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Bushroe, Jennifer Danielle. "James." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/146900.
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Before Peter Pan, before the crocodile. and before the Jolly Roger, Captain James Hook was simply 'James,' a typical teenage boy from London who attended school, flirted with girls, and played cricket. Soon after he graduates from the prestigious Eton College, Britain is swept up into The Great War (WWI) and James finds himself falling for a girl his father doesn't approve of. How does he choose between duty and love, honor and happiness? We all know James' ultimate destiny, but his path to piracy has never been explained. What is it that causes him to commit his first crime of many--growing up?
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MacLean, Lisa A. "Henry James and James McNeill Whistler, representing modernity." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25103.pdf.
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Cruz, Moscoso Franklin de la. "James Joyce’s Early Works: James Joyce’s “The Dead” in Dubliners." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/110291.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa.The present report, then, will focus on the “The Dead”, mainly, to show its intrinsic worth and the possible relations existing between it and the other stories within Dubliners, and Joyce’s next work, A Portrait of the Artist as a Young Man.
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Sutherland, Kerry L. "The Prince of Agents: James Brand Pinker and Henry James." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1350659360.
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Whichard, Willis P. "Justice James Iredell /." Durham, NC : Carolina Academic Press, 2000. http://www.gbv.de/dms/spk/sbb/recht/toc/312651147.pdf.
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Largent, Daryl L. "James the Third." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1334777710.
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Mayo-Bobee, Dinah. "Book Review of A Companion to James Madison and James Monroe." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/725.
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Boyd-MacMillan, Eolene Moore. "Christian transformation : an engagement with James Loder, mystical spirituality, and James Hillman." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615996.
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Valihora, Karen. "Reading the late James." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61044.
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This thesis examines the structures guiding and informing reading intrinsic to James's "late" style. It seeks to explore James's analogy between reading as an ethical activity and his own and his characters' acts of storytelling. It looks first at the necessities of reading as they are presented through the character of Isabel Archer in The Portrait of a Lady, to find that reading for James is itself a form of storytelling. James's concept of "revision," which replaces the concept of "re-writing," unites the activities of reading and storytelling because both activities, to be free, must be guided by the contingencies of experience. James's emphasis on the determinations of experience, which yields changing apprehensions of the same material, at once makes reading a test of the reader's resources in dealing with unexpected and complex situations, and storytelling an act of improvisation if it is to be faithful to the demands of its subject. The second half of the thesis examines Maggie Verver's command of storytelling in The Golden Bowl. It finds that ethical storytellers must have the same faith in their subject matter as ethical readers must have in the texts they engage. Finally, the thesis unites the study of reading with storytelling by examining the ways in which stories are exemplary performances whose the most significant subject is the audience. It is the forms of judgement that a work of art elicits which are essential to establishing alternative conceptions of the good and new modes of valuation in a community.
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Wells, Dominic Peter. "James MacMillan : retrospective modernist." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/5932/.
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Although he describes himself as a ‘modernist’, tradition has been an integral aspect of the music of James MacMillan from the beginning of his compositional career. Three traditions in particular permeate his works: the cultural tradition of his native Scotland; the religious tradition of the Catholic Church; and the tradition of music from past models to the present day. These three traditions and their relationship to the present are explored in depth in this thesis, which argues that MacMillan should be termed a ‘retrospective modernist’, given the emphasis he places on the relationship between past traditions and the present. Part I examines MacMillan’s political and cultural retrospective modernism, initially in the general context of autonomous and political music, and then more specifically in relation to Liberation Theology, while the remainder explores MacMillan’s complex relationship with Scotland, past and present. Part II discusses religious retrospective modernism, comparing MacMillan with Wagner and Bach. The theological implications of Wagner’s Tristan und Isolde are discussed in conjunction with The Sacrifice and St John Passion, and the following chapter addresses three liturgical issues concerning both MacMillan and Bach: musical settings of the Christian Passion narrative; the composition of music for congregational participation; and the practice of recycling music in mass settings. Part III continues with this topic of musical recycling and quotation in MacMillan’s works, first in comparison with Mahler, and then extending to consider the technique of polystylism in the music of Ives, Berio, Schnittke and Maxwell Davies, all of whom have been significant influences on MacMillan. Finally, an in-depth examination of the tension between the concepts of tradition and modernism concludes the study. While some modernists see this tension as irreconcilable, MacMillan considers it to be a positive, creative tension. Issues relating to high modernism, antimodernism, postmodernism, pluralist modernism and finally retrospective modernism are discussed here, demonstrating why the latter is the most appropriate term to describe the music MacMillan composed in the period 1982-2010.
