Dissertations / Theses: 'History, Modern – 20th century – Chronology'

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Costello, Paul. "The goals of the world historians : paradigms in world history in twentieth century." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74629.

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Following Nietzsche, Oswald Spengler posed the central problems of the cyclical history of civilization in the twentieth century. Subsequent world historical theorists have attempted to answer Spengler's nihilistic perspective on the destined rise and fall of all cultures by rescuing a progressive movement which transcended the downfall of civilizations. World history since Spengler has been written in pursuit of an answer to the crises of modernism: to the 'Death of God,' the problem of progress, the emergent technological order with its bureaucratic management of society, and the need sensed by the metahistorians for a new 'mythical' grounding to avert the fall of the West. The "Crisis of the West" dominates the perspectives of the world historians. Their goals for the solution of 'modernism,' through the religious transformation of society or political and cultural world unity, are central to their motivation as writers and to the formulation of their paradigms.

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Yu, Xuying, and 郁旭映. "Alternative modernity discourse and intellectual politics in modern and contemporary China: a case study ofXueheng school." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B48079844.

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This thesis sets to sketch Chinese intellectuals’ sustained efforts to search for an alternative modernity to the Western model throughout the twentieth century, and uncover the interaction between intellectual politics and Chinese modernity discourse by historicizing and contextualizing Chinese modernity discourse. This study starts with delineating the consistence and the inconsistence of Chinese modernity discourses by juxtaposing different historical conditions and examining reappeared trends of thoughts. Three intellectual currents, i.e., cultural conservatism, humanism, and professionalism, which emerged in the May Fourth period and remerged in the post-socialist condition, are examined to mirror the spiral dynamics and the locus of Chinese modernity. Their respective roles in reconstructing Chinese cultural, ethical and academic orders in response to Western model of modernity are highlighted in the research. Cultural conservatism attempts to legitimize the Chinese culture in the framework of global modernity by resetting or reinterpreting the dialectical relation between the whole and part, universalism, and essentialism. Humanism emphasizes the standard, the guidance of authority, and the self-perfection to resist the ethical disorder caused by the so-called “modern spirit”, which is embodied by individualism, romanticism, and the immoderate expansion of desire. Professionalism influences the pattern of producing and reproducing knowledge about modernity by re-standardizing the academic and the discursive fields and by remolding the identity of the agents. After exposing how the “alternative modernity” in China, as a discursive-political device, has been produced and repackaged with various contents and meanings, this thesis proceeds to explore the intellectual pedestal of Chinese modernity discourses from two aspects. First, how do the intellectual strategies of self-positioning and position-taking influence knowledge production and reproduction of the Chinese modernity discourse; second, how articulation and re-articulation of modernity discourse reflect the self-adjustments of intellectual politics as well as identity shifts. Through the comparative and diachronic examinations, it poses that, as Chinese modernity discourse is increasingly served as a symbolic capital or a strategy of intellectual politics, it gradually loses its authenticity or even becomes a signifier without signified. Meanwhile, the state-led modernization practice is reversely becoming homogenous, stable, and less diverse, although the dominant ideology, namely, socialism with Chinese characteristics, is, in itself, hybrid, paradoxical, and strategically manufactured.
published_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy

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RIZZI, Elena Maria Rita. "Modern art and the making of a French republican imaginary, 1919-1940." Doctoral thesis, European University Institute, 2021. https://hdl.handle.net/1814/70295.

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Defence date: 24 February 2021
Examining Board: Professor Laura Lee Downs (European University Institute); Professor Ann Thomson (European University Institute); Professor Kevin Passmore (Cardiff University); Professor Béatrice Joyeux-Prunel (Université de Genève)
Winner of the 2022 James Kaye Memorial Prize for the Best Doctoral Thesis in History and Visuality.
Recent scholarship on the interwar French art milieu has overcome, on the one hand, ethnonationalism as the main interpretive framework for examining the relationship between art and politics and, on the other, a celebratory narrative that made Paris the liberal and democratic interwar art centre. Building on these recent studies, my thesis aims to reassess the nexus between art and politics in interwar France. I do this by asking what kind of Republican imaginaries were created in the modern art promoted by public institutions. In order to answer this question, the thesis builds on a second, recent body of scholarship that re-examines French politics and Republican political culture through new lenses. This work highlights the polysemic and plastic nature of Republican ideology, the variety of stances contained within Republicanism, and hence the existence of different and competing understandings of the French Republic. By delving into four case studies, namely the Musée des écoles étrangères, the Musée de Grenoble, the tapestries realised at the Manufacture des Gobelins and the mural art projects financed by the state in the late 1930s, the thesis demonstrates that the modern art promoted by public institutions engendered political imaginaries that testify to the simultaneous existence of conservative, liberal, civic or communitarian, that is, local Republics. While making modern art the bearer of competing views on the French Republic in the 1920s and 1930s, the imaginaries that were created by modern art institutions and practices mythologised Republican universalism. Yet, these imaginaries revealed all the ambiguity contained in France’s universalistic project. At a time marked by the never-ending bellicosity that ensued from the First World War and the political and economic crises of the 1930s, the imaginaries created by modern art thus gave birth to a Republican visual politics. As the thesis argues, this Republican visual politics had a sociopolitical meaning. Modern art, especially figurative art, created imaginaries that could confront, above all, the interwar crisis of the Republic and its universalism, and the crisis in social and political representations that stemmed from the political turmoil and instability of the interwar years.

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Marcus, Karen K. "Twentieth century Chinese architecture : examples and their significance in a modern tradition." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/78994.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.
Includes bibliographical references.
If one were to seek a unifying factor in this relatively short period of a modern Chinese tradition, it might be surprising to find that amidst the jolts of passing out of a feudal era into the twentieth century, the ancient principles of yin and yang still provide the jagged thread with which to attach the modern Chinese culture to the ancient one. This integration of opposing forces causes the pendulum to swing in any cross section of both material and nonmaterial form. Although this idiosyncratic leitmotiv is often to be found locked in a state of contradiction (the antithesis), the principles nevertheless provide a flexible structure and the leeway for change; as Chinese history has proven that rigidity most often results in decline and defeat. Moreover, it has provided a base for the growth of knowledge, readily adapting to the Marxist and Maoist methodology of dialectical materialism in this modern era.
by Karen K. Marcus.
M.S.

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Lam, Po-ying Belinda, and 林寶英. "Modern Chinese political thought and the Min-li pao." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31948571.

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陳桂月 and Kwee-nyet Chin. "The mythical world of modern Chinese writers (1919-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31234744.

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Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.

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阮慧娟 and Wai-kuen Jeannie Yuen. "Crisis and negotiation: a study of modern chinese fiction in the eighties." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212050.

