Dissertations / Theses on the topic 'John Criticism and interpretation'
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1
Graham, Catherine (Catherine Elizabeth). "Standpoints : the dramaturgy of Margaretta D'Arcy and John Arden." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60621.
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The political popular theatre which has developed in the West since the 1960s challenges the current hegemony in Western cultures by attacking its basic models of knowledge, yet little critical attention has been paid to the dramaturgies particular to this form. An application of the Possible Worlds theory, the concept of ludic framing, and feminist "standpoint" theory to the Irish stage plays written by Margaretta D'Arcy and John Arden after they left the "legitimate" stage, shows how the dramaturgy of this theater is a critical part of its strategic challenge to the status quo. This analysis shows how D'Arcy and Arden foreground the encompassing Theatre Possible World, within which the performance takes place, in order to cast doubt on the natural character of generally accepted meanings, and to induce the audience to consciously choose the frames within which it makes sense of action.
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Holmes, Michael M. (Michael Morgan). "John Donne's Apocalypse." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60624.
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This thesis explores John Donne's vision of the Apocalypse as revealed by his religious poetry and prose. Donne believed himself to be alive in the last age of the world; however, he rejected historicist interpretations of the Apocalypse. Instead, he located the conflict with sin and death within the individual soul. Donne was concerned to create an image of the sinful soul restored to unity with the divine through its own exertions and by God's grace, free from social and political constraints. The Apocalypse presented Donne with a paradigm of unity which he appropriated in order to represent the interconnexion of God and humankind, as well as to situate himself within a present unfolding of ultimate conformity. Knowledge of the role of the Apocalypse in Donne's self-presentation, provides an awareness of the extent to which Donne understood himself to be an active participant in the fulfilment of the Providential design.
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McIlroy, Brian. "Scientific art : the tetralogy of John Banville." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31040.
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The main thesis of this study is that John Banville's fictional scientific tetralogy makes an aesthetically challenging attempt to fuse renewed popular notions of science and scientific figures with renewed artistic forms. Banville is most interested in the creative mind of the scientist, astronomer, or mathematician, his life and times in Doctor Copernicus (1976) and Kepler (1981), and his modern day influence in The Newton Letter (1982) and Mefisto (1986). The novelist's writing is a movement of the subjective into what has normally been regarded as the objective domain of science.
Chapter one gives a critical overview of the present state of Banville scholarship. It reveals that despite his focus on scientists, the novelist rarely invites more than narrow literary approaches. Chapter two discusses the cultural context of relations between science and literature. The theories of Gerald Holton on scientific history, of Arthur Koestler on creativity, and of Thomas Kuhn on paradigm change are shown to be germane to Banville's tetralogy. These theories support the general methodology throughout the dissertation.
Chapter three examines the creation of the scientific genius Doctor Copernicus. In particular, the following areas are examined: the scientist's boyhood; the influences of his family, friends and colleagues; the link between science and public policy; the scientist's living and working conditions; and the scientist's thematic presuppositions. Chapter four continues the exploration of the social and artistic process of science with regard to the astronomer Kepler. This chapter's discussion of the brotherhood of science, astrology, physicalization, religion and dreams inevitably raises questions about the role of the scientist in society and how his ideas are developed.
Chapter five reveals the importance of the extra—scientific factors that go into the composition of any purportedly objective science. In The Newton Letter, both the great English scientist and his Irish biographer seem to suffer from similar paradigm shifts. Chapter six on Mefisto argues that recent scientific theory, including the science of chaos, informs the work, particularly with regard to the notions of symmetry and asymmetry. Chapter seven concludes by advancing the argument that Banville's work is a much needed contribution to Irish culture, which has tended to ignore the social potential of science.Arts, Faculty of
English, Department of
Graduate
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Grodd, Elizabeth Stafford. "The Love Poems of John Clare and John Keats: A Comparative Study." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4907.
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This study addresses lesser known works of romantic poets John Clare and John Keats--Clare's Child Harold and Keats's poems to Fanny Brawne--which I refer to as their love poems because the works are informed by intense feelings the poets had for women they loved. Although these works have been the brunt of negative criticism because Clare was considered insane at the time of the composition of Child Harold and Keats was accused of using the poems to give vent to his personal sufferings, nonetheless I argue that the love poems are significant for several reasons. They are a reflection of the poets' personal experiences and also demonstrate their remarkable and surprisingly similar creative abilities in the way they use poetry as a means of devising new strategies for dealing with the painful realities of their disturbing lives. And because I feel it is important to understand Clare's and Keats's feelings for the women they love in order to understand their poetry (since the poetry is, after all, based on real life experiences), I provide chapters describing the poets's lives and loves, as well as their poetic processes, to serve as a framework for examining the poems. In the remaining chapters, I show how the poets incorporate highly sophisticated metaphor in attempting to reconcile the apparent conflicts the speakers in their poems are experiencing between their subjective responses to, and their rational assessment of human existence. In the process, the speakers experience various states of emotional upheaval ranging from what I refer to as periods of limbo, purgatory, and paradise, and they create personal thresholds and undergo differing states of self-awareness. In the final chapter I provide a summary of how these different emotional states are metaphorically effected, and then attempt to explain the value of Clare's and Keats's poetic achievements in the poems from a current perspective.
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De, Beer Marésa. "Oor die kortkuns van John Miles." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1002092.
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This thesis involves intensive analyses of some of the short-short stories in John Miles's Liefs nie op straat nie, in order to reveal the narrative strategies employed in each. In other words, it is geared to "the rules that govern ... textual actualization and, consequently, those rules that govern the way literary discourse functions as communication" (Riffaterre 1983: 158). Subsequently, attention is given to the interrelationship among the texts, the way in which they act upon one another and interact with the title of the volume, in order to establish the function of such relations. The following texts are analysed in consecutive chapters: "Lucy", "Lappies, kan jy my hoor, Lappies?", "Voorgevoel", "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?", "Hy staan by die deur en hy klop", "Gustav gaan speel", and "Liefs nie op straat nie". In a concluding chapter the implications of the title are discussed with reference to all the texts in the volume, including those not analysed individually. It is concluded that, on the one hand, the expectations raised by the title are ironicized because the title is never "completed" explicitly, and because that which, by implication, should not be seen in public ("op straat"), is specifically situated in the street and scrutinized in close-up. But on the other hand the title also evokes a peculiar mentality present in all the texts, either in the narrators, or in the characters, or in both. The discussion of "Lucy" is focussed mainly on the contrast and interaction between the world of the child and that of the adult and on the way in which this interaction is actualized within the text through the contrast in the experience of time, the use of "mémoire involontaire", "durée" and the contrasts between (and overlapping of) narrative perspective and focalization. In respect of "Lappies, kan jy my hoor, Lappies?" special attention is paid to similarities and contrasts between this text and the traditional suspense story, notably the way in which conventional techniques are employed to create suspense, as well as to generate an entire subtext which eventually "relocates" the text on the niveau of the murderer's psychological dilemma. In discussing "Voorgevoel" emphasis is not placed primarily on what is conveyed by the narrator, but on the way in which his intentions are subverted both by the window pane through which he is looking and by the narration as such. In this way he is foregrounded and revealed as narrator, just as the text is foregrounded and revealed as literature, with the emphasis, in both cases, not only on their defence mechanisms but also on their impotence. "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?" are grouped together in one chapter in order to illuminate the interaction between the two narratives in the first text, as well as the interaction between the two texts. Ultimately, they may be seen as three narratives juxtaposed through irony and relativism. The "triumph" of the "preferably not in public" mentality, both in the text and in society, is also illustrated by the interaction between the three narratives. In chapter, 5, in which "Hy staan by die deur en hy klop" is discussed, attention is focussed on the ironic function of the Biblical references, the contrast between Jan and the rest of society, and the way in which the "climax" is located within the Iserian "blank" in the text, so that the entire process of decoding is based on a filling in of that "blank" and its implications. "Gustav gaan speel" is based loosely on Barthes's lexia model, in order to determine the signifying process in the text, and also to demonstrate the way in which the text presupposes rereading. In the discussion of the title text it is revealed how the text is centered in the basic dichotomy between the narrator-as-writer and the journalist, and the way in which this polarity is relativized by the text as such. The text is demonstrated to be the credo of the volume as a whole as well as of the fiction of the Seventies in Afrikaans.