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Kwok, Hang-wah Yvonne, and 郭亨華. "William James' psychological philosophy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B29798462.
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(Uncorrected OCR)
Abstract of thesis entitled
'William James' Psychological Philosophy'
submitted by
Kwok Hang Wah Yvonne
for the degree of Master of Philosophy at the University of Hong Kong
in November 2002
The aim of this thesis is to suggest a way to better understand William James' philosophy by recognising its relation with his evolutionary psychology. In order to clarify James' version of 'evolutionary psychology', I will present it in contrast to Herbert Spencer's biological psychology. In Chapter Two, I will discuss how Spencer establishes his development hypothesis and how he understands the mind as a biological product being modified by environmental changes. In Chapter Three, I will interpret James' argument against Spencer's ideas that the mind operates passively, and that Spencer has overlooked the subjective factors in mental development. Through the discussion, we can understand the main difference between James' and Spencer's evolutionary psychologies. The fourth chapter will focus on James' psychology of the active mind. I will offer a more detailed explanatory account of James' views of three important mental functions, namely 'discrimination', 'association' and 'conception', as well as how they operate to construct experiences. In the last chapter, I will interpret one of the topics in James' philosophical discussions, so as to illustrate his psychological view in his philosophy. The discussion will show James' views of the different
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roles of perception and conception in life, and his evolutionary concern of the functional use of concepts for experience. I will then explain how these views are related to James' argument against rationalism and his position in his radical empiricism. Through these discussions, I hope to shed light on the connection between James' evolutionary psychology and his philosophical ideas, which ultimately offers a better understanding to James' philosophy.
iiabstract
toc
Philosophy
Master
Master of Philosophy
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Calcaterra, Rosa M. "El James de Putnam." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113044.
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El presente trabajo busca reconstruir la posición de Hilary Putnam en torno a la filosofía de James, analizando los aspectos que han contribuido principalmente a la evolución del realismo putnamiano. Luego de precisar la afinidad entre Wittgenstein y James que guía el interés de Putnam por el pragmatismo de James, la autora recorre los temas éticos, epistemológicos y metafísicos a partir de los cuales surgen los aspectos más fructíferos de la filosofía pragmatista. Algunos de ellos son: la conjunción entre antidogmatismo y antiescepticismo, la concepción procesal del conocimiento y de la verdad, la crítica al reduccionismo fisicalista y al realismo del sentido común, y, por último, la tesis de la importanciade la dimensión práctica en el desarrollo del análisis filosófico. Queda así subrayada la actualidad de la batalla jamesiana contra la lógica dicotómica que gobierna nuestra tradición teorética.
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Rix, A. C. "Transport in Henry James." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1428636/.
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This dissertation explores the relationship between transport and representation in James’s later fiction. Each chapter adopts a particular route: by carriage, boat, train, bicycle and automobile, examining its function and resonance within the Jamesian narrative. Texts discussed include What Maisie Knew (1897), The Sacred Fount (1901), The Ambassadors (1903), and The Golden Bowl (1904), as well as lesser-known tales such as ‘The Patagonia’ (1888), ‘The Papers’ (1903), and ‘The Velvet Glove’ (1903). The thesis assumes a historical basis, addressing the considerable developments in transportation that occurred between the late nineteenth and early twentieth centuries and their appreciable impact upon manners and readerships. James’s texts are read alongside the bicycle’s association with media and print culture, the literature known as ‘railway reading’, and the cabby’s superior knowledge of geographical and sexual ‘relations’, as enlisted by the detective story and divorce-court narrative. At the same time, the project seeks to draw attention to the consonance between transport and the Jamesian, countering longstanding treatments of the author’s characters, person and aesthetic as implicitly static. As I argue, transport is not only materially crucial to James’s fictions, but informs aspects of style or subject deemed characteristically Jamesian: a preoccupation with belatedness (for the train traveller), an aversion to exposure or publicity (for the cyclist), and the cab journey’s association with a local and costly knowledge. Above all, I will argue, transport articulates James’s complex preoccupation with relationality, an investment which ranges from the intense subjectivity of his fictional worlds to their series of transatlantic encounters.
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Godsell, Michael T. "James a living faith /." Online full text .pdf document, available to Fuller patrons only, 1999. http://www.tren.com.
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Sastri, Reena. "James Merrill : knowing innocence /." New York : Routledge, 2007. http://catalogue.bnf.fr/ark:/12148/cb41092519r.