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Jin, Yilin, and 金以林. "The history of university education of Modern China 1896-1949 =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B44569749.

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Ondaatje, Michael L. "Neither counterfeit heroes nor colour-blind visionaries : black conservative intellectuals in modern America." University of Western Australia. History Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0029.

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This thesis focuses on the rise to prominence, during the 1980s and 1990s, of a coterie of African American intellectuals associated with the powerful networks and institutions of the New Right. It situates the relatively marginalised phenomenon of contemporary black conservatism within its historical context; explores the nature and significance of the racial discourse it has generated; and probes the intellectual character of the individuals whose contributions to this strand of black thought have stood out over the past three decades. Engaging the writings of the major black conservative figures and the literature of their supporters and critics, I then evaluate their ideas in relation to the key debates concerning race and class in American life debates that have centred, for the most part, on the vexed issues of affirmative action, poverty and public education. In illuminating this complex, still largely misunderstood phenomenon, this thesis reveals the black conservatives as more than a group but as individuals with their own distinctive arguments.

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Walker, Lisa Kay. "Anti-Bolshevism and the Advent of Mussolini and Hitler: Anglo-American Diplomatic Perceptions, 1922-1933." PDXScholar, 1993. https://pdxscholar.library.pdx.edu/open_access_etds/4629.

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The history of World War II has led many Americans to vie~ Benito Mussolini's Fascist Italy and Adolf Hitler's Nazi Germany as European variants of a single Fascist ideology. Ho~ever, in the early years of the Mussolini and Hitler regimes, the conceptual category of international Fascism was by not so well-established, particularly ~here the Nazis were concerned. American and British diplomats stationed in Germany in the early 1930s only occasionally interpreted the rising Nazi party as an offshoot of Fascism, but frequently referred to it as a possible form of or precursor of Bolshevism in Germany. Published and unpublished American foreign policy documents, published British diplomatic documents, and a wide array of secondary sources have contributed information showing how perceptions of Nazism and Bolshevism were influenced by matters that clouded the issues. The similarity of American and British views on the subjects of Bolshevism, Fascism, and Nazism can be attributed to the new understanding among the policy elites of the two nations as they became the leading status quo powers after World War I. The United States in particular had gone through tremendous organizational changes during and after the war, and was entering into a new era of professional and bureaucratized foreign policy that differed from its ad hoc diplomacy of the past. American foreign policy of the interwar period combined a strong interest in business expansion with a relative lack of desire for international political entanglements. American political commitments of the 1920s, particularly in Germany, were backed primarily by loans and investment, and through reparations revision plans designed by unofficial diplomats recruited from the private sector. As American financial commitments to Germany became more dependent on German repayment, and as the Depression tightened its grip, the rise of the Nazis became an ever greater source of alarm. This concern was related not only to their unclear and ill-defined political ideas, but to the threat they seemingly posed to financial stability -- a threat that increased their resemblance to the Bolsheviks in the minds of many diplomatic observers. Various other factors were important in developing the Anglo-American view of Nazism as related to Bolshevism. These included the almost obsessive intensity of anti-Bolshevism in the United States and Great Britain throughout the interwar period; the close association of Bolshevism with economic chaos in the minds of Anglo-American leaders, with a concomitant tendency to see Bolshevism developing wherever economic chaos occurred in Europe; and the strong admiration for Mussolini's Italy in both Britain and the United States, which precluded possibilities of seeing much in common between Italian Fascism and Nazism during this period. Some important sources of conceptual confusion were inherent in the policies of Germany's post-World War I Weimar Republic. Leading German diplomats and politicians of the republic, such as Gustav Stresemann, used Anglo-American fears of Bolshevism as a cornerstone of their policy to gain revisions and modifications of the harsh terms of the Versailles Treaty. In the early 1930s, the "Bolshevism bogey" was used by Ambassador Frederic Sackett, a political appointee of Herbert Hoover, to get Hoover's attention so that he would modify reparations policy in favor of Sackett's friend, the embattled Chancellor Heinrich Bruning. The internal factions of the rising Nazi party, including the left-leaning wing led by Gregor Strasser, appeared to give some credence to the idea that the Nazis could harbor communistic elements. After Hitler's rise to the chancellorship in 1933, American and British observers began to note more resemblances between the Hitler and Mussolini regimes. However, many of their earlier observations about the similarities of Nazism and Bolshevism have validity in terms of the more totalitarian nature of these regimes as compared to Italian Fascism and its other less extreme variants.

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Hardwick, Carole. "The dissemination and influence of Willem M. Dudok's work in the climate of modernism in architecture in Australia, 1930-1955." Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/18154.

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The thesis studies the role of the European modem architect, the Dutchman Willem Marinus Dudok, in the dissemination of certain aspects of the concepts of architectural modernism in Australia from 1930 to the mid-1950s, and examines the manner in which his works and ideas were actually transferred. The thesis establishes the significance of Dudok's role in the Australian architectural context. An introductory discussion of European architectural modernism is presented so that Dudok's position can be understood in relation to it. This is followed by an examination of Dudok's professional life and architectural works. His buildings are analysed according to general principles and specific characteristics, all of which are illustrated by examples. Dudok's standing as an important modem architect is supported by a study of his relationship to European modern architecture, including prior and contemporary Dutch architecture. The connections between Dudok and Frank Lloyd Wright and their respective architectures are briefly investigated. Australian modernism is discussed in broad terms to establish the cultural context within which modem architecture evolved in that country. The development of modem architecture is described by examining the architectural debate conducted at the time of its emergence, and by an analysis of modern buildings. Architects, from both the public and private sectors, whose buildings demonstrate an understanding of the principles and Ill practice of modern architecture are identified and their work is examined for any evidence of Dudok's intluence. The thesis also examines the vehicles through which such Australian architects became aware of Dudok's architecture and demonstrates that these were many and diverse. Three significant means are identified: first, photographs of Dudok's architecture and articles about it in Australian and overseas professional and popular journals; second, the experiences of those Australian architects who travelled to the Netherlands specifically to look at Dudok's architecture; third, the awareness of his work that existed among Australian architects working in the United Kingdom. Of particular note was the role of the Architectural Association in London in informing Australian architects about Dudok. This thesis suggests that many modem buildings designed and built in Australia during the period 1930 to the mid-1950s displayed characteristics in their built form that can be directly sourced to Dudok's architecture. It concludes that Dudok had a widespread influence on modern buildings in Australia during the 1930s and 1940s, and his intluence remains evident in occasional buildings designed during the early 1950s.

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Wish, Cyndi. "It's the way it shatters that matters." Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/27840.

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The following dissertation is an investigation of print, language, political rhetoric, and use of the multiple in identifying and evolving culture. It is also a description of American culture over the last century, and the figureheads in the arts, from Duchamp to G. G. Allin, who were crucial in creating the confusing entity that is contemporary American culture.