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Wright, John Samuel Flectcher, and mikewood@deakin edu au. "Liberty in key works of John Locke and John Stuart Mill." Deakin University, 1995. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051201.154348.
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The ideas of liberty presented in the important works of John Locke and John Stuart Mill, The Second Treatise of Government (1689) and On Liberty (1859), are often viewed as belonging to the same conceptual tradition, that of English liberalism. This thesis is an articulation of the diversity between the theories of liberty expressed by Locke and Mill in the Second Treatise and On liberty. \ am aiming to provide a corrective to the tendency to ignore or to gloss over very significant differences between the two men. The work concentrates on the philosophical aspects of each theory of liberty, arguing that they differ in four respects. These are; definitions of liberty; justifications of liberty; how much liberty and for whom they recommend it, and finally, who they believe threatens liberty and how this threat is to be curbed. It is the purpose of this thesis to show that in terms of these areas Locke and Mill are pursuing different ends. I conclude that Locke and Mill present strikingly different theories of liberty and cannot be thought of as belonging to the one conceptual tradition in terms of the definition, the justification, the prescription and the threat to liberty. Ultimately, I question the value of including Locke and Mill in the one conceptual tradition of liberty solely on the basis that they argue freedom from.
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Lennox, John 1980. "Poetic attention : the impressionist sensibility and the poetry of John Ashbery." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79959.
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"Poetic Attention" reveals how John Ashbery's ties with past literary traditions elucidate his own personal aesthetic. Starting with a review of Ashbery's critical reception, the thesis shows how Ashbery's poetry and its reception are polarized in two major post-Romantic approaches to poetry: the Romantic, and the "objectivist" tradition of modernism. Beginning with a look at how Ashbery's early poetry reflects both paradigms, I focus on moments where both are simultaneously active. I demonstrate how impressionism, as a sensibility with certain methodological, epistemological, and technical concerns and devices having to do with the conjunction of consciousness and the world in perception, best describes the interaction between Ashbery's Romantic and modernist strains. Impressionism helps us understand how Ashbery negotiates the Romantic desire for resolutions to spiritual crises and the modernist focus on objects in and of themselves by treating a searching attentiveness to those objects as a value in itself.
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Voss, Annemarie. "John Milton's Paradise lost in Germany : reception and German-language criticism." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762991.
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This survey focuses on German-language studies of John Milton's Paradise Lost, based on a bibliography of more than 140 German-language publications dating from 1651 to the present. Its purpose is to describe and evaluate these studies and to make their arguments accessible to readers who have difficulties locating, obtaining, and/or reading these texts.Chapters 1-4 give an account of Milton's reception in Germany and Switzerland. Topics discussed include the evaluation of Milton as poet and man, the influence of Milton's Paradise Lost on the development of German literature (Klopstock's Messias), early Milton studies, German translations of Milton's Paradise Lost, the teaching of Milton's works in Germany, and the evaluation of the poem for the present generation. Chapters 5 to 10 survey twentieth-century German-language criticism of Paradise Lost. Topics include the literary tradition; the drama plans; structure and style; cosmology and theology; and interpretations of the fall.Outstanding twentieth-century German studies include Hiibener's analysis of stylistic tension (1913); Bastian's analysis of the problem of temptation (1930); Wickert's examination of Milton's drama plans (1955); Grun's interpretation of the fall (1956); MoritzSiebeck's structural and aesthetic justification of the last two books of Paradise Lost (1963); Spevack-Husmann's examination of the relevance of the medieval tradition of allegorical and typological myth interpretation for Milton's mythological comparisons (1963); Markus's study of the parenthesis as rhetorical means of psychological influence (1965); Hagenbuchle's analysis of the fall(1969); Maier's examination of contrast and parallel as structural elements (1974); Slogsnat's exploration of the dramatical structure and tragic nature (1978); Schrey's account of Milton's reception in Germany (1980); and Klein's study of astronomy and anthropocentric in Milton's attitude towards science (1986). These studies deserve to be better known by the English-speaking scholarly community for their different points of view and their good understanding of Milton's art.Milton's Paradise Lost is still appreciated in Germany and continues to have many readers.Department of English
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Bider, Noreen Jane. "The rhetorical strategies of John Donne's "Holy Sonnets" /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61283.
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This study examines two important influences that shape John Donne's "Holy Sonnets": The Ignatian meditative tradition and the devotional tradition of the psalm genre. It argues that their confluence in his sonnets gives rise to unique rhetorical structures and strategies that reflect the doctrinal uncertainties of his age.
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Latham, Jonathan Cyril. "Text and context : an examination of the way in which John's prologue has been interpreted by selected writers : Origen, Luther and Bultmann." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004612.
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In chapter one of this work, as a preliminary to the formulation of the question that this thesis will attempt to answer, the changing understanding of the part played by the interpreter in the process of interpretation is discussed. This outline begins with the understanding of the role of the interpreter in liberal theology - where he is thought of as one who applies critical methods to the text in a detached and scientific way. After this the hermeneutic spiral is discussed - the formation of this model acknowledges to a greater degree the individual and human part played by the interpreter. This is followed by a brief examination of the most recent theories of interpretation in which meaning is regarded as residing not in the text but in the interpreter himself. The task of this thesis is to determine whether, as these recent theorists suggest, the reader creates meaning instead of reading out what somehow lies in the text itself. The task of this thesis is to ascertain, by studying the interpretationsof John's Prologue by Origen, Luther and Bultmann, whether the text does in fact operate as a series of sign-posts that pOint the interpreter to a destination within his own semantic universe. This may be determined by noting whether or not the contexts, i n the broadest sense, of these interpreters have played a formative part in their interpretations. contextual influences are regarded as existing wherever there is a procedure or meaning in the interpreter's commentary which one expe cts to find there as a result of one's knowledge of the interpreter's life and previous writings. Our research reveals that Orige n, Luther and Bultmann have produced three very different commentaries in which the common denominator is the formative influence of the interpreter's context. Each of these writers has produced an interpretation that is consistent, in both approach and theology, with their previous exegetical and theological thought. This indicates that contextual factors have played a significant part in determining their interpr etations of John 1 :1-18. It would appear that these interpreters have been led to find the meaning of John's Prologue not with reference to any new, unprecedented set of symbols, but with reference to their own, well-worn semantic universes. In the conclusion it is noted that this research appears to support what many modern theorists have said as to the locus of meaning in interpretation. In the conclusion it is also noted that many of the fears raised by these findings - that readers and writers, or speakers and hearers, may become so isolated and trapped in their own thought worlds that any real contact with the outside is impossible - may be groundless. These findings also point to a certain consistency between the interpreters and their communities. This refutes the fears as to the isolation and solitary development of the individual in that it points to a certain community or corporate aspect which plays a part in the development of the indivi dual's semantic universe .KMBT_363
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Anderson, David Roy. "John Graves and the Pastoral Tradition." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2919/.