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Binnie, Georgina Elaine. "James Joyce and photography." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/15993/.
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This thesis examines the relationship between photography and paralysis in the work of James Joyce. In taking Joyce’s intention to ‘betray the soul of that hemiplegia or paralysis which many consider a city’ as key to his engagement with photography, I argue that the photographic images in Joyce’s work occupy a shifting, intermediary position between the stasis of portraiture and the kinesis of film (LI 55). Garry Leonard, Louise E. J. Hornby and Eloise Knowlton have begun to address the interdisciplinary relationship between photography and literature in the work of James Joyce, but their writing considers individual texts, rather than Joyce’s work as a whole. Studies of the history of Irish photographic culture have been similarly absent, with Justin Carville and Kevin and Emer Rockett’s monographs on Ireland and photography appearing only in the last decade. This project builds on this recent scholarship and, by reading Joyce’s allusions to photography through a historical and theoretical lens, provides a new and in-depth approach to Joycean study.
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Olson, Ted. "James Still's Short Stories." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1190.
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Olson, Ted S. "Reassessing James Still’s Work." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/5522.
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Allen, Gleed Kim M. "Joyce in France, Joyce in French translation, culture, literary fame /." Diss., Online access via UMI:, 2005.
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Olson, Ted. "Three Essays: "Son House [Eddie James House Jr.]", "Skip James", and "O. B. McClinton"." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/1628466928.
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Book Summary: The perfect book for every Mississippian who cares about the state, this is a mammoth collaboration in which thirty subject editors suggested topics, over seven hundred scholars wrote entries, and countless individuals made suggestions. The volume will appeal to anyone who wants to know more about Mississippi and the people who call it home. The book will be especially helpful to students, teachers, and scholars researching, writing about, or otherwise discovering the state, past and present.
The volume contains entries on every county, every governor, and numerous musicians, writers, artists, and activists. Each entry provides an authoritative but accessible introduction to the topic discussed. The Mississippi Encyclopedia also features long essays on agriculture, archaeology, the civil rights movement, the Civil War, drama, education, the environment, ethnicity, fiction, folklife, foodways, geography, industry and industrial workers, law, medicine, music, myths and representations, Native Americans, nonfiction, poetry, politics and government, the press, religion, social and economic history, sports, and visual art. It includes solid, clear information in a single volume, offering with clarity and scholarship a breadth of topics unavailable anywhere else. This book also includes many surprises readers can only find by browsing.
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Hirs, Franz-Joseph. "De prediking van James Baldwin /." Kampen : Kok Agora, 1995. http://catalogue.bnf.fr/ark:/12148/cb39249498m.
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Lapin, Joseph A. "The Adventures of James Tully." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/349.
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THE ADVENTURES OF JAMES TULLY is a novel in stories depicting James Tully's experience growing up in the light of his mother's mental illness and the discovery that his family has secrets important to his understanding of himself. After trying to negotiate these difficulties in his working class home town of Clinton, Massachusetts, he embarks on a search for the place where he really belongs. THE ADVENTURES OF JAMES TULLY spans the protagonist’s life from the age of ten through the period following his graduation from college at twenty-one. The book is divided into three sections.
As is typical in the bildungsroman form, the protagonist is a young man who forsakes his home in the search for experience and spiritual enlightenment. Ultimately, James builds a new sense of self as he moves from seeing his world as horrible and frightening to finding in it the promise of beauty.
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Fetterhoff, Allyson. "Strategic nonnarration in Henry James." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/4105.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2006.Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Charles, Alec. "James Joyce, modernism and postmodernism." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284287.
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Coulson, V. C. "Women, realism, and Henry James." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598066.
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The thesis explores the textually-mediated relationships between Henry James and three of his most important female friends: novelists Constance Fenimore Woolson and Edith Wharton, and Henry's sister Alice, author of a significant Diary. These seemingly disparate writers draw together in their affinity for a certain form of realist representation. I argue that what I call 'Jamesian realism' is a mode of representation characterised by the productive ambivalence of its distinctive semiotic structures; it is especially hospitable to the expression and negotiation of ambivalence towards authority. In particular, this is the ambivalence towards gendered and sexualised authority experienced by the women writers whose otherwise inarticulable resistance to the social and psychological imperatives of femininity engaged with James's own gender discomforts and imaginative affiliation with women. With the exception of Alice's interest in Irish politics, Woolson, Wharton, and Alice James were social conservatives who never identified themselves with any form of avowed feminist thought; they were the last generation of intellectually ambitious women for whom a socially acceptable engagement with gender politics was unthinkable. For each, there was a disjunction between her conscious commitment to conservative values, and her lived experience of the social and psychological disentitlements that nevertheless ensued. Alice, Edith, and Constance found in Jamesian realism a mode of representation through which they could express the restiveness and self-division that each has experienced within herself, as well as in relation to her female critics and rivals. Jamesian realism is a representational form through which each woman negotiates her ambivalent sense of exclusion and reprieve, her conflicting impulses towards complying with, and resisting, authority.