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Ip, Sui-lin Stella, and 葉瑞蓮. "The phenomena of post-modern culture in contemporary Chinese literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245390.

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Stein, Eric 1973. ""Living right and being free" : country music and modern American conservatism." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21267.

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The rising popularity of country music in the United States since WWII is a cultural phenomenon intimately related to the ascendance of conservative values, leaders, and movements over the same period. By routinely celebrating themes like heterosexual love, the patriarchal nuclear family, hard work, individualism, freedom, patriotism, religion, and small-town life, country music provided the soundtrack for the insurgent conservatism of politicians like George Wallace, Richard Nixon, and Ronald Reagan. In the sixties and seventies, while other forms of popular music (rock, folk, soul) articulated the values of liberals, socialists, hippies, war protestors, feminists, and civil rights activists, country music alone stood for the "traditional" values cherished by the so-called "silent majority" that powered the rise of the Right. The spread of both country music and conservatism is also a reflection of the "southernization" of America---the diffusion across the nation of cultural and political traits long associated with the South.

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程雲峰 and Wan-fung Ching. "The images of peasants in modern Chinese fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31209166.

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姚潤昆 and Yun-kwan Yiu. "Harvesting The waste land: critical views 1922-1932 and 1965-1975." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2700997X.

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曾昭楹 and Chiu-ying Venus Tsang. "Temporality in modernist literature: Ezra Pound and Virginia Woolf." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26822428.

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Terakawa, Toru. "History and tradition in modern Japan : translation and commentary upon the texts of Sei'ichi Shirai." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32822.

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This thesis examines the concepts of history and tradition in modern Japan, with an emphasis on the writings of Sei'ichi Shirai (1905--1983). Although Shirai has been considered as one of the most important architects of 20th century Japan, he has also been treated as an obscure figure, no doubt partly because of the enigmatic quality of his writings. A major element that contributed to his obscure status and set him apart from his contemporaries was his understanding of history and tradition.
The introductory essay examines the concept of tradition prevalent around Shirai's time: how it was constructed by an a posteriori writing of history and in what ways this is complicated by Shirai's writings. The second portion of the thesis is an annotated translation of two of Shirai's texts demonstrating his attempts to disclose the a priori principles inherent in the unfolding of tradition through history.

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Piper, Stamatia A. J. "The emergence of a medical exception from patentability in the 20th century." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:85e2c91c-182e-45aa-8580-3908ac343a54.

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Many patent law dilemmas arise from a failure to understand technologies as embedded in broader social, economic and political realities and to contextually analyze these legal phenomena. This narrowness leads to poor legal development, of which the modern medical exception from patentability is one example. Judges have difficulty interpreting it, patentees do not understand its purpose and it does not protect the important medical technologies to which the public would like access. This thesis applies a legal pluralist analysis to examine the emergence of the medical methods exception in order to understand why it was created and legislated. It starts by examining the origins of the exception in the caselaw, and the informal, concurrent norm established by the emerging medical profession in the early 20th century. It then proceeds to examine why the medical profession might have sought and enforced a norm prohibiting its members from patenting, and concludes that this arose from the need of the medical profession to distance itself from the patent law. As a result, professionalizing physicians established an internal normative order that mimicked and in many cases replaced the effect of the formal law. The thesis then proceeds to examine how the form of the informal norm evolved in the period between WWI and WWII, finding that the profession’s norm transformed and broke down concurrently with its efforts to achieve external legitimacy through legislation. That breakdown arose from factors which included growing labour mobility, greater understanding of the benefits of patents, and a growing role of science and industry in medicine that threatened the profession’s access to valuable medical innovation. The thesis concludes with a study of a current case (Myriad Genetics) that applies the thesis’ theoretical framework to a present dispute over the role the law should play in regulating genetic diagnostic tests.

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Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.

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ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature

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Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.

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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.

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Venkatesh, Archana. "Women, Medicine and Nation-building: The `Lady Doctor’ and Development in 20th century South India." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1588949464255362.

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Gairn, Louisa. "Aspects of modern Scottish literature and ecological thought." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/14839.

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'Aspects of Modern Scottish Literature and Ecological Thought' argues that the science and philosophy of 'ecology' has had a profound impact on Scottish literature since the mid-nineteenth century to the present day, and relates the work of successive generations of Scottish writers to concurrent developments in ecological thought and the environmental sciences. Chapter One suggests that, while Romantic ways of thinking about the natural world remained influential in nineteenth-century culture, new environmental theories provided fresh ways of perceiving the world, evident from the writings of Scottish mountaineers. Chapter Two explores the confrontation of modernity and wilderness in the fiction and travel writings of Robert Louis Stevenson, and some contemporaries such as John Muir. Chapter Three suggests that ecologically-sensitive local and global concerns, rather than 'national' ones per se, are central to the work of Hugh MacDiarmid, Lewis Grassic Gibbon and others, while Chapter Four demonstrates that post-war 'rural' writers including Nan Shepherd, Neil Gunn, Edwin Muir and George Mackay Brown, often viewed as peripheral, are actually central and of international relevance, and challenges the assumption that there is a fundamental divide between Scottish rural and urban writing. Finally, Chapter Five argues that contemporary writers John Burnside, Kathleen Jamie and Alan Warner are not only reviewing human relationships with nature, but also the role writing has to play in exploring and strengthening that relationship, helping to determine the ecological 'value' of poetry and fiction. By looking at Scottish literature through the lens of ecological thought, and engaging with international discourses of 'Ecocriticism', this thesis provides a fresh perspective in contrast to the dominant critical views of modern Scottish literature, and demonstrates that Scottish writing constitutes a heritage of ecological thought which, in this age of environmental awareness, should be recognised as not only relevant, but vital.

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Brüning, Angela. "Caribbean connections : comparing modern Anglophone and Francophone Caribbean literature, 1950s to present." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/84.