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John Graves's creative non-fiction has earned him respect in Texas letters as a seminal writer but scarce critical commentary of his work outside the region. Ecological criticism examines how language, culture and the land interact, providing a context in which to discuss Graves in relation to the southwestern literary tradition of J. Frank Dobie, Walter P. Webb, and Roy Bedichek, to southern pastoral in the Virgilian mode, and to American nature writing. Graves's rhetorical strategies, including his appropriation of form, his non-polemical voice, his experimentation with narrative persona, and his utilization of traditional tropes of metaphor, metonymy, and irony, establish him as a conservative and Romantic writer of place concerned with the friction between traditional agrarian values and the demands of late-twentieth-century urban/technological existence. Sequentially, Graves's three main booksGoodbye to a River (1960), Hard Scrabble (1974), and From a Limestone Ledge (1980)represent a movement from the pastoral mode of the outward journey and return to the more domestic world of georgic, from the mode of leisure and contemplation to the demands and rewards of hard work and ownership. As such they represent not only progression or maturation in the arc of the narrator's life but a desire to reconcile ideological poles first examined so long ago in Virgil: leisure and work, freedom and responsibility, rural and urban values.
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Gerber, Edward. "The scriptural tale in the Fourth Gospel : with particular reference to the prologue and a syncretic (oral and written) poetics." Thesis, University of Wales Trinity Saint David, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683084.
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Malick, Shah Jaweedul. "The dramaturgy of John Arden : dialectical vision and popular tradition : a doctoral dissertation." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=71987.
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The subject of this dissertation is John Arden's dramaturgy. It covers the stage plays written by Arden (alone or with Margaretta D'Arcy) during their career in the "professional" theatre--that is, from The Waters of Babylon to and including The Island of the Mighty. It approaches them as one dramaturgically coherent opus and identifies and examines the basic artistic and cognitive emphases immanent to it.The study explores two fundamental and related constitutive features of Arden's dramaturgy: diachronically, its adherence to the forms, conventions, and techniques of popular or traditional theatres, and synchronically, its radical political emphasis as expressed in a categorically plebeian and collectivistic bias. It begins by situating Arden in his time and his tradition, and then discusses how other significant choices of his--the emphasis on story-telling (Part 2), the supra-individual approach to dramaturgic agents (Part 3), and his ludic theatricality (Part 4)--flow out of and contribute to the consistency of his dramaturgy. Part 5 focuses on a detailed analysis of The Island of the Mighty.
Arden's rejection of the established bourgeois theatre with its illusionist character and individualist ideology and his orientation towards a dialectical show distinguishes his work from that of his English contemporaries. It can be linked to that radical alternative tradition in modern dramaturgy which culminates in Bertolt Brecht.
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Stanislaw, Rebecca W. "The poetic voice of John Ciardi." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833002.
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The poetry of John Ciardi, a versatile and prolific man of letters, has not received adequate critical attention. Through an examination of his poetic canon, using traditional elements of poetry, this dissertation establishes his unique poetic voice. Attention is focused on his Selected Poems, but representative poems from his full canon are examined.Chapter One reviews critical writings relevant to establishing Ciardi's poetic voice, introduces texts to be examined, and sets forth criteria for analyzing his poetry.Chapter Two identifies Ciardi's poetics and places him as a poet in the realistic tradition. His poetics stress four elements essential to good poetry: rhythm, diction, imagery, and form (wholeness). Much of his analysis is orthodox; however, as subsequent chapters demonstrate, some analytical terms are used in a special sense by Ciardi.Chapter Three positions Ciardi as a personal poet, dependent on family experiences for his subjects and settings. Ciardi's poems tend to succeed when autobiography plays a large role. Chapter Six also considers the relationship of imagery to common themes.Chapters Four through Seven deal with techniques of poetry. Chapter Four on rhythm shows how Ciardi successfully creates a vernacular language by manipulating a basic iambic line by using metrical and non-metrical devices.Chapter Five analyzes how diction is affected by grammar, sound devices, and etymology. Effective diction is precise, appropriate, resonant, and authentic.Chapter Six categorizes frequently-used images into four groups: nature, family, war, and religion/art. This chapter demonstrates the close relationship between imagery and his persistent themes: depersonalization of twentieth-century people and salvation in interpersonal relationships and art. Ciardi's most successful poems use fresh images from "unimportant" experiences, from which humanistic values are derived.Chapter Seven addresses the wholeness of the poem, including the "sympathetic contract." The poems tend toward a formal ending, frequently following what Ciardi calls a "fulcrum." Ciardi's composite voice is rich with unexpected images, flowing in a rhythm reminiscent of iambic speech. Ciardi's vision is expressed in a unique poetic voice that deserves to be included in the canon of contemporary poetry.3Department of English
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Johnstone, Michael 1971. "Breathing eyes : Keats and the dynamics of reading." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26692.
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Starting with Jerome McGann's landmark 1979 essay "Keats and the Historical Method in Literary Criticism," the recent sixteen-plus years of Keats criticism brims to overflowing with the dominance of New Historicism and its archaeological recovery of the political, historical Keats against the previous preeminence of a formalist, aesthetic Keats. The grip of New Historicism now holds tightly enough, perhaps, to the point where it suffers from a lack of attention to formalist, aesthetic, stylistic differentials and peculiarities. A critical position, then, that addresses this lack of attention looks to be an assessment of the relationships between New Historicism and formalism: how, in fact, New Historicism owes a debt to the formalist ways of reading it works to overcome. Such ways of reading find one of their most powerful statements in Keats himself--and, in a startlingly close twentieth-century analogue, the reader-response theory of Wolfgang Iser. The readings here of Keats's poetry consider how it reveals that Keats, like Iser, holds the germ of New Historicism's methodology, as it falls under the general taxonomy of Iser's theory but for how it actually dramatizes and predicts that theory. Reading, for Keats, ultimately places one in a dynamic relationship with history--a relationship always of potential, perpetually "widening speculation" to "ease the Burden of the Mystery" that is history.
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Wagler, Brent M. "Stars, stones and architecture : an episode in John Dee's natural philosophy." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22550.