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Ulrich, Taylor Jade. "James Deen: The Feminist Enigma." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/364.
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James Deen and his distinct following of fans has allowed for a discussion of what pornography means to women and teenage girls to be teased out. His fans are vocal, public and unashamed in their fascination with him, dismissing previously held ideologies that porn be a clearly private activity that is shameful to be addressed publicly; especially for women. James Deen’s uniquely unintimidating demeanor, both physically and personally, has made him more forgivable for his mistakes (i.e. rape “joke” Tweets), evidence of an intense desire for women to find porn that they can relate to and positively consume. Despite his shortcomings, James Deen is immensely popular among women and because of this, brings to light my critique of the limited definition of feminist pornography as it stands today in academia.
James Deen works against the grain of the porn industry, representing a new type of porn star that lends women their own gaze and further access to genuine pleasure intended for them. When James Deen breaks the common subject-object barrier of mainstream porn by pleasuring women on-screen, he disrupts the visual coding that holds the patriarchal gaze together at its seams, and works to produce female pleasure as a sexual truth. Not only that, but his consciousness around consent further allows women to be able to identify sexual pleasure with roles of submission. This construction of power-knowledge-pleasure to include women, and enthusiastic consent, aligns him with feminist porn aims to primarily focus on women, sexual openness and not shame, and sex positivity and not negativity.
Moving beyond the foci of James Deen’s films and his personality, the theory of disidentification is integral to understanding some women’s relationship with him, and how even the more complicated aspects of porn should be considered for inclusion within the definition of feminist porn. To ignore this survival tactic is to silence women’s participation in an already exclusionary industry. To include disidentificatory practices in feminist porn is to take into account the convoluted, nonlinear and illogical ways women and teenage girls are consuming porn. When the definition is opened up to include all porn that “works on and against dominant ideology” (as James Deen’s does), experienced anxieties due to inconsistencies between one’s erotics and politics can be relieved, fantasy is further understood as a real and validated sexual tool, and masochism’s role in porn is logically brought into this dialogue. When fantasy is accepted as a complex and mysterious phenomenon, disenfranchised demographics such as women are given license. Masochism is no longer limited to an absent and repressed tendency that places women in a punished state. James Deen’s masochistic aesthetic threatens patriarchal dogma and offers up something new to the world of pornography.
While James Deen does not profess to be a feminist, his porn practices and personality set him apart from the majority of the mainstream porn world and within the feminist porn sphere. In the end, the good that he is doing in providing women and teenage girls an option in an otherwise barren landscape of phallocentric porn should be enough to earn him academic scholarship and inclusion in the realm of feminist pornography.
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Carey, Stephen Joseph. "Comedy in James Joyce's Ulysses." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:80539d29-5f34-44af-b2a6-265d85000258.
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The comic in Ulysses needs more attention. The few studies that exist disregard the problems: the adoption of assumptions which limit discussion, the inconsistent terminology, the lingering prejudice regarding comedy as inferior to tragedy. This study begins by examining the common assumption that comedy in Ulysses is either a restraint on Joyce's saeva indignatio, or an affirmation of life; and then looks at the difficulties of comic criticism. Chapter two considers modern comedy, distinguishes three schools of theory, and indicates how these will be considered in relation to Ulysses. Chapter three, countering the assumptions observed in chapter one, discusses the book's refusal to indulge the reader's desire for certainty, illustrating this with a criticism of Kenner's conception of Joycean irony and Goldberg's reading of the 'Nausicaa' episode. Chapter four examines Mulligan: "in risu veritas: for nothing so reveals us as cur laughter" (Joyce). Using Freud's study of aggressive jokes, it works backwards from 'Circe,' where Mulligan is revealed in his true (motley) colours. Chapter five evaluates Bloom's comic/ heroism, working with Bergson's study of social laughter and against Darcy O'Brien. The final chapter considers farce, particularly in 'Cyclops' and 'Circe,' using Bergson's body-as-machine theory and Bakhtin's study of the medieval carnival in Rabelais and his World<.em>.
