sources. The choice of GB for the edition constitutes a significant step towards wider research into and eventual publication of the Gennadian Bible, which has received little attention hitherto, despite its significance as the first complete Church Slavonic Bible. In appendix 2 three versions of Ecclesiastes are presented in a tabular form: the continuous version is taken from the manuscript Sinodal'nyj 915 (GB), the commentated version from the manuscript Undol'skij 13, and the interpolated version from the manuscript Pogodinskij 1 with variant readings from the manuscripts of group 1. In the thesis several new findings are presented. These are: the absence of any link between the versions of Ecclesiastes in the Cyrillic and in the Glagolitic manuscripts, and the implausibility of a Methodian origin for the Croatian Church Slavonic text.
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zur, Loye Tobias Percival 1985. "History of a Natural History: Max Ernst's Histoire Naturelle, Frottage, and Surrealist Automatism." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10700.
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x, 144 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.When André Breton released his Manifesto of Surrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection of thirty-four frottages was published under the title Histoire Naturelle. This thesis provides a comprehensive analysis of Histoire Naturelle by situating it in the theoretical context of Surrealist automatism and addresses the means by which Ernst incorporated found objects from the natural world into the semi-automatic production of his frottages. All previous scholarship on the subject is consolidated and critically examined, and the development of frottage is traced from its earliest manifestations to its long-lasting influences.
Committee in Charge: Dr. Sherwin Simmons, Chair; Dr. Joyce Cheng; Dr. Charles Lachman
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Neidorf, Leonard. "The Origins of Beowulf: Studies in Textual Criticism and Literary History." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11366.
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Beowulf is preserved in a single manuscript written out around the year 1000, but there are many reasons to believe that the poem was composed several centuries before this particular act of manual reproduction. Most significantly, the meter of Beowulf reveals that the poet regularly observed distinctions of etymological length that became phonologically indistinct before 725 in Mercia. This dissertation gauges the explanatory power of the hypothesis that Beowulf was composed about three centuries before the production of the extant manuscript. The following studies test the hypothesis of archaic composition by determining whether it is able to accommodate independent forms of evidence drawn from the fields of linguistics, textual criticism, and literary history.
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Seymour, G. S. "History and aesthetics and in the development of English literary criticism." Thesis, University of Essex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381257.
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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Wylde, Nanette. "A brief history... interactive multimedia art installation: discussion of process, media, content, and response." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384359452.
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周業珍 and Yip-chun Rita Chau. "A study of Zhu Ziqing's (1898-1948) poetry and prose." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212153.
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Dixon, Marzena M. "The structure and rhetoric of twentieth-century British children's fantasy." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/14858.
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This thesis discusses twentieth century children's fantasy fiction. The writers whose creative output is dealt with include Penelope Lively, Alan Garner, Susan Cooper, Pat O'Shea, Peter Dickinson, T.H.White, Lloyd Alexander and, to a lesser extent, C.S.Lewis and J.R.R.Tolkien. These authors have been chosen because their books, whilst being of a broadly similar nature, nevertheless have a sufficient diversity to illustrate well many different important aspects of children's fantasy. Chapter I examines the sources of modern fantasy, presents the attitudes of different authors towards borrowing from traditional sources and their reasons for doing so, and looks at the changing interpretation of myths. Chapter II talks about the presentation of the primary and secondary worlds and the ways in which they interact. It also discusses the characters' attitudes towards magic. Chapter III looks at the presentation of magic, examines the traditional fairy-tale conventions and their implementation in modern fantasies, and discusses the concepts of evil, time, and the laws governing fantasy worlds. Chapter IV deals with the methods of narration and the figure of the narrator. It presents briefly the prevailing plot patterns, discusses the use of different kinds of language, and the ideas of pan-determinism and prophecy. The concluding chapter considers the main subjects and aims of children's fantasy, the reasons why the genre is so popular, and its successes and failures.
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Buzzanco, Robert. "Masters of war? : military criticism, strategy, and civil- military relations during the Vietnam war /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487844485899365.
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Kalbfleisch, Elizabeth. "Making history, picturing hysteria, archaeology, ficto-criticism, and the critical history of Nicole Jolicoeur's La vérite folle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0016/MQ54347.pdf.
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Clavero, Dolores. "Génesis y evolución de los temas épicos nacionales del romancero viejo." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26974.
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Although controversial, the theory that the Romancero (ballad genre) resulted from the disintegration of cantares de gesta in the late Middle Ages is generally accepted in current Spanish literary scholarship. The romances (ballads) based on epic themes of Castilian history occupy a key position in this theory, since they are considered to be the oldest and the closest to the epics from which the Romancero originated.