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The work of John Dee (1527-1608) posits an approach to architecture based upon the concept of wonder. Sympathetic correspondences permeate Dee's disparate practical activities and architectural discourse. His contributions to astronomy, alchemy, cartography and navigation are grounded in the intersubjective cosmology of the Renaissance. It is in Dee's Mathematicall Praeface (1570), which promotes mathematics as a natural philosophy, that the architect's metier is aligned with the marvellous and established as an art encompassing numerous disciplines. Dee's syncretic formulation of architecture is distinctly attuned to the alchemical and magical discourses pervading the Renaissance and established in relation to his hieroglyphic "Monas" symbol. This emblematic device, discussed in the Monas Hieroglyphica (1564), exemplifies the link between architecture and writing. The Monas symbol permits the architect-as-alchemist to contemplate marvels and effect them in practice. In addition to positioning wonder in human activity, as a navigational beacon guiding the work of the architect, Dee signals the possibility of restoring conjuring-the dangerous and denigrated art of sixteenth century England--into architectural practice.
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Padgett, Jeffrey Lynn. "The monistic continuity of the Miltonic heresy." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/514853.
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John Milton's Christian Doctrine reveals a number of doctrinal opinions clearly in disagreement with the orthodox Christianity of his day. His four major heresies, his monism itself, his theory of creation ex Deo, his anti-Trinitarianism, and his mortalism, form a logical system, developed in accordance with his monistic conception of the cosmos.Milton's monism denies the Platonic dualism between matter and spirit. He presents a world which is a continuum in which that which is usually called material is merely further removed from God than that which is normally called spiritual. This monism serves as the basis of his concepts of the universe, God, and humanity.Since Milton sees God as the total of reality, the things of this world cannot have their source in anything outside God. They cannot be created either from a preexistent prime matter or from nothing. His monism requires that they somehow be created ex Deo, from God's own substance.Milton's monism denies the possibility of the traditional concept of the Trinity. The Son is neither coeternal, co-essential, nor co-equal with the Father. The Holy Spirit is even less important, subordinate to both Father and Son. Since Christ must also be a unity, Milton presents a unique concept of the Incarnation, in which two total persons are mysteriously combined into one new person.His monism requires that the human being also be a unity. Two heresies result: (1) Traducianism, in which the soul is generated by the parents just as is the body; (2) Thnetopsychic mortalism, in which the entire human being dies together and then is resurrected to either reward or punishment.Through a study of monism, Milton's reader can find a key to the phenomenon of John Milton. He uniquely combines his monism with a staunch Biblical literalism, presenting himself as a Christian, but a Christian with a difference-a Christian who will allow no outside authority of any kind to define his faith. As a part of Milton's general application of a monistic cosmos to all his thought, the monistic continuity of the Miltonic heresy can clearly be discovered.
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Larsen, Brian. "An interaction of theology and literature by means of archetypal criticism, with reference to the characters Jesus, Pilate, Thomas, the Jews, and Peter in the Gospel of John." Thesis, University of St Andrews, 2001. http://hdl.handle.net/10023/13419.
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This thesis explores the interaction of literature and theology by means of archetypal criticism with specific reference to certain characters in the Gospel of John. Northrop Frye's system of archetypal literary criticism consisting of the four mythoi or archetypes of romance, tragedy, irony and satire, and comedy forms the governing framework and means of exchange between literature and theology. This synchronic interaction is centered on Jesus, an innocent man acting on behalf of others, as romance; Pilate, unable or unwilling to act justly in an unwanted and unavoidable particular circumstance, as tragedy; Thomas and the Jews, variations on the theme of seeing and not seeing as irony; and Peter, who denies Christ and later recovers, as comedy. These characters' function as points of exchange, each reaching their defining literary and theological climax during the crucifixion events. Within the FG's narrative these characters also serve as imaginative points of contact and identification for the reader at which the reader's own faith response may be placed within the literary and theological milieu of the Fourth Gospel. Conceptually, Jesus and romance, Pilate and tragedy, Thomas, the Jews, and irony, and Peter and comedy may be characterized by representation, reduction, negation, and integration, respectively. The variable between these four mythoi and between these characters is the relationship between a belief or an ideal and experience or reality assumed by the work as a whole and/or assumed and displayed by each character.
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McCormack, Christopher. "Cracking the codes : a textual and editorial examination of John Fante's literature." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33914.
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After many years of neglect, American novelist and short-story writer John Fante is beginning to attract scholarly attention. In the current critical field there is an absence of textual and editorial criticism that needs to be redressed. It is important for Fante criticism to acknowledge the fact that Black Sparrow Press has not only republished Fante, but has re-invented him. Following the example of textual and editorial critics such as Lawrence S. Rainey, Jerome McGann, and George Bornstein, I address Black Sparrow's influence on the institutional, bibliographic, and linguistic codes of the Black Sparrow editions of Fante's work. By focussing on textual and editorial issues, I open up new areas of critical assessment---such as Black Sparrow's influence on critical and popular receptions of Fante. This critical approach allows for a more precise and complete critical understanding of Fante's work.
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Reed, Marthe. "The poem as liminal place-moment : John Kinsella, Mei-mei Berssenbrugge, Christopher Dewdney and Eavan Boland." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0136.
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Places are deeply specific, and often richly resonant for us in terms of memory, emotion, and association, yet we nevertheless frequently move through them insensible of their constitution and diversity, or the shaping influences they have upon our lives. As such, place affords a vital window into the creation and experience of poetry where the poet is herself attuned to the presence and effect of places; the challenge for the scholar is to articulate place's nature and role with respect that poetry. In
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Ng, Wing Hong. "John Rawls' idea of public reason : religious reason in public justification." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/782.
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Ditmann, Laurent. "Cheever's signs : a semiotic approach to thirteen stories by John Cheever." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3741.
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Literary criticism dealing with John Cheever focuses on the social implications of Cheever's description of suburban America. The purpose of this thesis is to propose a new approach to Cheever's short stories, and to apply the concepts developed by French literary critics Jacques Derrida and Roland Barthes to thirteen short stories by Cheever.
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Henry, John. "Unclarity of expression in the letters of John and its elucidation according to four recent commentaries." Thesis, University of Wales Trinity Saint David, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683348.
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Cheetham, David. "Transforming John Hick's eschatology." Thesis, University of Wales Trinity Saint David, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683123.
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Bishop, Scot. "John Donne's poetry and sermons : some parallels in spiritual discovery." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26659.
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This study argues that there is an essential unity to John Donne's poems and sermons. Chapter One is a survey of Donne criticism: Ilona Bell suggests Donne "seeks communion, but is continually prepared to recognize disjunction." It is argued that Bell's notion is validated in both genres where Donne renders concrete a movement of thought or emotion through figurative language. Chapter Two examines how the sermons move between the literal sense of scripture, and its multiform spiritual significance. Chapter Three examines the writerly tradition of the Church Fathers in relation to some of Donne's poetry. Augustine read the bible as a unified entity, The Word, and yet understood it through manifold meanings. Donne writes of the union of lovers' souls, yet weaves in the theme of inconstancy and separation. In sum, this study discusses how Donne's creation of figurative meaning produces both his literary intensity, and some parallels of spiritual discovery in his poems and sermons.