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Maqableh, Rasha Ibrahim Ahmad. "James Joyce and the Orient." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/27813.
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This PhD thesis is engaged in examining the racial stereotypes of the Oriental Other in Ulysses (1922) and the possibility of reading them as a critique of the dominant cultural discourses of Otherness. Since the publication of Edward Said's Orientalism (1978), and the studies of colonial and postcolonial discourses which followed, most canonical writers have been examined in terms of their engagement in the discourse of Orientalism created by the dominant imperial powers and propagated by the makers of their culture. The thesis argues that the distinctive contribution James Joyce (1882-1941) made in his representation of the Orient in Ulysses lay in the subversion of the perceived notion of the Orient in Western Culture. Chapter one investigates Joyce's experimentation with literary techniques to summarizes the language and imagery of Orientalism in order to challenge them. The chapter also argues that Joyce's approach towards the fabricated stereotypes about the East has a significant bearing on Ireland and the Irish, a people who have suffered for centuries of stereotyping prejudice under the English domination. In the course of the discussion, the thesis also demonstrates how the Oriental references are neatly constructed in Ulysses to the extent that they are configured with the major themes of the novel such as belonging, self-realization, Otherness, homecoming, history and betrayal. The second chapter examines the Oriental motifs in connection with the theme of history that resonates throughout Ulysses to dramatize the Oriental fantasies which provide the Irish with glimpses of liberation, in the same manner that the Irish legends of Oriental origin provide Ireland with possibilities of freedom from the Irish colonial history. The final chapter of the thesis concentrates on the centrality of The Arabian Nights in Ulysses and how it is effectively incorporated in the structure of Joyce's novel. The chapter also proposes that the combination of Joyce's multiplicity of perspectives along with the evocation of a text like The Arabian Nights which is characterized by its proliferation of narratives provides a reading of the theme of betrayal from different perspectives.
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Moira, Amara 1985. ""Dubliners" / "Dublinenses" : retraduzir James Joyce." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269967.
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Orientador: Fabio Akcelrud DurãoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-22T20:39:26Z (GMT). No. of bitstreams: 1 Moira_Amara_M.pdf: 2083817 bytes, checksum: 688ce4a9ffecb500ae13e648428af24b (MD5) Previous issue date: 2013
Resumo: O fato de existirem sete traduções do "Dubliners" de James Joyce poderia indicar duas situações diametralmente opostas: de um lado, que é possível já existir uma versão cujo brilho seria capaz de apagar, pelo menos temporariamente, a necessidade de se retraduzir os quinze contos; de outro, que há algo neste livro que resistiu e segue resistindo às mais obstinadas tentativas de tradução. O estudo destas traduções, entretanto, demonstrará que poucas são as divergências nas propostas que as animam, diferindo entre si tão-somente no grau de ousadia com que buscaram recriar o "Dubliners" em português: no geral, todas as sete (quatro brasileiras e três lusitanas) seriam filhas dum mesmo desejo de preservar a camada superficial de sentido a qualquer custo, mesmo que isto implique em apagar algumas das características mais intrigantes da prosa joyceana (a saber, a possibilidade de usos verbais dos personagens inadvertidamente despontarem na voz do narrador, as experiências coloquiais que abundam em qualquer dos contos [desvios da norma culta, expressões que não conhecem registro nos principais dicionários da língua, giros lexicais de sentido obscuro, peculiaridades do inglês falado na Irlanda, falas vazias de significação ou demasiado vagas, etc.] e as repetições que criam uma teia de sentidos dentro da obra). Pensando nisto e munido de um conhecimento minucioso tanto do texto inglês quanto do das versões em nosso idioma, empreendi uma nova tentativa de tradução do "Dubliners", tradução de viés acadêmico por vir acompanhada de notas e de um arcabouço teórico sólido, mas que não coloca em segundo plano a necessidade de se recriar a instigância do original irlandês. No que toca à obra joyceana, o crítico Hugh Kenner será uma das pedras de toque do projeto, enquanto que, no tocante à teoria da tradução, Walter Benjamin servirá como iluminador de caminhos. A versão castelhana de Guillermo Cabrera Infante, o genial escritor cubano e um admirador de Joyce, será um modelo de possibilidades criativas: não temos uma versão que se lhe equipare, uma versão que se proponha a criar uma obra rigorosa e de fato literária. Eis o desafio a que me proponho nesta dissertação
Abstract: The fact that there are seven translations of James Joyce's "Dubliners" could indicate two diametrically opposite situations: on the one hand, that it is possible that the splendour of one of these versions would be able to suppress, temporarily at least, the need for another translation; on the other, that there is something in this book that resisted and keeps resisting to the most obstinate attempts of translation. However, the analysis of these translations will show that there are few differences between their proposals: in general terms, all them ( four Brazilians and three Lusitanians) descended from the same desire of preserving at any cost the superficial layer of sense, even when it deletes some of his most intriguing characteristics (as some idioms of the characters appearing in the narrator's voice, or the numerous coloquial experiences, or the repetitions that create a web of signifiers inside the work). With that in mind and provided with a thorough knowledge of the English text as well as of the Portuguese translations, I undertake another attempt to translate it, an academic attempt with plenty of notes and a solid framework but bringing also to foreground the necessity of recreating a literary work, a work that deserves to be called literature. Hugh Kenner will be the touchstone regarding the Joycean criticism, while Walter Benjamin will illuminate new paths in translation studies. Guillermo Cabrera Infante, the bright Cuban writer and an admirer of Joyce, was my model of creative possibilities: we do not have a version as good as this one. This is my challenge with this dissertation
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Cramond, Bonnie. "James J. Gallagher (1916-2014)." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/100998.