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In this thesis I investigate connections between modern Anglophone and Francophone Caribbean fiction between the 1950s and the present. My study brings into focus literary representations of inter-related histories and cultures and problematises the fragmentation of Caribbean studies into separate academic disciplines. The disciplinary compartmentalisation of Caribbean studies into English studies on the one hand and French and Francophone studies on the other has contributed to a reading of Caribbean literature within separate linguistic spheres. This division is strikingly reflected in the scarcity of any sustained literary criticism that acknowledges cultural and literary interpenetration within the archipelago. My comparative study of selected Anglophone and Francophone Caribbean fiction allows me to account for the ethnic, cultural, linguistic and historical diversity of Caribbean societies while, at the same time, foregrounding their inter-relatedness. Through a series of specific case studies the thesis illuminates ways in which theoretical concepts and literary tropes have travelled within the archipelago. Through a close reading of selected narrative fiction I will contextualise and analyse significant underlying linguistic, ethnic and cultural links between the various Caribbean societies which are largely based on the shared history of slavery, colonialism and decolonisation processes. The themes of migration, transformation and creolisation will be at the centre of my investigation. Chapter One establishes the historical and literary-critical framework for this thesis by engaging with key developments in Anglophone and Francophone Caribbean writing from the 1920s until the present. My comparison of the most influential trends in both Anglophone and Francophone Caribbean literature and criticism from the discourse of négritude to postcolonial studies seeks to highlight connections between these two linguistically divided fields of study. The analysis of Caribbean fiction in Chapters Two to Four pursues such theoretical, stylistic and thematic links further. Chapter Two challenges the conception of postwar Antillean and West Indian writing produced in the metropolis as distinct literary canons by drawing attention to thematic connections between the two traditions. Through the comparison of The Lonely Londoners by Samuel Selvon and La Fête à Paris by Joseph Zobel it argues that these continuities represent a wider trend in ‘black European’ writing. Chapter Three examines concepts of cultural identity which have been central to Anglophone and Francophone Caribbean literature and criticism during the last two decades. Specifically it focuses on the notions of hybridity, créolité/creoleness and créolisation/creolisation which it discusses in relation to Robert Antoni’s novel Divina Trace and Patrick Chamoiseau’s Texaco. The final chapter focuses on Shani Mootoo’s and Gisèle Pineau’s representations of specific female experiences of trauma which are related to reiterated colonial violence. Their fictional portrayal of suppressed memories can be read in light of recent critical debates about a collective remembrance of the history of slavery and colonialism.

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Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.

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Thesis (MDram (Drama))—University of Stellenbosch, 2006.
Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.

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Hill, Colin. "The modern-realist movement in English-Canadian fiction, 1919-1950." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19471.

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This dissertation offers the first comprehensive examination of realism in English-Canadian fiction of the early twentieth century. It argues for the existence of a "modern-realist" movement that is Canada's unique and unacknowledged contribution to the collection of international movements that makes up literary modernism. This argument involves a detailed analysis of the aesthetics, aims, preoccupations, and techniques of the modern realists, a reexamination of the oeuvres of the movement's most prominent writers, and a critical reevaluation of the "modernity" of Canada's three most significant realist sub-genres—prairie realism, urban realism, and social realism. This study also provides a literary-historical overview of the movement as a whole, which begins with the inauguration of the Canadian Bookman in 1919, and concludes with the emergence of a contemporary Canadian fiction in the 1950s. The conclusions arrived at in this work are based upon a reading of dozens of novels and works of short fiction, many of them unpublished and/or critically neglected and forgotten. The findings in this study are also based on original research into archival materials from seven institutions across Canada.

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Roy, Alain. "L'écriture minimaliste; suivi de Journée programmée." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59429.

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This master's thesis in creative writing is divided into two parts. The first constitutes a critical analysis of "minimalist" writing, a term which has been used to describe the work of certain contemporary American writers but which might equally be applied to a portion of the world literature. This literary form has two fundamental characteristics from an aesthetic point of view: brevity and realism. In fact, it could be defined as the short story taken to its ultimate expression. Furthermore, it represents one of two poles by which we can evaluate all literature. The second part of the thesis is a collection of short stories which embody the minimalist aesthetic with everyday life and relationships between couples as their central theme.

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Bonilla-Puig, Alicia I. "Printmaking, Politics, and the Art of Protest in Modern Mexico." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/310769.

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Art History
M.A.
My thesis seeks to establish a fuller, more nuanced historical account of socially and politically oriented printmaking during the long 20th century in Mexico. In order to remedy what is currently a fragmented and incomplete narrative composed of canonical artists, my project integrates recent studies that acknowledge the role of lesser-known artists from various moments of the 20th and 21st centuries. The broader approach of this thesis reveals that the history of politically oriented Mexican prints spans a longer period of time and a larger geographic area than previously thought. Mexico experienced several waves of political turmoil and social upheaval throughout the 20th century, beginning with the Mexican Revolution (1910-1920), including the 1968 student movement, and extending to present day clashes between citizens and their government leaders. In this context, art and printmaking in particular served as persistent vehicles for Mexican artists to engage in social and political activism. Integrating the critical analysis of earlier research along with newer studies that recognize the impact of Mexican printmakers often overlooked in broad survey texts and exhibitions allows for further conclusions to be drawn regarding the multifaceted relationship between the print medium and the art of protest. My thesis introduces the notion that educational institutions in Mexico played an active part in this historical narrative, highlights the significance of Mexican artists' choice to work in collaborative environments versus individually, and notes modern activist printmakers' strong preference for the woodblock print.
Temple University--Theses

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Foster, Clare Louise Elizabeth. "'A very British Greek play' : a critical investigation of the origins and tradition of Greek plays in Greek in England, 1880-1921." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708816.

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Lloyd, Johannah M. "The province of art : the aesthetic in the advent of modernism to London, 1910-1914." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63769.

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Clouten, Kirstin. "Architectural significance of the recent past." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214379.

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An investigation of architecturally significant buildings constructed within the last fifty years, in the Midwest and the application of preservation theories to these significant buildings, to aid in evaluation strategies and preservation implementation.Recognition of recent past construction as candidates for architecturally significant cultural resources and the application of preservation theories to these buildings make for good design and preservation practice. Part of our responsibility, as preservation professionals is to promote the preservation of significant structures, regardless of the date of construction. Since there is no established process to aid in preserving recently constructed buildings of architectural significance, it is necessary to develop strategies to assist in the evaluation process.
Department of Architecture

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Au, Chung-to, and 區仲桃. "Shifting ground: modernist aesthetics in Taiwanese poetry since the 1950s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.

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Palladino, Nicoletta. "19th - 20th century zinc white paints : multidimensional physico-chemical characterisation." Electronic Thesis or Diss., université Paris-Saclay, 2024. http://www.theses.fr/2024UPAST042.