In an attempt to justify or to disprove this claim, the present study investigates the thematic contents of the romances viejos based on Castilian subjects. Utilising the edition of old romances gathered by Ferdinand Wolf and Conrad Hofmann in their Primavera y flor de romances, these romances are analysed, and compared on the one hand with the extant epic poems, and on the other with the chronicle texts in which poems no longer extant were prosified.
The romances chosen for analysis are from the cycles of the following heroes: Bernardo del Carpio (Chapter I), Fernán González (Chapter II), Infantes de Lara (Chapter III) and El Cid (Chapters IV-VII). The cycle of El Cid is divided into the separate categories of Mocedades de Rodrigo (Chapter IV), the partition of the kingdoms and resulting fratricidal wars (Chapter V), the siege of Zamora (Chapter VI), and the conquest of Valencia and punishment of the Infantes de Carridn (Chapter VII).
The evidence acquired by this reanalysis of the romances and their possible sources allows the following conclusions:
1. There is a diachronic continuity in the elaboration of epic texts, as seen in the romances of Fernán González, the Infantes de Lara and the Cid series. Some of these reelaborations were in all probability in prose while others were in verse. In the latter case, a tendency is demonstrated toward the restriction of the narrative to a few popular motifs, and in particular that of the confrontation between king and vassal. The authors of the romances took up this confrontation motif in creating some of the most popular ballads of the genre.
2. There is a diachronic continuity in the transmission of the original, unelaborated epic material, both in oral and in written form. This conservatism is seen in the romances of Bernardo del Carpio. and in those dealing with the partition of the kingdoms and the siege of Zamora.
3. There was clearly erudite participation of chroniclers and others in the reworking of epic material, as seen in the romances of the Infantes de Lara and the Cid series. Some of this reworking involved the favouring of certain epic poems which best reflected the chroniclers' historiographical points of view, but in other cases these unknown authors even created new episodes or reinterpreted ambiguous points to give a new turn to the old narratives.
4. In the process of transmission of epic narratives, some prose texts were written by adapting chronicle material to make it more appealing to a popular audience. The present investigation has found evidence of the creation of many old epic romances by resort to these popular adaptations.
Thus, chronicle sources appear to be of greater importance in the origin and development of the romances viejos, and in the transmission of epic themes, than current theory allows.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Rae, Lyn MacCrostie. "A study of the versification of the African carmina latina epigraphica." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31157.
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This thesis presents a study of the metrics and prosody of the carmina latina epigraphica from the Roman provinces of North Africa, the purpose of which is to test the prevailing but unsubstantiated view that these carmina exhibit especially poor versification, and that in them can be observed a chronological decline in quality of versification.
A representative corpus of dated carmina latina epigraphica africana is established, the inscriptions are subjected to an analysis of their metrics and prosody, and conclusions are drawn concerning the nature, extent and chronology of their deviation from classical standards of versification.
The corpus of inscriptions has four introductory chapters, which form Part II of the study. The first describes the criteria according to which the texts have been chosen. The second, third and fourth present three premises on which analysis and interpretation of their versification are based; these concern the authorship of the carmina, the educational background of the authors, and the linguistic milieu in which they were composed.
The core of the thesis is Part III, which comprises the texts of eighty-six dated carmina, analyses of their versification and commentaries on several features of their composition. Observations are offered regarding: the nature and possible causes of unclassical metric and prosodic phenomena; the extent to which an author deviates from literary norms, and the effect of his errors on a quantitative reading of the poem; a brief assessment of each author's understanding of and competence in the composition of classical quantitative verse; the graphic disposition of the text and its effect on the reader's recognition and recitation of the poetic content.
Conclusions drawn from the data compiled in Part III include the following. Unclassical metric features characteristic of the corpus include the combination of different meters in one poem, the composition of hypermetric and hypometric lines and the intermixture of prose with lines of verse. Such phenomena are found in about one-half the texts. Prosodical irregularities fall into two main types: those that can be considered classical (ascribable to an author's application of classical licences); and those that are errors, most of which are attributable to the intrusion of certain unclassical phonological features of an author's everyday speech. Prosodical errors occur in about three-quarters of the texts.
Four main observations are offered regarding the distribution of errors in the corpus. The extent to which individual authors adhere to literary norms varies widely; the majority of versifiers, however, have adhered sufficiently well that their works can be read quantitatively without serious hindrance. The presence of metric deviations in a poem carries no chronological significance, for these are fairly evenly
distributed throughout the corpus; a general chronological decline in adherence to classical prosody is discernible from the first century to the fifth, with a reverse in the decline seen in poems dated to the last three centuries of the period. The presence in the corpus of several poems of unsound versification of very early date and of poems of sound versification of very late date proves that the practice of some scholars of dating otherwise undatable carmina according to their quality of versification is unsafe. Pagan authors tend to adhere slightly more closely than their Christian counterparts to classical metrics and prosody. Poems of reasonably sound metrics and prosody tend to be inscribed in such a way as to facilitate the reader's recognition and recitation of their poetic content, while poems of poor quality of versification tend to be inscribed haphazardly.