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Kohler, George Y. "James Diamond: Jewish Theology Unbound." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2019. https://slub.qucosa.de/id/qucosa%3A34550.
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Rocchi, Jean-Paul. "James Baldwin : écriture et identité." Paris 4, 2001. http://www.theses.fr/2000PA040212.
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Plus qu’une étude sur la représentation des catégories raciales et sexuelles, et leur interaction, cette recherche sur James Baldwin s'intéresse aux voies que l'écriture emprunte pour transformer les identités et les mener au-delà de l'effacement et de la négation. Chez l'essayiste et romancier africain-américain, l'homosexualité est à la source de ce processus ou la conscience noire s'arrache aux repères spatiotemporels traditionnels et à la tyrannie de l'origine. Elle est le prisme à travers lequel Baldwin observe la fabrique des identités américaines, cauchemar transparent dont perce la vérité du pouvoir, le plaisir qu'il procure. Dédoublant le propre cheminement intellectuel de l'écrivain et le dessin que son œuvre déploie, cette thèse a pour emblème la métalepse, figure de l'inversion où le binarisme oppositionnel des identités se brouille ; elle suit, par ailleurs, une progression en huit qui par, ses tours, détours et retours sur elle-même, fait entendre comme en écho à celle de l'identité, la dissonante question de l'origine de l'écriture. En utilisant essentiellement les cadres théoriques offerts par l'hypothèse psychanalytique, la sociologie et la sémiologie, tout en s'inscrivant dans la perspective ouverte par les études gay et afro-américaines, « James Baldwin : écriture et identité » s'articule autour de trois images de la masculinité : le père, le fils et l'amant. Ils sont les porteurs de mémoire du texte dont ils mettent aussi en jeu la triade notionnelle que forment ensemble la transmission, la translation, et la transformation. Remontée de l'œuvre, depuis sa préhistoire jusqu'aux dernières pièces de l'héritage scripturaire, cette analyse des nouvelles, romans et essais de l'auteur de « notes of a native son » a pour paliers successifs les thèmes de la mémoire, la textualité, l'éthique de l'inclusion chère à Baldwin, ses exils et enfin cette parole noire et gay qui cinglait sur son écriture vers l'ile exondée de l'identité critiquée.
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Chuto, Jacques. "James clarence mangan, poete-traducteur." Paris 3, 1987. http://www.theses.fr/1987PA030037.