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Cette thèse explore les propriétéset l’emploi des peintures à l’huile à base deblanc de zinc de l’échelle nano- et microscopique jusqu’à l’échelle macroscopique desœuvres d’art.Le blanc de zinc (ZnO), pigment modernedéveloppé à la fin du XVIIIe siècle en tantqu’alternative non toxique au blanc de plomb,a été adopté dans la peinture à l’huile au milieudu XIXe siècle. Initialement utilisé aux côtésdu blanc de plomb, son pouvoir couvrant plusfaible et sa brillance en ont fait un pigment dechoix pour les mélanges de couleurs, les pointslumineux, mais aussi les empâtements et lespréparations. Cependant, il peut provoquer desproblèmes de conservation, par exemple en raison de la formation de savons de zinc, ce qui aété le focus principal de plusieurs études.Connaître ce pigment est donc crucial pourles études techniques des œuvres d’art et leurconservation. Dans ce but, cette rechercheest centrée sur deux axes : l’étude des propriétés physico-chimiques du blanc de zinc et del’ampleur et des modalités d’emploi du pigment.L’analyse de plusieurs types de matériaux estcomplétée avec des recherches documentaires etune enquête auprès des professionnels du patrimoine.Le premier axe est abordé à traversl’analyse, à l’échelle nano- et micromètrique,d’un large corpus, unique et varié, de matériauxd’artiste historiques et modernes des fabricantseuropéens et américains principaux, et d’unesélection d’échantillons issus d’œuvres, qui sontcomparés à des matériaux de référence et desmodèles de peinture. Plusieurs types de techniques d’analyse sont utilisés, allant de méthodes de laboratoire conventionnelles (microscopie optique et électronique, DRX) jusqu’à delarges instrumentations telles que l’accélérateurde particules AGLAE (PIXE, IBIL) et le synchrotron ESRF (DRX à haute résolution angulaire). Plusieurs composés ont été identifiés dansles matériaux de peinture, ce qui met en évidence certaines pratiques et adulterations desfabricants de couleurs. L’hydrozincite, probable produit de dégradation du ZnO, a été identifié dans plusieurs échantillons. Cette étudesouligne, parmi les matériaux historiques etmodernes, des différences de composition, detaille des particules de ZnO et de comportementde luminescence. La morphologie et la taille desparticules de ZnO et la pureté des matériauxanalysés suggèrent une synthèse par méthodeindirecte. La variété des comportements de luminescence, affectés également par d’autres facteurs liés au pigment et à son environnement,est, au contraire, plus difficile à interpréter.Le deuxième axe est abordé à partir descampagnes de fluorescence X sur une cinquantaine d’œuvres analysées in-situ dans lesmusées, et l’étude détaillée d’une sélection depeintures au laboratoire. Cette recherche explore différents emplois du pigment à partird’exemples précoces jusqu’à la moitié du XXesiècle, et constitue une véritable base de données des œuvres qui contiennent du blanc dezinc. En outre, l’étude souligne les limites del’identification du blanc de zinc, notamment surla seule base des analyses non-invasives de fluorescence X. L’intérêt d’un protocole non-invasifpour l’identification du pigment basé sur sa photoluminescence a été mis en valeur, ce qui estcomplémentaire à l’emploi de la cathodoluminescence pour l’étude invasive de matériaux depeinture.Cette recherche constitue donc une référencesur les propriétés physico-chimiques et l’emploidu blanc de zinc, offrant des informations surl’histoire matérielle du pigment et des œuvresd’art modernes en ouvrant des perspectives surleur conservation et authentification
: This thesis explores the propertiesand use of zinc white oil paints, from the nanoand micro-scale up to the macro-scale of artworks.Zinc white (ZnO), a modern pigment developed in the late 18th century as a non-toxicalternative to lead white, was adopted in oilpaint in the middle of the 19th century. Initially used alongside lead white, its lower covering power and brilliance made it a choice forcolour blends and highlights, but also for impastos and grounds. It can cause condition issues,for example due to the formation of zinc soaps,which have been the main focus of several studies.Knowing the pigment is, therefore, crucialfor technical studies and artwork conservation.Thus, this research focuses on two areas: thestudy of the physico-chemical properties of zincwhite and the extent and modalities of use of thepigment. The analysis of several types of material is complemented by documentary researchand a survey among heritage professionals.The first axis is addressed through the analysis, at the nano- and micro-scale, of a large,unique and varied corpus of historical and modern artists’ materials from the leading European and American manufacturers, and a selection of painting samples compared with reference materials and paint mockups. Several analytical techniques are used, from conventionallaboratory methods (optical and electron microscopy, XRD) to large facilities, such as theAGLAE particle accelerator (PIXE, IBIL) andthe ESRF synchrotron (high-angle resolutionXRD). Other compounds than ZnO were identified in the paint materials, shedding light oncertain practices of colour manufacturers andexamples of adulteration. Hydrozincite, a probable degradation product of ZnO, was identifiedin some samples. This study highlights differences in the composition and size of ZnO particles between historical and modern materials,as well as a luminescence behaviour that is moredifficult to interpret because it depends on several factors linked to the pigment and its environment. The morphology and size of the ZnOparticles and the purity of the materials analysed suggest synthesis via indirect method.The second axis is based on X-Ray Fluorescence (XRF) spectroscopy campaigns onaround fifty artworks analysed in-situ in museums, and the detailed study of a selection ofpaintings in the laboratory. This research showsdifferent uses of the pigment through examplesfrom the beginning of the 19th up to the mid20th century, which form a reference databaseof artworks containing zinc white. The studyalso calls into question the identification of zincwhite, particularly when solely based on XRFanalyses. The interest in a non-invasive protocol for pigment identification based on its photoluminescence was highlighted, which is complementary to the use of cathodoluminescencefor the invasive study of paint materials.This research constitutes a reference onthe physico-chemical properties and use of zincwhite; it provides information on the materialhistory of the pigment and modern artworks,opening up new perspectives for artwork conservation and authentication

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Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.

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Lin, Lidan. "The Rhetoric of Posthumanism in Four Twentieth-Century International Novels." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278990/.

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The dissertation traces the trope of the incomplete character in four twentieth-century cosmopolitan novels that reflect European colonialism in a global context. I argue that, by creating characters sharply aware of the insufficiency of the Self and thus constantly seeking the constitutive participation of the Other, the four authors E. M. Forster, Samuel Beckett, J. M. Coetzee, and Congwen Shen all dramatize the incomplete character as an agent of postcolonial resistance to Western humanism that, tending to enforce the divide between the Self and the Other, provided the epistemological basis for the emergence of European colonialism. For example, Fielding's good-willed aspiration to forge cross-cultural friendship in A Passage to India; Murphy's dogged search for recognition of his Irish identity in Murphy; Susan's unfailing compassion to restore Friday's lost speech in Foe; and Changshun Teng, the Chinese orange-grower's warm-hearted generosity toward his customers in Long River--all these textual occasions dramatize the incomplete character's anxiety over the Other's rejection that will impair the fullness of his or her being, rendering it solitary and empty. I relate this anxiety to the theory of "posthumanism" advanced by such thinkers as Marx, Bakhtin, Sartre, and Lacan; in their texts the humanist view of the individual as an autonomous constitution has undergone a transformation marked by the emphasis on locating selfhood not in the insular and static Self but in the mutable middle space connecting the Self and the Other.

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Stevenson, Greg. "Ceramic design for modern living : an archaeology of British ceramics 1927-37." Thesis, University of Wales Trinity Saint David, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683311.

