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Laval, Cédric. "Les procédés de déréalisation dans les récits de Julien Gracq /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82910.
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In this thesis, I propose an analysis of Julien Gracq's fictional works, based upon a dual methodological approach inspired by Genettian naratology and the phenomenological theories of reading. I argue that "derealization" is an important element of Julien Gracq's writing, which is often perceived in binary terms (classical and/or modern, alternately real and unreal, realistic and magical). This hypothesis leads me to develop a conceptual framework for a notion that, while it has on occasion been invoked by critics, has never been properly defined. In this framework, derealization is defined both as a textual product and a reading effect. As a textual product, it is primarily an interstitial phenomenon insofar as it operates between the different levels of the text (enonciative levels, temporal levels, referential levels), creating confusion, competition, and what I have called "subordinating inversion". As a reading effect, it tends at once to disturb the reader's horizon of expectations, to prevent referential stability (defined as a textual construct and in relation to the reading experience), and to introduce a tension in the reading process without completely hindering the reader's progress. This tension manifests itself in the form of uncertainty, a blurring or subverting of diegetical content, persistent instability or a powerful determinism whose limits are unclear. In the final analysis, derealization can be described as a syncretic concept that reconciles, on the one hand, the immanent structures of the text and the phenomenological experience of reading, and, on the other hand, the stable, "ureassuring" dimension of the traditional novel and its modernistic undermining. Seen in this light, the concept of derealization could prove to be a useful tool for the study of certain contemporary works that seek to rejuvenate traditional literary forms without rejecting them entirely. Julien Gracq's works are a perfect example of just su
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Giguère, Marielle. "Julien Gracq et le réalisme magique." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101879.
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This thesis consists in a comparison between the novels of Julien Gracq and the magical realism. More precisely, our research's main concern is about the forms of strangeness developed throughout the works of the author. We wish to demonstrate how elements of the texts---space, time, metafiction and intertextuality---generate the appropriate atmosphere for the emergence of magic. We think that, whether or not the representation includes magic, it maintains itself on the edge of the fantastic, partly because the images constantly suggest its imminence. Our intention is thus to prove that the feeling of strangeness that emerges from Gracq's fiction is a latent or embryonic form of magical realism.
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Johnson, Wolter Mary Joanne. "The quest according to Julien Gracq : a study of the search for the beyond in Gracq's three novels and his play Le roi pêcheur." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4246.
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Julien Gracq' s quest for the "au-delà" is similar in many ways to the Surrealists' attempts to get in touch with the Beyond and to find that mythical and ideal point where binary oppositions are no longer contradictory but complementary. However, he differs greatly from the Surrealists in that his writing is anything but "automatic". Whereas he acknowledges being influenced by the Surrealists' ideas and by the works of certain authors, notably Goethe, Wagner, and Edgar Allen Poe, his works are a unique and carefully constructed web of style techniques, double-entendres, intertextual references, poetic devices, and a deliberate blurring of the dividing line between clear and obscure.
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Nantel, Mylène. "La nouvelle néofantastique de Julio Cortázar ; suivi de, Le lecteur de pistes /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ29502.pdf.
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Moran, Dominic Paul. "Questions of the liminal in the fiction of Julio Cortázar." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627115.
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Lithander, Erik Per Emanuel. "A study of the pre-exile novels of Julio Cortázar." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621003.
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Huggan, Graham. "The novelist as geographer : a comparison of the novels of Joseph Conrad and Jules Verne." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26839.
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The works of Joseph Conrad and Jules Verne share a fascination with geography: concern with geographical issues made explicit in their non-fictional works is also implicit in their fiction. Unfortunately, limited knowledge of or interest in geographic theory on the part of the literary critic has made the relation between literature and geography a relatively unpopular focus; to redress the balance, it is necessary to outline briefly some of the ways in which geographical theory may usefully inform the practice of literary criticism. Areas to be introduced include geography and literature as spatial distribution, as spatial perception, as inscription on and description of the environment, as text, as cultural matrix.