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Contrairement a la legende, mangan ne connut la misere que durant les trois dernieres annees de sa vie. Toutefois, ce fut toujours un etre tourmente et excentrique. Pour ecrire, il avait besoin de se deguiser. Aussi, sur ses 950 et quelques poemes, pres des quatre cinquiemes se presentent comme des traductions. S'il arrive a mangan d'etre un traducteur fidele, il se pose plus souvent en critique, et la traduction devient re-ecriture: embellissements formels, substitutions d'idees, et meme parodie. Mais la traduction peut aussi etre re-creation, allant de l'adaptation de tel ou tel passage a l'appropriation pure et simple: dans ce dernier cas, le poeme anglais est independant de l'original. Ces diverses pratiques se retrouvent dans les trois principaux domaines exploites par mangan: poesie allemande, poesie orientale, et poesie gaelique. En outre, il arrive au poete d'attribuer ses oeuvres a des auteurs etrangers, reels ou inventes. En fait, mangan avait besoin de la traduction ou de son apparence pour s'exprimer: son moi echappait ainsi a la tyrannie du surmoi, en faisant semblant d'etre un autre. De plus, mangan haissait son pere: l'appropriation est une revanche contre les "peres" (les auteurs) et une mise en question des origines, par laquelle le poete affirme son originalite. La poesie de mangan est avant tout une lamentation sur la mort du passe (le sien et celui de l'irlande) et sur le vide du present, immobile et deja envahi par la mort. Cette vision desesperee (que tempere parfois un humour bizarre) s'exprime tantot en des vers elegiaques d'une subtile musicalite, tantot avec une extreme intensite, due au retour obsedant du refrain et a une syntaxe passionnee: mangan est une grande voix lyrique. La seconde partie de cette etude consiste en une bibliographie complete de mangan, qui recense la plupart des sources utilisees par le poeteDespite all traditional accounts, mangan only knew poverty during the last three years of his life. However, he always was a tormented, eccentric being. In order to write, he needed a mask. This is why most of his 950 odd poems are presented as translations. Though mangan can be a most faithful translator, he often plays the part of a critic, so that translating becomes re-writing: formal embellishments, substitution of ideas, or even parody. It can also end in re-creation, ranging from the adaptation of a single passage to complete appropriation, in which case the english poem is independent of its original. These various practices are found in the three main fields explored by mangan: german, oriental and gaelic poetry. Moreover, the poet sometimes attributes his own poems to foreign writers, real or invented. In fact, mangan needed translation, or the appearance of it, in order to express himself: pretending to be somebody else, his ego thus freed itself from the tyranny of the super-ego. Besides, mangan hated his father, and appropriation was a revenge on all "fathers" (the authors), as well as a rejection of origins which enabled him to assert his originality. Mangan's poetry is mainly a lamentation over the death of the past (whether his own or ireland's) and the emptiness of the motionless present, already haunted by death. This despairng vision (sometimes relieved by mangan's quaint humour) is expressed either in elegiac, melodious verse or with a tremendous intensity achieved through the use of an obsessive refrain or passionate syntax: mangan is first and foremost a great lyrical voice. The second part of this work provides a bibliography of mangan (primary and secondary material), listing most of the sources he used
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Kitelinger, Jennifer. "Rediscovering James Robert Gillette's Vistas." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062913/.
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James Robert Gillette (1886-1963) was an early advocate for original wind band music at a time when marches and band transcriptions of orchestral music contributed heavily to the wind band repertoire. Primarily known as an influential, in-demand organist and composer, Gillette became the director of the Carleton College band program in Northfield, Minnesota in 1924. Taking an innovative approach to building, organizing, and programming, Gillette transformed that group into the Carleton Symphony Band and led a wider push for the symphonic band movement. In promoting his ideals of the symphonic band, he composed and arranged music specifically for the Carleton Symphony Band. One of his original works, Vistas, was widely performed and well-received in the decade just prior to and after its publication in 1934. Despite the popularity of the piece at that time, it has since gone out of print and is a rarely performed piece from Gillette's repertoire. This dissertation focuses on Vistas, Gillette's second published tone poem. This study starts with the examination of the history of Vistas from its origins as a movement in Gillette's transcription of Paul Robert Fauchet's Symphony in B-flat to its subsequent transformation and publication as an original work for band. Next, the performance history and reception of Vistas in the United States is traced and described from the year of publication to the present day. Finally, discrepancies present in the 1934 publication of Vistas are addressed through the creation of a performance edition. This performance edition also provides modifications to make the piece more widely accessible to wind bands today and the full score is presented at the end of the study.
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Dobbs, Joshua D. "James Hogg's Ambiguously Justified Sinner." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71639.
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This thesis explores Hogg's interpretation of indeterminacy both throughout his career and in Justified Sinner, especially in the character Gil-Martin. Hogg seems to reject the tradition of choosing one side over another in such a dichotomy, and instead chooses to look at both extremes as equally co-present. Hogg wrote Justified Sinner within the framework of the literary Gothic tradition and used Gothic tropes to create ambiguity throughout his novel, as is the case throughout his body of works. Many of the ambiguities in Justified Sinner center on the character Gil-Martin. My interpretation of Gil-Martin's ambiguity complicates the traditional scholarship on Justified Sinner.Master of Arts
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Schroer, Susan. "Henry James and the Supernatural." Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111682485.
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Brackebusch, Ruth Elaine. "James space on general trees /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260135357124.