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羅樂. "摩登"閨秀": 早期中國電影的儒家道德美學與現代性= Modern guixiu: Confucian moral aesthetics and Chinese modernity in early Chinese." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/466.

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在30年代主流文化界和知識界繼續熱誠地、全然地追求現代性時，一些現代傾向（modernist）的文化知識份子在電影和其他媒體中更多元地實踐着五四時期菁英知識份子的"全盤反傳統主義"(Totalistic Antitraditionalism)，他們將這種熱情訴諸于積極塑造以新興的知識女性為代表的中國"新女性"身上。然而，在對電影這樣新興舶來品的媒介使用和對西方一些基本"電影語言"（cinematography）的效仿中，某些源于儒家的中國核心傳統價值和審美觀念，被有意識或無意識地挪用到電影人物形塑和審美韻味的建構中。這樣，不僅傳統經典的"儒家閨秀"藉着當代知識女性的新身份被重新包裝和再現，一些極具中國美學特色的電影處理技巧也在其中雛形漸現。更重要地，傳統閨秀的美學特點解釋了新的受教育女性謂之"新"的原由。本文（1）將從"美德"這一概念的傳承和模糊性入手，追溯禮教、道德之于傳統人物建構的意義和時代困境；（2）通過淺論閨秀人物與儒家美學思想的關係，以梳理多重道德審美的層次，並提煉"節"、"止"、 "制"的傳統美學建構機理；（3）通過提煉的這套可以參照施行的電影分析途徑，分析相關電影並蒐集分析證據；（4）借用銀幕內外的實踐策略來梳理和回應"傳統與現代"不同層次的矛盾衝突、協作重構，最後不僅可以進一步探究以30年代電影人為代表的人物思想矛盾，還可以辨析中國現代性的駁雜深刻之處。 In the 1930s when dominant intellectuals were cordially and overtly aspiring over modernity, a bunch of modernist intellectuals diversely practiced Totalistic Antitraditionalism inherited from MFM (May Fourth Movement) elite, on silver screen and other media. The educated women are both mediated representatives of Chinese "new" women and bearers of modernists' passion and dreams. Nevertheless, while accessing the film (as exotic and "new" medium then) and imitating western cinematography, some traditional core values and aesthetic ideologies rooted in Confucianism are consciously or unconsciously appropriated in constructing characteristic and auratic aesthetics on silver screen. Hence, not only the classic Confucian guixiu has been repacked and represented with new identity as contemporary educated women, but also some Chinese aesthetical patterns have emerged in film. More importantly, the aesthetics embedded in classic guixiu explain why new educated women are representatives of the "new". This paper (1) starts with the inheritance and ambiguity of the concept "meide (virtue)", before deploying how conventional Li (rites) and Daode (moral) contribute to both constructive significance and chronic dilemma of characters. (2) By virtue of analyzing classic guixiu and Confucius aesthetics, it is further enacted how moral aesthetics are enriched with multiple layers. Moreover, a type of constructive mechanism related to abridge (jie), stop (zhi) and restraint (zhi) is generalized. (3) Then, it deduced some framework that could be approached to filmic analysis as well as collecting data. (4) Lastly, the question about "traditional and modern" will be echoed with on and off screen strategic practices, in terms of contradiction, conflict, collaboration and reconstitution on different levels. Thus, not only the rooted dilemma in the 1930s could be revealed by means of analyzing contradictions of filmic people, but also the hybridity, heterogeneous and profundity of Chinese modernity could be further indicated.

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Uecker, Jeffry Lloyd. "From Promised Lands to Promised Landfill: The Iconography of Oregon's Twentieth-Century Utopian Myth." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5026.

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The state of Oregon often has been viewed as a utopia. Figures of speech borrowed from the romantic sublime, biblical pilgrimage, economic boosterism, and millenialist fatalism have been used to characterize it. The visual arts also have responded to Oregon's utopian myth. During the nineteenth century, the landscape was a primary focus for utopian art. In the twentieth century, past human achievements, recreation, agriculture, and industry have joined the environment as themes which inspire utopian imagery. The objective of this study is to demonstrate that twentieth-century art that responds to Oregon's utopian myth has given rise to an iconography which both energizes and reflects the development of that myth and which informs an important component of the state's identity. Using as a criteria that which idealizes Oregon as a place, an inventory of utopian art was compiled. It includes over 300 works of visual art, plus a number of artists for whom utopian subjects served as a consistent element. From this information, dominant themes were identified which demonstrate the existence of iconography, or visual symbolism, that expresses Oregon's utopian myth. Through the themes of natural environment, heroic images of Oregon's human past, and interaction between humans and the environment-plus numerous sub-themes-the artistic evidence demonstrates that visual imagery and symbols play an important role in how Oregonians define themselves and their history. It also suggests what form the state's utopian myth, identity' and the decisions made by its people may take in the next century.

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Kong, Wai-ping Judy, and 江偉萍. "Gender and sexuality in modern Shanghai: Chinese fiction of the early twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245432.

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Price, Ann Mereryd. "Alienation, trains and the journey of life in four modern Japanese novels." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26903.

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This thesis examines the theme of alienation along with the train motif in the life journeys of the protagonists in four modern Japanese novels. Each chapter is devoted to an individual novel and explores its hero's feelings of socio-psychological estrangement on personal and interpersonal levels as well as the role of the train journey which serves to arouse, create or alleviate such feelings. Chapter One deals with Sanshiro (Sanshiro. 1908) by Natsume Soseki and follows the hero on his long train journey from backward Kyushu to progressive Tokyo. The people he meets on the train foreshadow the feelings of uneasiness and estrangement he will encounter in the capital. For Sanshiro, the noisy, crowded streetcars initially represent the "real world," constantly reminding him of his alienation from it. Once over his culture shock the hero's sense of not belonging shifts to his relationships with his friends. Gradually he begins to feel more comfortable with himself and the world around him. Chapter Two examines A Dark Night's Passing (An'ya Koro, 1921-37) by Shiga Naoya. In his search to resolve feelings of unacceptability arising from his childhood experiences, Kensaku takes a series of journeys, many by train, "backward" in time. The train thus serves as an agent which can transcend the barriers of both time and space, separating or reuniting people and creating or breaking down distances between places. It can arouse feelings of happiness, excitement, sadness or loneliness in its passengers or simply provide him with a place to relax and dream about a brighter future. Chapter Three focuses on Snow Country (Yukiguni. 1934-1947) by Kawabata Yasunari. Shimamura's purpose in visiting the snow country is two-fold -- he both desires to escape from and needs to confront the reality of the wasted effort in his life and resulting sense of alienation from humanity. The train complies. As it brings him into this region of Japan it completely loses any connection with reality, creating a void in which weirdly beautiful apparitions float up before our hero's very eyes. Once in this fantasy land our hero is taught to see his own coldness and how to become more human by two beautiful women. It is then left up to Shimamura to put what he has learned into action when he returns to Tokyo by the train which, heading away from the snow country, takes on very real qualities. The final chapter examines The Temple of the Golden Pavilion (Kinkakuii. 1956) by Mishima Yukio. This novel deals with Mizoguchi, a most frightening character whose mixed-up views of both himself and the world are but a thin disguise for insanity. The hero suffers terribly from the resulting feelings of not belonging as well as a great inferiority complex. The situation is complicated by his strange love-hate relationship with the Golden Temple to which he attributes human qualities. The train in this novel serves as the symbolic vehicle which transports the hero back and forth between the region of his birth and what he calls "the station of death" where he will eventually destroy both the temple and the hated half of his personality. In the conclusion the relevance of alienation, trains and the journey of life in modern Japanese literature are discussed.
Arts, Faculty of
Asian Studies, Department of
Graduate