The above areas serve as a focus for the comparative analysis of a series of novels by Joseph Conrad and Jules Verne in which three issues are foregrounded: first, the interrelations between concentrated place and surrounding space in the sea-tales The Nigger of the Narcissus and Vingt mille lieues sous les mers; second, the reading and writing of cultural landscape in Heart of Darkness and Voyage au centre de la terre; third, the geopolitics of territory, boundary and landclaim in Lord Jim and L'lle mystérieuse. In each case, relevant geographical theory is drawn upon: in the first instance, the phenomenological notions of Yi-Fu Tuan and Edward Relph; in the second, the landscape evaluations of Carl Sauer and Courtice Rose; in the third, the geopolitical and politico-geographical definitions of Glassner, De Blij and Cohen.
The first section (on The Nigger of the Narcissus and Vingt mille lieues sous les mers) explores the spatial notions of topophilia, placelessness and geometricity inherent in the relation between ship and sea. The second section (on Heart of Darkness and Voyage au centre de la terre) discusses the various connotations of landscape: cultural imprint (rewriting),
false perspective (mis-reading), textual sign-system (encoding/decoding), which suggest that landscape can be interpreted as a controlling mechanism of and means of access to the text. The third section (on Lord Jim and L' Ile mystérieuse) outlines the geographical motifs of the two novels (division, (dis)possession, ascent and descent, etc.) and infers possible motives behind these motifs, relating topographical issues to personal and political ones and paying particular attention to the implications of island environments and communities and to the connections between imperialism, colonialism and narrative strategy.
Finally, the 'literary geography' of Conrad's and Verne's novels is situated in its historical context and related particularly to the late nineteenth-century debate on the relative merits of positivism and phenomenology. In Verne's work, the doctrine of positivism, which has been constituted in terms of an ideology of science, is only celebrated in so far as its limitations are recognized. In Conrad's work, man's struggle to conquer Nature through a physical and verbal mastery of his environment is reinterpreted as an attempt to overcome his own duality. Conrad's predominantly phenomenological geography of the mind serves as a critique of positivist doctrine, but its fractured topography also suggests that the attempt to substitute 'more traditional views of the social and moral order' (Watt, 163) is, perhaps, little more than a saving illusion.Arts, Faculty of
English, Department of
Graduate
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Bonnin, Agnès. "L'écriture du progrès ches Jules Verne : ambivalences de la modernité." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26720.
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The present thesis studies the representations of the idea of progress within nineteen of Jules Verne's novels, written between 1864 and 1904. It aims at demonstrating that Verne's writing and the topics favored therein constitute an account of the opinions prevailing during the second half of the XIX$ sp{ rm th}$ century. Following an examination of the changes brought by scientific discoveries and their technical applications in French society, as well as of the fears arising from the speedy material progress, it picks out the images that allow the author of the Voyages extraordinaires and the creator of the "scientific novel" to translate and transform the expressions of progress of the period. Finally, the thesis aims to nuance this enthusiastic portrait, and stresses the fact that warnings and ambivalences towards technical progress are not absent from a work that prefers to instruments giving access to progress a moral spirit guiding them.
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De, Coning Alexis. "Perversity on paper taboo, abjection and literature: Iain Banks' The wasp factory, Ian McEwan's The cement garden, and Irvine Welsh's Marabou stork nightmares." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002247.