Appendix I provides full scansion of each carmen. Appendix II lists initia carminum.Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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Schofield, Dennis, and mikewood@deakin edu au. "The second person: A point of view? The function of the second-persn pronoun in narrative prose fiction." Deakin University, 1998. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051110.150736.
Full textAbstract:
This thesis looks at the functions and effects of the second-person pronoun in narrative prose fiction, with particular focus on the fluidity and ambiguity of the mode that I will call Protean-'you.' It is a mode in which it is unclear whether the you is a character, the narrator, a reader/narratee, or no-one in particularor a combination of theseso that readers find second-person utterances at once familiar and deeply strange. I regard the second person as a special case of narrative person that, at its most fluid, can produce an experience of reading quite unlike that of reading traditional first- and third-person narrative. Essentially, this unique experience comes about because Protean-you neglects to constitute the stable modes of subjectivity that readers expect to find within narrative textuality. These stable modes of subjectivity, modelled on what I will refer to as Cartesianisms hegemonic notion of the self, have been thoroughly formalised and naturalised within the practices of first- and third-person narrative. The Protean-you form of second-person narrative, conversely, is a mode of narrative discourse that puts readers in a place of doubt and uncertainty, its unsettling equivocations forcefully disrupting accustomed, mimetic explanations of narrative and denying us access to the foundational, authorising subject of classical Cartesian thought.
Rather than founding a notion of second-person narrative and narrative person generally on Cartesianism's self-ish logic of unified, privatised identity, I turn to C.S, Peirce's notion of the semiotic self and to developments in post-structuralist thought. Essentially, the conception of subjectivity underpinning my arguments is Peirce's proposition that the self is to be conceived of not as a cogito, but as a sign by which the conscious entity knows itself. It is a sign, moreover, that is constantly being re-read, reinterpreted, so that identity is never self-complete. This reconception of subjectivity is necessary because 1 will argue that the effects of Protean-you arise in some part from a tension between Cartesianism's hegemony and what philosophical pragmatism and post-structuralism glimpse as the actual condition of the human subjectthe subject as dispersed and contingent rather than unified and authoritative.
Most discussions of second-person narrative conceive of the mode in terms of implicit communicative relations, in some measure instituting Cartesianism's notion of the intentionalist self at the centre of literary meaning. I contrast the paradigmatic address model that arises from this conception against a model that approaches the
analysis of second-person narrative modality in terms of a referential function, that is, in terms of the object or objects referred to deictically by the second-person pronoun. Two principal functions of second-person textuality are identified and discussed at length. The first is generalisation, which is rarely dissipated altogether, a situation that contributes to the ambiguities of the pronoun's reference in much second-person fiction. The second principal function is that of address, that is, the allocutionary function.
Clearly, although stories that continually refer to a you can seem quite baffling and unnatural, not all second-person narratives unsettle the reader. In order to make the second person's outlandish narratives knowable and stable, we bring to bear on them in our habits of reading whatever hermeneutic frames, whatever interpretive keys, come to hand, including a large number of unexceptional forms of literary and natural discourse that employ the second-person pronoun. These forms include letter writing and internal dialogue (i.e., talking to one's self), the language of the courtroom, the travelogue, the maxim, and so on. In looking at the ways in which the radicalising potentials of second-person discourse are contained or recuperated, I focus on issues of vraisemblance and mimesis. Vraisemblance can be described as the system of conventions and expectations which rests on/reinforces that more general system of mutual knowledge produced within a community for the realisation and maintenance of a whole social world. All of the forms of the vraisemblable are already instituted within social, cultural relations, so that what vraisemblance describes is the way we fit the inscriptions we read-that is, the way in which we naturalise what we read-into those given cultural and social forms. I also look at the conventionalising and naturalising work done by notions of mimesis in explaining relations between the world, our being in it, and texts, proposing that mimesis provides a principle buttress by which the good standing of the metaphor of person is preserved in traditional and pre-critical modes of analysis. Indeed, the critics recourse to person is in some measure always an engagement with mimesis. Any discussion that maintains that mimesis is in some way productive of meaning-which this thesis in fact does-must identify mimesis as a merely conventional category within practices of reading and semiosis more generally, and at the very least remove that term from its traditional position of transparent primacy and authority.