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Yu, Liwen, and 余麗文. "Politicizing poetics: the (re)writing of the social imaginary in modern and contemporary Chinese poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42841628.

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MacKenzie, Garry Ross. "Landscapes in modern poetry : gardens, forests, rivers, islands." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5910.

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This thesis considers a selection of modern landscape poetry from an ecocritical perspective, arguing that this poetry demonstrates how the term landscape might be re-imagined in relation to contemporary environmental concerns. Each chapter discusses poetic responses to a different kind of landscape: gardens, forests, rivers and islands. Chapter One explores how, in the poetry of Ian Hamilton Finlay, Douglas Dunn, Louise Glück and David Harsent, gardens are culturally constructed landscapes in which ideas of self, society and environment are contemplated; I ask whether gardening provides a positive example of how people might interact with the natural world. My second chapter demonstrates that for Sorley MacLean, W.S. Merwin, Susan Stewart and Kathleen Jamie, forests are sites of memory and sustainable ‘dwelling', but that deforestation threatens both the ecology and the culture of these landscapes. Chapter Three compares river poems by Ted Hughes and Alice Oswald, considering their differing approaches to river sources, mystical immersion in nature, water pollution and poetic experimentation; I discuss how in W.S. Graham's poetry the sea provides a complex image of the phenomenal world similar to Oswald's river. The final chapter examines the extent to which islands in poetry are pastoral landscapes and environmental utopias, looking in particular at poems by Dunn, Robin Robertson, Iain Crichton Smith and Jen Hadfield. I reflect upon the potential for island poetry to embrace narratives of globalisation as well as localism, and situate the work of George Mackay Brown and Robert Alan Jamieson within this context. I engage with a range of ecocritical positions in my readings of these poets and argue that the linguistic creativity, formal inventiveness and self-reflexivity of poetry constitute a distinctive contribution to contemporary understandings of landscape and the environment.

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Bolongaro, Eugenio. "The modern intellectual negotiating the generic system : Italo Calvino and the adventure of literary cognition." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ36958.pdf.

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Pinkoski, Nathan. "Postmodern Aristotles : Arendt, Strauss, and MacIntyre, and the recovery of political philosophy." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:b4d728b9-8bb4-47e6-ac01-16dcc9f6f314.

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What is political philosophy? Aristotle pursues that question by asking what the good is. If Nietzsche's postmodern diagnosis that modern philosophical rationalism has exhausted itself is true, it is unclear if an answer to that question is possible. Yet given the prevalence of extremist ideologies in 20th century politics, and the politically irresponsible support of philosophers for these ideologies, there is an urgent need for an answer. This thesis examines how, in these philosophical circumstances, Hannah Arendt, Leo Strauss, and Alasdair MacIntyre conclude that a key resource in the recovery of political philosophy, and in showing its contemporary relevance, lies in the recovery of Aristotle's political philosophy. This thesis contends that how and why Arendt, Strauss, and MacIntyre turn to Aristotle, and what they find in Aristotle, depends on their varying critiques of modernity. Convinced that the philosophical tradition is shattered irreversibly after the events of totalitarianism, Arendt argues for a retrieval of Aristotle and his understanding of politics from the fragments of that tradition. Strauss is impelled to turn to the political philosophy of Aristotle because of the crisis of radical historicism, to recover classical rationalismâs answer to what the good is. MacIntyre turns to Aristotle to find the moral justification for rejecting Stalinism that contemporary philosophical traditions fail to provide; he reconstructs an Aristotelian tradition that can answer the question of what the good is better than his contemporary rivals. Although these thinkers may appear disparate, this thesis argues that each addresses the question of what the good is by offering a vision of political philosophy as a way of life, which Aristotle helps form. This way of life probes the relationship between philosophy and politics as permanent problem for human existence. In recovering this tradition of thinking with Aristotle about the character of political philosophy, this thesis aims to contribute to the understanding of each of these thinkers, as well as to the practice of political philosophy in modern, post-Nietzschean times.

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Etchegoyen, Emilio G. "Historical context as it affects the base of the skyscraper." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/24114.

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Calabrese, Laura. "Le rôle des désignants d'événements historico-médiatiques dans la construction de l'histoire immédiate: une analyse du discours de la pensée écrite." Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210172.

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Ce travail est divisé en deux grandes parties. La première explore la notion d’événement dans une perspective multidisciplinaire, à partir de l’histoire, la sociologie, l’ethnologie, la philosophie, la communication et la linguistique. Le but de ce parcours notionnel est double :tout d’abord, illustrer comment les sciences humaines évoluent (depuis les années 1950) vers une approche langagière de l’événement, et en deuxième lieu, nous doter des outils conceptuels nécessaires pour montrer que l’événement médiatique est une construction sociale dans laquelle le langage joue un rôle central. Cette construction est régulée par des routines de rédaction journalistiques, des contraintes matérielles (i. e. l’espace disponible pour rédiger des titres), des représentations et des habitus de lecture. En amont de la nomination par le média, des protocoles sociaux implicites règlent ainsi la mise en mots de l’événement. Cela explique l’énorme consensus dans la nomination d’événements à l’intérieur d’un même espace historico-géographique.