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This thesis explores the notion of perversity in literature, specifically with regard to representations of taboo and abjection in Iain Banks‟ The Wasp Factory, Ian McEwan‟s The Cement Garden, and Irvine Welsh‟s Marabou Stork Nightmares. Julia Kristeva‟s Powers of Horror: An Essay on Abjection, as well as her notion of revolt, constitute the central theoretical framework for my analysis. However, I also draw upon the concepts of monstrosity, grotesqueness and the uncanny in order to explicate the affect of abject fiction on the reader. I posit, then, that to engage with literary works that confront one with perversity, abjection and taboo entails exposing oneself to an ambiguous or liminal space in which culturally established values are both disrupted and affirmed. The subversive and revolutionary potential of the aforementioned novels is discussed with reference to the notion of the perverted Bildungsroman since, in their respective transgressions of taboos, the narrators of these novels disrupt social order, and their narratives end on a note of indeterminacy or the absolute finality of death, rather than self-actualisation. Moreover, in exposing the binaries of sex and gender as arbitrary and fluctuating, these narrators‟ perverse sexual and gender performativities gesture towards alternative modes of being (beyond social sanction), and invoke Kristeva‟s notion of individual revolt as a „condition necessary for the life of the mind and society‟.
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Christodoulides, Nephie J. "Out of the cradle endlessly rocking : Sylvia Plath as mother-creator in light of Julia Kristeva's theory of subject formation." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/3467.
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This introductory chapter aims to briefly address the theoretical approach used in my dissertation, situating Julia Kristeva in relation to Sylvia Plath's work, as well as to place my work among particular psychoanalytic studies of Plath. 'Initiation' further continues by briefly discussing the way primary and secondary data are utilized in the dissertation and developing the rationale behind juxtaposing biographical material (mostly journals and letters) and creative work, life and art. The chapter finishes by giving an overview of the dissertation organization. The purpose of this dissertation is to discuss the notion of motherhood in Sylvia Plath's work in light of Julia Kristeva's theory of subject formation. For Kristeva, as subjects, we are never the absolute masters of our own experiences, but split subjects divided between unconscious and conscious motivations, inhabiting both nature and culture. The subject is not only split, but is also a 'subject in process' ( sujet en proces); s/he is always on trial, tested in a way against his/her various contexts (Revolution in Poetic Language 22,58,233 ). Kristeva is concerned with discourses that call up a crisis in identity and for her the discourse of motherhood is such a discourse. Motherhood is also characterized by an instability as it takes place at the level of the organism, not the subject : 'It happens but I'm not there' ( 'Motherhood According to Giovanni Bellini' 237 ). The maternal body is a place of splitting; it is more of a filter than anything else - a thoroughfare where nature meets culture ( ibid. 238 ). Neither parturition nor the birth itself are final. They are, as it were, beginnings of something other than themselves - the onset of maternity for the woman, the beginning of life for the child (Robbins 138 ).
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Béjar, Pachas Giovanna. "La sombra del racismo peruano en los cuentos de Julio Ramón Ribeyro /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82682.
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Ce resume analyse le phenomene du racisme dans les oeuvres de l'auteur peruvien Julio Ramon Ribeyro comme etant le reflet de la societe peruvienne contemporaine. L'auteur se sert d'arguments percutants pour confronter l'ordre etabli; un ordre qui refuse toujours d'acquiescer l'existence de ce phenomene. Pour nous, ce fait social transgresse la constitution de cette nation equitable envers tous ses membres, et par le fait meme, merite qu'on l'examine de plus pret et qu'on lui porte une attention toute particuliere.Le premier chapitre decrit le contexte historique de ces recits. De plus, il va inclure une presentation des faits politiques majeurs qui ont affecte ce phenomene qui est le racisme au Perou, durant le vingtieme siecle. Pour clore le chapitre, nous allons etudier le milieu social et professionnel de l'auteur. Dans le deuxieme chapitre, nous allons tenter de definir des termes essentiels tels que: race, ethnique et racisme, dans le contexte social peruvien. Finalement, dans le troisieme chapitre, nous allons analyser- en se servant des informations etablies auparavant- huit des recits de Ribeyro. Ces histoires, tous ecrits entre 1960 et 1990, traite sur le sujet du racisme.