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Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
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In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
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Harikae, Ryoko. "John Bellenden's Chronicles of Scotland : translation and circulation." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:d0ebf41c-8263-45e0-a6d5-5826bf8e0396.
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John Bellenden's Chronicles of Scotland (1531-r. 1537) is a humanist Scots translation of Hector Boece's Scotorum Historia (1527). As the first full-scale printed national history in the vernacular, the Chronicles assumed a pivotal role in sixteenth-century Scottish literary culture. Despite its contemporary importance,however, relatively little critical attention has been paid to Bellenden's work itself, primarily due to the misconception that it is a neutral translation of the Scotorum Historia. However, as Bellenden successively revised his text in several stages with stylistical, ideological and material alterations, the Chronicles needs to be evaluated as an individual literary work. The
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Coxon, Paul. "The Paschal New Exodus in John's Gospel : an interpretative key, with particular reference to Chapters 5-10." Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683362.
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Baker, Cynthia J. (Cynthia Jane). "Rain and Diagonal Light: Nature Imagery in the Novels of John Cheever." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501241/.
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John Cheever uses nature imagery, particularly images of light and water, to support his main themes of nostalgia, memory, tradition, alienation, travel, and confinement in his five novels. In the novels these images entwine and intersect to reveal Cheever's vision of an attainable earthly paradise comprised of familial love and an appreciation of the beauties and strengths of the natural world.
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Heterick, Garry R. (Garry Raymond) 1965. "Dethroning Jupiter : E.M. Forster's revision of John Ruskin." Monash University, English Dept, 1998. http://arrow.monash.edu.au/hdl/1959.1/8604.
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Khalip, Jacques. "Loss unlimited : sadness and originality in Wordsworth, Pater, and Ashbery." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0002/MQ43895.pdf.
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Hope, Laura Lee. "John Fowles' narrative stylistics in The Collector, Daniel Martin, and A Maggot." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/564.
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Chong, Kenneth Tze Aun School of English UNSW. "Donne???s Holy Sonnets and Calvin." Awarded by:University of New South Wales. School of English, 2006. http://handle.unsw.edu.au/1959.4/26154.
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Criticism on Donne???s Holy Sonnets has traditionally been concerned with trying to find an explanation for the doubt, anxiety, and despair that is often expressed by the speaker of those poems. In recent decades, critics have increasingly made recourse to Calvinist theology in an effort to explain these melancholy states of mind. The accounts that such critics provide of ???Calvinism,??? however, have been varied and largely inadequate, mainly because they fail to engage with Calvin???s work at the level it requires. My thesis seeks to correct such deficiencies by providing a detailed reading of Calvin???s view on salvation and the way in which it is received. Calvin argues that we obtain salvation through a firm and certain faith, a faith that is nevertheless attacked by the unbelief that still resides in the believer. In other words, there is a division between the flesh and the spirit within the soul of the believer, which means that he or she is never free (until death) from the sinful temptations of this life. This division, which Calvin invokes to reconcile the uncertainties of the Christian life with the assurance of faith, is dramatised in the Holy Sonnets. In the five poems that I analyse, the speaker is torn between a desire for righteousness and an inclination toward evil, a division that is also represented in the structural qualities of the text. The various temptations which the speaker registers and confronts (and often falls to) are, I believe, a demonstration of Calvin???s view that the regenerate person is in continuous warfare against the remnants of the flesh.
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Kilian, Julie. "Traditional and Christian elements in contemporary pictorial African art in South Africa with special reference to the works of John Muafangejo, Azariah Mbatha and Dan Rakgoathe." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012635.
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Art is the outward, visual manifestation of the undying soul of a people. The genius displayed in the day to day articles produced in traditional tribal society is equally present in the art produced by the Contemporary African Artist. The Contemporary African Artist finds himself in an interesting position, in that he is, at one time, a part of two different worlds, two different cultures, has taken place, the and his art provides evidence of the acculturation that coming together of indigenous, traditional African culture and 'European' or 'Western' culture. It follows that the contemporary African artist's work would display characteristics and elements derived from both of these worlds, since art is not created in a vacuum, but is, invariably, the outward, visible expression and symbol of an artist's environment, culture, emotional and intellectual responses and his beliefs. The study of Contemporary African Art reveals that despite the many divergences from the traditional or classic forms, a great many traditional influences and characteristics still persist in the same. An analysis of Contemporary African Art will also show that a significant body of works bear a marked influence of Christian teachings and biblical themes, as well as the influence of exposure to various forms of Swedish Medieval, Byzantine, Romanesque and Carolingian art.
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Kobayashi, Takanori. "The apocalyptic-eschatological drama of Jesus in the Fourth Gospel : an investigation into the Johannine Christology and eschatology with special reference to John 12.20-36." Thesis, University of St Andrews, 1999. http://hdl.handle.net/10023/9572.
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In this thesis we will explore the question of Jesus' revelation as a central motif of the Johannine Christology from the perspectives of literary criticism, Jewish apocalypticism and Graeco-Roman dramatic literature. In particular, we will attempt to solve the riddle of the visions developed in John 12.20-36, by answering the fragmentary theory of the text, the claim for the divergent christologies, the question of realised eschatology with or without future eschatology, and the claim that the Johannine community its symbolic world creates is 'sectarian'. A special attention will be paid to the Son of man as presented in the pericope under discussion as well as in the Fourth Gospel as a whole. The thesis will be summarised as follows: 1. Over against the fragment theory, the concentric arrangement of Jesus' saying formed predominantly in parallelism shows a deliberate literary design of the author. Set at the end of the earthly ministry of Jesus, John 12.20-36 is a culminating point of the revelatory process of Jesus. 2. The overall conceptual framework to understand John 12.20-36, and thus the Fourth Gospel as a whole, is the apocalyptic idea of the divine mysteries concerning the .end time. The revelation is centred on Jesus the Son of man, identified as the human-like figure of Dan 7, which culminates in his cross as his glorification/lifting-up. The vision of the revealed mysteries in Jesus on the cross embraces the eschatological Messiah, the restoration of Israel and of the Temple, salvation, the vindication of the righteous and the condemnation of the evil, and the Gentiles' pilgrimage, which is comparable to contemporary Jewish apocalyptic writings. 3. The cross of Jesus as the focus of the apocalyptic vision of the end time lies behind the apparently divergent christologies (the Son of man, the Davidic Messiah, divine Wisdom), which are integrated in the text in such a manner that it is impossible for each to be understood in isolation. The combination of these is already found in the Jewish apocalyptic-eschatological hope. The fact that the lifting-up and glorification of the Son of man is given precedence to the Davidic Kingly Messiah deprives a political and military aspect of the popular Jewish expectation. 4. At the same time, the revelatory pattern of the Johannine Jesus is not only explicable in Jewish apocalyptic terms, but it has to be understand in view of the anagnorisis, a popular Graeco-Roman dramatic convention. Within the main plot of the Fourth Gospel Jesus is depicted as the divine homecoming hero-king, as in Homer's Odyssey, whose messianic identity is closed to many and disclosed to those who receive him with faith (and hospitality). This pattern is relevant for most of the Johannine Son of man sayings as well. In this plot development John 12.20-36 is situated in a climactic place where the Jewish crowd fails to recognise Jesus who points to the decisive moment of his revelation on the cross. 5. The Johannine Eschatology is Jesus centred, and its realised aspect is strongly emphasised, because the eschatological terminology is overwhelmingly applied to him. Thus Jesus on the cross is the embodiment of the eschaton. At the same time, the post-Easter period, the time of the church, is open toward its future culmination because of the mission perspective. 6. The revelation of Jesus as the core of the divine mysteries concerning the end-time centres on the cross, which is presented as both the judgement and the salvation of the world. The Johannine understanding of the cross is expressed within the framework of the vindication/exaltation of the suffering righteous. It is implied that Jesus' death and resurrection inaugurates the new, eschatological covenant for the new people of God embracing both Jews and Gentiles. 7. John 12.20-36 envisages an apocalyptic vision of the end-time judgement and salvation, in which the new covenant people is created as a new people of God. The basis of the new 'children of the Light' is no longer the Law as in the old covenant but the faith in Jesus the Light (and to love each other as a new law). This faith is not individualistic but geared towards community building, which includes the believers from the Gentiles. The community itself is the result of the cross of Jesus. The purpose of Jesus' death for 'bearing much fruit' and gathering of 'all' (nations) to his own house is to be accomplished in the community through its mission to the world, despite the probable persecutions.