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Terman, Philip S. "James Wright's poetry of intimacy /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487595712159379.
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Farr, Michael. "James Stirling and architectural colour." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/james-stirling-and-architectural-colour(830e5afe-bbb2-4297-aacc-6d21ba792366).html.
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To see built form is to see colour. Alternatively, architecture cannot be colourless. Even glass-clad buildings reflect their surroundings while all-white structures are revealed through various shadows and shades. To what degree, then, should colour be considered an architectural element?James Stirling and Architectural Colour, a PhD thesis by Michael William Farr submitted to the University of Manchester in 2013, explores how, exactly, architect James Stirling (1924-92) used colour and what it might say about the evolution of his design ethos. Going beyond what has been written so far this investigation explores the significance of colour in the eclectic array of strikingly individual buildings Stirling designed throughout his career. But while these structures are presented as often visually arresting and idiosyncratic, their varied colour schemes also reveal significant thematic consistencies across his oeuvre. Initially discussion centres on Stirling’s rather contrary use of relatively muted colours. By simply countering expectations or clashing with established contextual characteristics, Stirling ensured his buildings visually attracted attention, courting comment and controversy. In addition it is proposed that he used colour as a means of enticing and inviting those who saw/used his buildings to explore and investigate the very fabric of his structures. As his palette became bolder, so too did his contextual references. Acquainted with the attention-grabbing benefits of incongruous colours, Stirling also recognized the increasing importance of context. By combining sympathetic forms with ever-brighter colour schemes he paradoxically designed buildings that simultaneously fitted in while standing out. It is also argued that these much brighter colours represent a regard for those using his buildings dating back to his and James Gowan’s Preston Housing Project (1957-61). His exploration of structural candour in some projects left them less than hospitable, but the overt anthropocentricity of his later designs is not presented as entirely new. If his colour schemes, in later years, changed considerably, his motivations did not. Focusing on specific design issues - contrariness, structural explication, contextualism and anthropocentricity – this thesis does not attempt classification. Set against Modernism’s demise and Post-Modernism’s ascendancy, Stirling’s relationship to both is explored; his propensity to draw upon any style he felt appropriate revealing the futility of labelling his work as either one or the other. If his earliest designs contain the eclecticism and metaphoric content normally associated with Post-Modern architecture, his later buildings employed a typically Modernist candour regarding materials and techniques. Throughout his career Stirling consistently sought to design buildings that were visually striking, contextually inspired and inviting to explore. His reliance upon both a multiplicity of styles and the considered use of colour was fundamental to these aims.
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Hidayat, Paul Santoso. "James Barr's critique of fundamentalism." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.
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Flannery, Denis. "Henry James : a certain illusion /." Aldershot : Ashgate, 2000. http://catalogue.bnf.fr/ark:/12148/cb38817265w.
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Coulson, Victoria. "Henry James, women and realism /." Cambridge (GB) : Cambridge university press, 2007. http://catalogue.bnf.fr/ark:/12148/cb411257548.
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Rubio, Ramón Beaune Jean-Claude. "William James : philosophie, psychologie, religion /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb41227978g.
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Wyer, Conor. "An afterlife of James Joyce." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501581.
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Olson, Ted. "The Achievement of James Still." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1121.
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Allen, Francine LaRue. "Reclaiming the human self redemptive suffering and spiritual service in the works of James Baldwin /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-12012005-100203/.
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Thesis (Ph. D.)--Georgia State University, 2005.Title from title screen. Thomas L. McHaney, committee chair; Mary Zeigler, Warren Carson, committee members. Electronic text (164 p.) : digital, PDF file. Description based on contents viewed May 4, 2007. Includes bibliographical references (p. 147-164).
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Roberts, Suzanne. "Representations of chivalry, gender relationships and the roles of women in the plays of James Shirley /." Title page, contents and abstract only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09phr647.pdf.
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Mergenthal, Silvia. "James Hogg : Selbstbild und Bild : zur Rezeption des "Ettrick Shepherd /." Franfurt am Main : P. Lang, 1990. http://catalogue.bnf.fr/ark:/12148/cb355635635.
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Heibert, Frank. "Das Wortspiel als Stilmittel und seine Übersetzung : am Beispiel von sieben Überzetzungen des "Ulysses" von James Joyce /." Tübingen : G. Narr, 1993. http://catalogue.bnf.fr/ark:/12148/cb371487277.
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Welch, Mary. ""He coloured like a girl" "Nausicaa's reflexive tableau, and women in the author's eye/I /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=351.
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