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Sanchez, Francine Rodrigues. "A escrita rítmica de Juliano Pessanha." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20709.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research starts from a quest: how is it possible to conceive and conceptualize the rhythm in a prose contemporary literary text? The principle, however, could be justified by the arousal of the rhythmic sense on the reading of Juliano Saldanha’s hybrid literary piece “Introdução: Esse-menino-aí”, corpus of the present investigation. To achieve a possible critical reading of this literary piece striving for outlining its rhythm, as well as to devise a new concept of rhythm, are the aims of the present study. Starting from the assumption of an intensive rhythm induced by the performative movement on the reading process, it is intended to investigate the concepts related to the rhythm beyond the synonym between rhythm and metric. The theoretical foundation bases on Brik, Paz, Meschonnic, Zumthor, Gil, Pessoa, Deleuze e Nietzsche. The search is for a reading in the order of sensations and experiencing as well as for exposing the reading movements in the text construction, focusing on reaching the most adequate conception of intensive rhythm, enabling a broader range of possibilities on the investigation of Juliano Pessanha’s literary production
Esta dissertação parte da seguinte pergunta: como podemos conceber e conceituar o ritmo no texto literário contemporâneo em prosa? Justifica-se no despertar de um senso rítmico que se faz presente na leitura do texto híbrido de Juliano Pessanha “Introdução: Esse-menino-aí”, nosso corpus da pesquisa, e tem como principais objetivos: realizar uma possibilidade de leitura crítica deste texto, buscando mostrar o ritmo aí presente, e delinear um novo conceito de ritmo. Partimos da hipótese de que há um ritmo que é intensivo e que é um movimento produzido pela performance da leitura. Para tanto, investigamos acepções sobre o ritmo que ultrapassam a sinonímia entre ritmo e métrica. A fundamentação teórica baseia-se em: Brik, Paz, Meschonnic, Zumthor, Gil, Pessoa, Deleuze e Nietzsche. Busca-se realizar uma leitura da ordem das sensações e da busca por experimentar e expor movimentos propostos para a leitura na construção do texto, e chegamos ao resultado de que a noção de ritmo intensivo se torna a mais adequada e permite maiores possibilidades de investigação para o texto contemporâneo de Juliano Pessanha, em sua atualidade e caráter experimental
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Silva, Camilo Gomide Cavalcanti. "A própria vida: efeitos de real e de sinceridade nas autoficções de Julián Fuks e de Karl Ove Knausgård." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20599.
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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-11-14T11:40:08Z
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work aims to analyze the effects of reality and sincerity in the autofictions A resistência, by Brazilian writer Julián Fuks, and Minha luta, by Norwegian writer Karl Ove Knausgård. These contemporary authors seek a new form of realistic expression in their works. Both start from a lack of interest in traditional fiction, with fictional plots and characters, and choose to write about their own life, finding greater legitimacy in the autobiographical. Autofiction was coined in the 1970s to define a practice which became popular among writers interested in telling their own story. Although it is inevitably contaminated by fiction, many authors have found in this genre a means of seeking new effects of reality and authenticity. This research intends to understand how these writers forge these impressions from something so notoriously fallible as memory. The theoretical foundations of this research have, as a starting point, the seminal analyses of Michel Foucault on the writings of the self and the study of Jean Starobinski on the Confessions of Rousseau. From the literary field, Roland Barthes’ studies on realism and the limits of representation are considered, as well as other theorists dedicated to the themes of autobiography and autofiction, such as Lejeune (2014), Doubrovsky (1977) (who coined the term autofiction) and contemporary researchers such as Schøllhammer (2009), Klinger (2012), Faedrich (2016) and Perrone-Moisés (2016). The conclusion of this research is that both Fuks and Knausgård find, in autofiction, a form of greater commitment to literature. The difference, however, is that in A resistência, the effect of reality comes from the narrator’s constant suspicion of his own narrative; and in Minha luta, this effect comes from the corrosive confession of the narrator, who deeply identifies with the author