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Rheaume, Randall. "Equality and hierarchy within the God of John's Gospel." Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683359.
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Skublics, Heather A. L. E. "Naming and vocation in the novels of J.R.R. Tolkien, Patricia Kennealy and Anne McCaffrey." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68137.
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"Naming and Vocation in the Novels of J. R. R. Tolkien, Patricia Kennealy and Anne McCaffrey" discovers in recent works of fantasy and science fiction a pattern of authority which is rooted in the existence of namers and characters who are called to specific tasks. Each of these authors portrays individuals who are called to their own particular and unique roles by other figures whose knowledge of them is deeper than their own. The Biblical account of Samuel's life provides a paradigm for both namer and named that is informative in recognising this pattern in each of the works studied. The virtues essential to living out the call of a namer are faith and obedience; and personal fulfilment as well as heroic feats can only be achieved if those virtues are cultivated.
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Preuss, Rosemary J., and University of Lethbridge Faculty of Arts and Science. "John Clark : transformation and the void : with a catalogue raisonné." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 1994, 1994. http://hdl.handle.net/10133/59.
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The intent of the thesis is twofold: interpretive and documentary. Volume 1 focuses on the work John Clark considered to be his mature oeuvre. The general structure is chronological, with the first three chapters devoted to formative influences, and a further chapter to what Clark had to say about meaning in his own work and that of others. The remaining four chapters offer an interpretation of the mature paintings in terms of two concepts: trasformation and the void. Annotated bibliographies and exhibition lists are included. The catalogue raisonne, volume 2, is an ongoing project to provide as complete a chronological record of Clark's known works as is possible: paintings, drawings (including working studies), prints, and reporduction histories are included. Appendices record missing and destroyed works, a bibliography of Clark's personal library, transcripts of three interviews and a lecture.29 cm.
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MacArthur, Lori Kinder. "John Rawls, Feminism, and the Gendered Self." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5030.
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John Rawls's theory of justice, which he calls "justice as fairness," has proven to be most influential with regard to the course of contemporary political theory. In both of Rawls's books, A Theory of Justice and Political Liberalism, his aim was to present a theoretically-compelling defense of deontological liberalism, and to present a set of principles by which to fairly order a just society. While Rawls's project has attracted a fair number of proponents over the years, it has also been a popular target for liberal and nonliberal critics alike. A recurrent theme among these criticisms has been an objection with Rawls's conception of the self as presented in A Theory of Justice. This thesis will focus on feminists' criticisms of Rawls's conception of persons. In general, feminists contend that Rawlsian liberalism suffers a structural gender bias resulting from Rawls's conception of the self. Rawls's notion of the self, feminists argue, rests on male or masculine attributes. I will demonstrate in the course of this thesis that feminists' charges fail on two accounts. First, feminists do not present an accurate reading of Rawls's conception of persons in either A Theory of Justice or Political Liberalism. Second, in reviewing feminist approaches to gendering the self (which is integral to their critique), it will be shown that feminists are unable to gender the self in a theoretically defensible manner. Thus, feminists cannot make the claim that the Rawlsian self is a male or masculine concept. It follows from these twin defects that feminist contentions fail to prove that Rawls's theory is gender biased.
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De, Milander Cornelia. "Contemporary implications of the first-century counter-ethos of Jesus to the scripted universe of gender and health in John 4 & 9 : a narrative-critical analysis." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96942.
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Thesis (MTh)--Stellenbosch University, 2015.ENGLISH ABSTRACT: South Africans are confronted on a daily basis with the social inequality among individuals which greatly inspires violence, victimisation, discrimination and life-denying ethos. These acts of injustice are not simply inspired by formal laws and policies, but spurred on by various ideological and symbolic categories and power structures. In a way, social behaviour can be said to be ‘scripted’ by the ideologies, perceptions and language internalised, normalised and passed on within society at large. One does not have to look very far to see the way in which this ‘script’ functions in South Africa and what impact the pre-determined and ‘scripted’ identity markers of gender and health have on individuals and groups, as categories like man, woman, HIV positive, and disabled already trigger a set of preconceived ideas and expectations regarding these individuals. The normalisation of this ‘script’ and its social hierarchies is extremely counter-productive as it often pre-determines the value, abilities, potential, limitations and ‘appropriate’ ethos of individuals and groups on the basis of the categories they fall into. The scripted nature of society is however not a twenty-first century phenomenon, but something deeply integral also to life in first century Palestine. This script interpreted, determined and reinforced the prescribed status, agency and ethos of different individuals and identity markers of health and gender were paramount in this process of scripting. Part of this ‘scripted’ world was Jesus of Nazareth. However, upon reading the narratives of John 4:1-42 and 9:1-41, it would appear that the relationship between the societal script and the actual ethos of Jesus was anything but simplistic. Upon reading these two episodes against the grain of the first century societal script, Jesus’ ethos as a Jewish man in relation to a somewhat questionable Samaritan female and blind and impure beggar brings forth some inconsistencies toward the script. It would seem as if Jesus was reluctant to read his context one dimensionally and simply comply with popular custom and ideology. The aim of this study would therefore be to explore whether these inconsistencies between the societal script and the ethos of Jesus could be of any significance in an analogously scripted twenty-first century South Africa, a society pleading for critical reflection upon the societal script. When the possible ‘counter-ethos’ of Jesus is considered, faith communities might be challenged to embrace the fragility of social categories and hierarchies and perhaps embody a similar critical attitude and ethos toward the life-denying societal script and its taken-for-granted assumptions.