Some of the most interesting and insightful arguments about second-person narrative propose that the second persons most striking effects derive from the constitution of an intersubjective experience of reading in which the subject positions of the you-protagonist, reader-narratee and narrator are combined into a fluid and indeterminate multiple subjectivity. Notions of intersubjectivity frequently position themselves as liberating the reader from Cartesianism's fixed,
authoritative modes of subjectivity, Frequently, however, they tend implicitly to reinstate Cartesianism's notion of the self at the centre of textual practice and subjectivity. I look at Daniel Gunn's novel Almost You, at length in this context, illustrating the constant overdetermination of the you and the novel's narrating voice, and demonstrating that this overdetermination leaves the origin of the narrative discourse, the identity of the narrator, and the ontological nature of both principal protagonists utterly ambiguous. The fluidity and ambiguity of Protean-you in Almost You is discussed in terms of second-person intersubjectivity, but with a view to demonstrating the indebtedness by the notion of intersubjectivity to Cartesianism's hegemony of person. I then turn to a discussion of what might be a more old fashioned if perhaps ultimately more far-reaching approach to the second persons often startling ambiguities. This is Keats's notion of negative capability, a capacity or quality in which a person is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.
I suggest that Protean-you texts will license all of the readings of ambiguity and fluidity proposed in my discussion of Almost You, but conclude that the instances of indeterminacy illustrate no more than that: the fluidity and deep ambiguity, and thus, finally, the lack of coherence, of Protean-you discourse. This has particular implications for how we are to consider readers experiences of narrative texts. More fundamentally, it has implications for how we are to consider readers as subjects. I suggest that unstable, ambiguous instances of second-person narrative can tear the complex and systematic embroidery of ideological suture that unifies Cretinisms experience or sense of subjectivity, leaving the reader in a condition of epistemological and ontological havoc. I go on to argue that much of the deeply unsettling effect of Protean-you discourse anises because its utterances explicitly gesture towards Cretinisms notion of self. Protean-you involves a sense of address that is much more pronounced than we are accustomed to facing when reading literary narrative, alerting us to the presence of inscribed anthropomorphic subjects. At the very same time, protean-you leaves its inscribed subjects indeterminate, ambiguous. This conflict generates a tension between the anticipation of the emergence of speaking and listening selves and our inability to find them.
I go on to propose that Protean-you narrative's lack of coherence is also to be understood as the condition of narrative actuality generally, but a condition that is vigorously mediated against by dominant practices of reading and writing, hocusing my discussion in this respect on the issue of narrative person, I argue that narrative person is constituted within texts as an apparent unity, but that it is in fact, produced as unitary solely within the practice of making sense, that is,
Within our habits of reading, and so is never finally unified. I propose that this is the case for first- and third-person modes no less than for the second. Where second-person narrative at its most radical and Protean differs from conventional first- and third-person narratives is the degree to which each has been circumscribed by practices of tantalization, containment and limit, and, in particular, Cretinisms hegemony of person. It may be that the most significant insights second-person narrative has to offer are to be found within its capacity to reveal to the engaged reader the underlying condition of narrative discourse, and more generally, its capacity to reveal the actual condition of the human subject-a condition in which, exactly like its textual corollary of narrative person, the self is glimpsed as thoroughly dispersed and contingent.
47
Batson, Sandra. ""A profound edge" : the margin as a place of possibility and power, or, Revisioning the post-colonial margin in Caribbean-Canadian literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43832.pdf.
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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.
Full textAbstract:
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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Charlier, Marie-Madeleine. "La lettre de rémission : un problème d'intertextualité." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63304.
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Michaud, Philippe. "La chanson polyphonique française de la renaissance ca 1470-ca 1550 : les avatars du populaire." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82934.
Full textAbstract:
We show, by internal analysis of the texts and references to other contemporary texts, that from 1470 to 1550 the French polyphonic chanson reveals more than ever before a strong tendency to pertain to the "popular" and its related categories, the "carnavalesque" and the "grotesque". From a corpus of close to a thousand popular chansons selected according to the courtly and "good life" "registers", we can assert that, in spite of the essentially learned dimension of polyphonic music, it is the textual component that seems to be popular. This is what indicates the study of their carnavalesque images and the analysis of the grotesque structures of the "cris", the combinative chansons, the "caquets" and the "fricassees", the latter proving to be real crossroads where chansons of the time parade. Our theoretical reflections on the notion of "popular", necessary to justify the use of the concept in a corpus whose texts are usually anonymous, prompts us to both avoid source studies and issues of production and reception, by defining the "popular" as an aesthetic category based on stylistic and rhetorical conventions. In this perspective, the principal characteristic of these chansons consists in the omnipresence of the imperative calls to the participation in the "good life", all of which belong to a popular version of the carpe diem. While a type of carnavalesque chanson accumulates the motifs "dansons", "chansons" and "buvons", many constitute often obscene variants of "baisez-moi", and others multiply military orders. The occurrences of these imperative motifs, usually appearing in direct discourse, confirm, with partially imperative imprecations, a vocabulary of the public place, onomatopeia and plays on words, the orality of the register and its belonging to a popular level of discourse corresponding to a less elevated style than the low style of rhetoric.