La réflexion théorique sur l’événement a également permis d’observer le fonctionnement singulier du discours d’information, notamment en regard du discours historique, tout spécialement à partir de leur saisie particulière du temps, à savoir, les temps courts des médias et les temps long ou mi-longs de l’histoire. Cette forme d’appréhender le temps n’est pas sans conséquences sur les modes de nomination des médias, car ils ont besoin de nommer toute occurrence jugée événementielle, souvent sans le recul nécessaire pour les intégrer dans un récit global. La pratique conduit en effet le discours de l’information à produire une grande quantité de désignants qui pourront être mémorisés par les lecteurs sans pour autant produire de véritables connaissances. Malgré cette hypertrophie, l’événement médiatique constitue un repère collectif primordial pour organiser le vécu public. En ce sens, il est à distinguer du fait divers, qui n’organise pas le temps social mais produit, au contraire, des discours répétitifs, ancrés sur des archétypes et non sur l’actualité. Dans sa fonction cathartique, le fait divers présente une mise en récit du dysfonctionnement de la société et, dans sa répétitivité, n’a pas besoin d’être mémorisé par le discours social. Comme corollaire, il produit moins de dénominations et plus de séquences narrativisées. Ainsi, un fait divers peut accéder au statut d’événement en fonction de la place que le discours d’information −et la société− lui accorde, à la fois dans l’espace public et dans la matérialité du support écrit.

En tant que construction sociale, l’événement médiatique n’est pas un objet discret. Non seulement il n’est pas disponible tel quel avant l’acte de nomination, mais il n’est pas immédiatement disponible et perceptible. Comme d’autres réalités sociales ou institutionnelles, les événements ont une « ontologie subjective » mais sont perçus comme objectifs. Dans ce cadre, l’instance de médiatisation est fondamentale pour donner corps à l’événement et l’ériger en objet d’intérêt public. La question qui se pose est celle de la mise en forme de l’événement en consensus avec le corps social. Si nous considérons les événements comme des faits institutionnels, il devient évident que leur mode de donation est médiatisé par le biais d’une instance socialement légitimée à laquelle on accorde cette mission :les médias. Le mécanisme de médiation qui intervient ici est la déférence :nous déférons aux journalistes la tâche d’identifier, de décrire et de nommer les événements publics.

L’analyse des désignants d’événements dans une perspective linguistique (sémantique et syntaxique) s’avère ainsi fondamentale pour interroger les représentations mobilisées par le média. En effet, ces séquences linguistiques, largement partagées par le corps social, sont des prêts-à-dire capables de condenser une énorme quantité d’information sur l’événement, de ses données les plus objectives (où, quand, quoi) aux plus subjectives (images, représentations) mais partagées intersubjectivement. La deuxième partie de cette thèse aborde la description de ces séquences linguistiques, dans une démarche qui va de la sémantique lexicale à la sémantique discursive. Les désignants d’événements sont envisagés sous leur forme expansée, c’est-à-dire comme des expressions définies formées à partir d’un nom événementiel, nom qui dénote un événement en langue (attentat, catastrophe, crise, etc.). Cette base lexicale sert à catégoriser l’événement −en fonction de cadres cognitifs communs−, orientant le sens et affectant les représentations des lecteurs.

Parmi les différentes formes, nous distinguons des expressions définies complètes (la guerre en Irak, le massacre de la place Tiananmen, les attentats du 11 septembre, l’affaire du voile) et incomplètes (la crise, la canicule, le tsunami). Ces dernières se caractérisent par la présence d’un opérateur indexical qui fait référence au moment de l’énonciation et ont donc une capacité plus faible à stocker la mémoire de l’événement. Une fois le moment discursif passé, ces expressions ont tendance à être complétées par un complément (i. e. la canicule de 2003). Les expressions définies complètes présentent, elles, une tendance à la condensation. Elles produisent ainsi des mots-événements :des toponymes et des dates en fonction événementielle (que nous appelons héméronymes), ainsi que des désignants occasionnels (Tiananmen, le 11 septembre, le voile, respectivement). Malgré l’effacement du nom événementiel présent dans la dénomination originelle (massacre, attentat, affaire), celui-ci est pour ainsi dire enregistré par l’expression restante, et sert par là à orienter le sens de l’expression. La preuve qu’un sens notionnel a été enregistré par ces expressions est qu’elles peuvent être réutilisées dans des emplois métaphoriques, pour des événements de même nature (le 11 septembre de l’Europe, un Tiananmen à l’iranienne, tsunami financier). L’approche discursive permet également de distinguer des dénominations et des désignations, moins figées et à plus forte valeur axiologique, mais qui contribuent également à la construction de l’événement. Si Mai 68 peut être catégorisé comme une révolte, une révolution ou un mouvement par la presse et par les principaux acteurs sociaux, il peut également être qualifié de coup d’épée dans l’eau ou de rupture culturelle. Les premières constituent des séquences largement partagées dont le but est de catégoriser, mémoriser et retracer l’événement, tandis que les secondes expriment surtout le point de vue d’un énonciateur ou groupe, et ont par là un contenu axiologique plus évident.

Nous essayons de montrer que la description linguistique est une condition nécessaire pour décrire la capacité mémorielle de ces désignants, qui ont des degrés de stabilité et de figement différents. L’établissement des différentes catégories (expressions définies complètes et incomplètes, xénismes, mots-événements accidentels, toponymes événementiels et héméronymes) permet d’étudier leur capacité mémorielle en fonction de leur morphologie. En effet, moins le désignant a de contenu lexical, plus il a de facilité à circuler dans des contextes qui ne sont pas celui d’origine. Ainsi, les toponymes et les héméronymes ont une plus grande capacité d’évocation, en raison de leur proximité avec le nom propre. Dans le discours d’information, ils fonctionnent comme des outils cognitifs qui servent à mémoriser des événements, des images et des discours sur les événements.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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48

Fox, Peter Holden. "Textual apparitions: power, language, and site in the work of Jenny Holzer." Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.

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Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.

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49

Thoday, Heather Frances. "Lived spaces of representation : thirdspace and Janette Turner Hospital's political praxis of postmodernism /." Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09pht449.pdf.

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50

Daussat, David M. "Birth of a Modern Concerto: An Explication of Musical Design and Intention in Journey: Concerto for Contrabass Tuba and Orchestra." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6116/.

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John Stevens was commissioned by the Chicago Symphony Orchestra (CSO) and the Edward F. Schmidt Family Commissioning Fund to compose a concerto for its principal tubist, Gene Pokorny. The piece began with multiple conversations between composer and performer and from these meetings actualized the influences that shaped the work. The most important influences that the performer mentioned were his passions for American steam locomotives and the Three Stooges, both of which were used by Stevens in his rendering of the composition. This concerto was designed to be played on the famous CC York tuba that was played by the former principal tubist of the CSO, Arnold Jacobs, the same instrument used today. Insight into the history of the York tuba will be given as well as their influence on contemporary manufacturing and design. Focus is given to how Stevens writes the piece idiomatically to the CC tuba and potential performance problems when a performer uses tubas of a different key. Conversations with both gentlemen will display the non-musical influences on Journey and how this effects the composition. Stevens' compositional language is explored and discussed in respect to the challenges and idiosyncrasies within the work. Collegiate tuba professors provide explanation for works level of interest within their respective schools and experiences.

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Dissertations / Theses on the topic 'History, Modern – 20th century – Chronology'

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