AFRIKAANSE OPSOMMING: Suid-Afrikaners word daagliks gekonfronteer met die sosiaal ongelyke stand van ons samelewing. Hierdie ongelykhede is grootliks verantwoordelik vir geweld, viktimisasie, diskriminasie en nie-lewensgewende etos. Die bogenoemde word egter nie bloot deur formele wette geïnspireer nie, maar aangevuur deur verskeie ideologiese en simboliese kategorieë en magstrukture. Sosiale gedrag kan as’t ware gesien word as ʼn voorafbepaalde teks, ondersteun deur die ideologieë, persepsies en taal wat ons internaliseer, normaliseer en aan ander oordra. Hierdie voorafbepaalde ‘samelewingsteks’ is uiters prominent in Suid-Afrika, waar ʼn bepaalde status, etos en grense dikwels aan individue gegee word op die basis van identiteits-merkers van onder andere gender en gesondheid. Die identifisering van iemand as man, vrou, MIV positief, gestremd, ensovoorts spreek ideologiese boekdele van hul plek, doel en perke in die samelewing. In hierdie sin dien die vooropgestelde ‘samelewingsteks’ ʼn uiters teenproduktiewe rol, aangesien dit die waarde, vermoëns, potensiaal, en ‘korrekte’ etos van individue vooraf bepaal op grond van die simboliese kategorieë waarin hul val. Die voorafbepaalde ‘samelewingsteks’ herbevestig dikwels sosiale hiërargieë, wat ongeregtigheid normaliseer en bevorder. Hierdie is egter nie net ʼn een-en-twintigste eeu se verskynsel nie, maar iets wat al reeds prominent voorgekom het in eerste eeu se Palestina. Hierdie ‘samelewingsteks’ het die gepaste status en etos van verskillende individue bepaal op die grond van identiteits-merkers, soos die van gender en gesondheid. Dit is ook die samelewing waarin Jesus van Nasaret homself bevind het. Wanneer die narratiewe van Johannes 4:1-42 en 9:1-41 gelees word, kom dit egter voor asof die verhouding tussen hierdie ‘samelewingsteks’ en die etos beliggaam deur Jesus kompleks was. Wanneer die twee episodes in lig van die voorafbepaalde ‘samelewingsteks’ gelees word, blyk Jesus, ʼn Joodse man, se etos teenoor ʼn redelike verdagte Samaritaanse vrou en blinde en onreine bedelaar in spanning te wees met die etos aan hom voorgeskryf. Dit sou voorkom asof Jesus gewaak het teen die eenvoudige beliggaming van wat deur die ‘samelewingsteks’ as gehoord voorgeskryf en verwag is. Die doel van hierdie studie sou daarom wees om te ondersoek of die spanning tussen die eerste eeu se ‘samelewingsteks’ en die ware beliggaamde etos van Jesus enigsins betekenisvol kan wees in lyn van die een-en-twintigste eeu se voorafbepaalde ‘samelewingsteks’ in ʼn land wat ryp is vir kritiese refleksie op dit wat as ‘normaal’ en ‘korrek’ beskou word. Die moontlike ‘kontra-etos' van Jesus kan geloofsgemeenskappe uitdaag om die broosheid van sosiale en simboliese kategorieë en hiërargieë aan te gryp en ʼn soortgelyke kritiese houding en etos teenoor die nie-lewegewende ‘samelewingsteks’ en sy voorveronderstellings te beliggaam.
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Hacksley, Helen Elizabeth. "An edition of a selection of poems by John Randal Bradburne." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1008069.
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This thesis examines the life and work of John Randal Bradburne (1921-1979), poet, mystic, musician, cenobite, sometime soldier, pilgrim and wanderer. His religious experiences, particularly, gave rise to a vast corpus of verse, virtually all of it as yet unpublished. This study provides a brief overview of his life, and a critical and textual introduction to a sample selection of poems entitled Bradburne 's Assays. The biography has been compiled from published and unpublished sources, as well as from personal interviews and correspondence with Bradburne's friends, relatives and associates in South Africa, Zimbabwe and the United Kingdom. Chief among these are two unpublished biographies by Judith, Countess of List owe I. Bradburne's extant corpus consists of over five thousand titled pieces of verse, ranging from brieflyrics to verses hundreds of pages long. The forty-seven poems comprising Bradburne 's Assays, published here for the first time, were selected and arranged by Bradburne himself in a single sequence. A unique collection in his corpus, they are unified by their common sonnet form and their contemplative approach to secular and religious experiences. An accurate reading text of this set of poems, transcribed from Bradburne's typescripts, currently held at Holyhead in Wales, is provided. These typescripts have been electronically scanned and are presented in the Appendix. Editorial intrusion, which has been kept to a minimum, is recorded in the critical apparatus beneath the text of the poems. Since all the poems in this ed ition are presented here for the first time, each is accompanied by detailed commentary on their form and content. Where necessary, interpretations of obscure passages have been suggested. A general index to the Introduction and Commentary is supplied, along with indexes of first lines and titles of the poems. It is hoped that this thesis will stimulate further study of the life and work of a unique and intriguing figure.
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Hartmann, Melissa Bakeman. "Blurred relationships: The factual fiction of John Edgar Wideman." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2166.
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Control is a central issue in any text: does the author's intention or the reader's interpretation better explain the resulting meaning of the text? This question has long been the subject of debate among textual theorists; this essay proposes a middle ground, namely that the author and the reader engage in a collaborative effort to make meaning in a text.
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Barsky, Robert F. "Byron and catastrophism." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63758.
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Wong, Saiming. "The roles of the moral and the political in the philosophies of Kant and Rawls." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/593.
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The primary focus of this dissertation is the problem of the roles of the moral and the political in political philosophy as exemplified in the philosophies of Kant and Rawls. The research question which intrigues me in the subject matter is whether and to what extent morality has a role in political philosophy. As I argue in this dissertation, while Kant's political philosophy is grounded by his moral philosophy, Rawls holds the opposite view that a political conception of justice should not be derived from any specific moral doctrine. Their contrasting views are further complicated by the fact that Rawls is often regarded as a Kantian due to his partial assimilation of Kant in his theory of justice. A comparative study of their views on the roles of the moral and the political in philosophy is thus particularly instructive in answering the above research question. This dissertation therefore approaches the subject matter from four different angles. In the first chapter, I start with a holistic interpretive account of Kant's moral and political philosophy that is quite different from those in the current literature. Not only do I argue that Kant's moral philosophy is unmistakably an indispensable ground of his political philosophy, but I also argue for a positive duty in politics that is moral by nature. In the second chapter, I shift my focus to Rawls and examine his understanding of morality as reflected in his moral conception of the person in his political philosophy. I argue that the conception is the result of an intended reformulation of Kant's notion of autonomy that is in turn based on an unintended misreading of the same. I go on to relate several weaknesses in Rawls's theory to his understanding of morality and argue that their resolutions require an accurate understanding of the relationship between the moral and the political. The third chapter is a Kantian appraisal of the four roles of political philosophy proposed by Rawls. It is relevant to the subject of this dissertation because the four roles are designed with a strict separation between the political and the moral in mind. If the four roles turn out to be defensible, it would amount to an important defense for such a separation. The fourth chapter offers an alternative for those who are more accustomed to the political than to the moral by proposing a new interpretive approach to Kant's philosophy starting from the political and ending with the moral. By ending this dissertation with this alternative, I hope my research is not merely a comparative study but can also offer a new perspective for a more in-depth understanding of the relationship between the moral and the political in philosophy.
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Grovier, Kelly. "Walking Stewart & the making of Romantic imagination." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670203.
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McKay, Niall. "Luke and Yoder : an intertextual reading of the third gospel in the name of Christian politics." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/17842.
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Thesis (MTh)--Stellenbosch University, 2011.ENGLISH ABSTRACT: Critical New Testament study has drawn on analytical techniques and interrogatory methods from a wide range of disciplines. In recent decades the dominance of historical and ecclesiologicallylocated approaches have been challenged by insights from literary, sociological, anthropological, cultural and ideological scholarship. These challenges have proved fruitful and opened biblical scholarship to new and generative interpretation. This plurality of interpretation has in turn challenged the reductionism of biblical scholarship, leading to the now common acknowledgement that a particular reading or reconstruction is but one of many. Unfortunately many new readings have been too tightly bound to a single method or insight. The broad interaction between these readings has been often overlooked. In contrast to this trend an epistemology of text emerging from the poststructural notion of intertextuality allows the construction of links between a range of interpretive methods. Intertextuality emerges from literary and cultural theory but spills over to make hermeneutical connections with historical, cultural and ideological theory. For the most part New Testament scholars who have appropriated the term have noted this but not thoroughly explored it. In this study an ideologically-declared overtly intertextual approach to the third canonical gospel demonstrates the interlinking hermeneutic allowed by intertextuality. John Howard Yoder's reading of the gospel of Luke underscores the development of a Christian social-ethic. This reading in turn forms the framework for the more overtly intertextual reading offered here. An intertextual reading of the New Testament Scriptures is both narratively generative and politically directive for many Christian communities.
AFRIKAANSE OPSOMMING: Kritiese Nuwe Testamentiese studies het in die verlede gebruik gemaak van analitiese tegnieke en ondervraende metodes uit ‘n wye verskeidenheid van dissiplines. Meer onlangs is die oorheersing van historiese en kerklik-gerigte benaderings uitgedaag deur insigte vanuit letterkundige, sosiologiese, antropologiese, kulturele en ideologiese dissiplines. Hierdie uitdagings het vrugbaar geblyk en het Bybelse vakkennis toeganklik gemaak vir nuwe en produktiewe interpretasies. Hierdie meervoudige interpretasies het op hul beurt weer die reduksionisme in Bybelse geleerdheid uitgedaag, wat aanleiding gegee het tot die nou algemene erkenning dat ‘n bepaalde vertolking of rekonstruksie slegs een van vele is. Die breë wisselwerking tussen sulke vertolkings word dikwels misgekyk. In teenstelling met hierdie neiging, laat ‘n epistemologie van die teks wat te voorskyn kom uit ‘n poststrukturele begrip van intertekstualiteit toe dat verbande gekonstrueer word word tussen ‘n verskeidenheid van vertolkingsmetodes. Intertekstualiteit spruit voort uit literêre en kulturele teorie, maar vorm ook hermeneutiese skakels met historiese, kulturele en ideologie kritiek. Die meeste Nuwe Testamentici wat gebruik gemaak het van hierdie term, het kennis geneem van sulke verbande, maar dit nie altyd volledig verreken nie. In hierdie studie demonstreer ‘n ideologies-verklaarde, openlik intertekstuele benadering tot die derde kanonieke evangelie die gekoppelde hermeneutiek wat toegelaat word deur intertekstualiteit. John Howard Yoder se vertolking van die Evangelie van Lukas plaas klem op die ontwikkeling van ‘n Christelike sosiale etiek. Hierdie interpretasie vorm op sy beurt weer die raamwerk vir die meer openlik intertekstuele vertolking wat hier aangebied word. ‘n Intertekstuele interpretasie van die Nuwe Testamentiese geskrifte is beide verhalend produktief asook polities rigtinggewend vir talle Christelike gemeenskappe.
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Hopkins-Utter, Shane. ""An echo of an echo" : J.R.R. Tolkien's Middle-earth as elegiac romance." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79947.
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Tolkien's aesthetic enjoyment of distance and antiquity in literature, his interest in the power of imagination, and his use of medieval romances and ancient fairy-tales as a means of rediscovering an enchanted vision of the world are analogous to the literary endeavours of the Romantics. Like them, he perceives that the real world is inherently different from how he imagines an ideal world. This thesis discovers that Tolkien's writings correspond in numerous ways to the modern form of elegiac romance, most notably because of their positive portrayals of mortality, and their depictions of intense yearning. The moral imperative to accept death, exemplified by the heroic ethos of Old English literature, clarifies why the effect of historicity is often noted in Tolkien's fictions: time is mimetic rather than mythological. Tolkien demonstrates that Fantasy is capable of reflecting the most sombre issues of the real world, particularly the inevitability of death.
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Jiang, Xulin. "Political justice and Laissez-faire : a consequentialist optimization of Rawl's scheme of justice as fairness." HKBU Institutional Repository, 2009. http://repository.hkbu.edu.hk/etd_ra/983.
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Gillingwators, Jean. "Joan Didion and the new journalism." CSUSB ScholarWorks, 1986. https://scholarworks.lib.csusb.edu/etd-project/417.
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George, Stephen K. "Of vice and men : a virtue ethics study of Steinbeck's The pearl, East of Eden, and The winter of our discontent." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/952814.
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As a writer and thinker, John Steinbeck has often been ridiculed by the academic community as trite and sentimental--someone who appeals to the masses but has little to say on life's "important" issues. This study applies an interdisciplinary approach to three of his later novels--The Pearl, East of Eden, and The Winter of Our Discontent--in order to more accurately assess the quality of Steinbeck's later fiction and to discover what this writer has to say concerning ethics and human nature, particularly the irrational emotions and vices.In concurrence with some of the latest research available, this study reveals that the emotions play a far greater role within the moral realm than previously believed by some philosophers and psychologists. Irrational emotions, such as extreme fear, anger, hatred, and guilt, are often sequential, cyclical, and cumulative in nature and frequently form dynamic combinations which feed on and intensify each other and which may lead to acts of violence or cruelty. Moreover, far from being uncontrollable, these emotions have been shown to have a cognitive dimension which is greatly influenced by upbringing and environment. As indicated in East of Eden, parental neglect and abuse play prominent roles in making certain characters susceptible to their own states of irrationality.The emotions are also primary to the development of more permanent character dispositions, both good and bad. As illustrated in East of Eden's Cathy Ames, a vice such as cruelty is often motivated and enabled by the fear and hatred that frequently form its core. Moreover, the vices themselves seem to be interactive and cumulatively debilitating; just as dishonesty plays a key role in enabling cruelty and loss of integrity, so does a lack of integrity make sense in a morally weak world.Thus, contrary to popular critical opinion, there was no dramatic falling off of quality in Steinbeck's writing, but rather a deliberate change in emphasis from social criticism to morality and from the group to the individual. This study confirms both the importance of what Steinbeck had to say as well as the eloquent and gifted manner in which he said it.Department of English