Este trabalho tem por finalidade analisar os efeitos de real e de sinceridade nas autoficções A resistência, do escritor brasileiro Julián Fuks, e Minha luta, do escritor norueguês Karl Ove Knausgård. Esses autores contemporâneos buscam, nessas obras, uma nova forma de expressão realista. Ambos partem de um desinteresse por ficções tradicionais, com enredos e personagens fictícios, e optam por escrever sobre a própria vida, por encontrarem, no material autobiográfico, uma maior legitimidade. A autoficção é um neologismo criado na década de 1970 para definir a prática, que se popularizou entre alguns escritores interessados em narrar sua própria história. Embora seja marcada pela contaminação inevitável da ficção, muitos autores têm encontrado no gênero um meio de buscar novos efeitos de real e de autenticidade. Esta pesquisa pretende entender como esses escritores forjam essas impressões, a partir de uma matéria sabidamente falível como a memória. Os fundamentos teóricos da investigação têm, por ponto de partida, as análises seminais de Michel Foucault a respeito das escritas de si e o estudo de Jean Starobinski sobre as Confissões, de Rousseau. No campo literário, alicerçam a pesquisa os estudos de Roland Barthes sobre o realismo e os limites da representação, além de outros teóricos que se dedicam à questão da autobiografia e da autoficção, como Lejeune (2014), Doubrovsky (1977) (o inventor do termo autoficção) e pesquisadores contemporâneos como: Schøllhammer (2009), Klinger (2012), Faedrich (2016) e Perrone-Moisés (2016). A conclusão da pesquisa é a de que tanto Fuks quanto Knausgård encontram na autoficção uma forma de comprometimento maior com a literatura. A diferença, no entanto, é a de que, em A resistência, o efeito de real advém da desconfiança permanente do narrador sobre o próprio relato; e, em Minha luta, este efeito provém da confissão corrosiva do narrador, que se identifica profundamente com o autor
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Stokes-King, Lisa. ""Lovely shapes and sounds intelligible" : Kristevan semiotic and Coleridge's language of the unconscious." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99394.
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Romantic literature's preoccupation with subjectivity, and the nature of the self, is recognised as influential on modern conceptions of consciousness, and in particular as a precursor of psychoanalysis. This thesis examines Coleridge's understanding of consciousness, as expressed in his prose, to demonstrate that he theorised a language of the unconscious; a non-arbitrary, authentic language that remains inaccessible. By comparing this idea with Julia Kristeva's theory of Semiotic language, the thesis will show that this language is indeed recognised in her psychoanalytic theory as a product of the unconscious. Most importantly, it will show that while Coleridge's supernatural poetry laments the inaccessibility of unconscious language, Kristevan theory demonstrates it to be present in that very poetry.
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Alves, Fernanda Andrade do Nascimento 1983. "As entonações de algumas metaforas cortazarianas : em torno da fotografia e do ato de narrar." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270127.
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Orientador: Miriam Viviana GarateDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente estudo está pautado pela possibilidade de leitura da obra cortazariana com base em um aspecto relevante de sua trajetória: a dedicação não apenas à ficção, mas também à crítica. Partindo da poética de Cortázar acerca do conto, surgem algumas metáforas e comparações para definir o gênero e para tratar do ato de narrar. Essas metáforas têm diversas entonações ao longo da obra, configurando não apenas uma recorrência temática que atravessa textos ensaísticos e narrativos, mas também uma contaminação dos registros ficcional e crítico. As referências à fotografia e ao jazz, como parâmetros para a construção literária, são temas de reflexão em ensaios que assumem alguns traços ficcionais e são motivos narrativos em contos perpassados pela dimensão crítica. Os contos assumem o discurso crítico dentro de sua própria estrutura, questionando o ato de narrar; os ensaios, muitas vezes, têm a estratégia argumentativa baseada na constituição de uma imagem e no recurso ao anedótico; os textos que compõem os livros-almanaque transitam entre a ficção, o autobiográfico e o ensaístico. Desse modo, a comparação entre conto e fotografia, discutida em "Algunos aspectos del cuento" (1962), já havia sido ficcionalizada no conto "Las babas del diablo" (1959) e é retomada em "Apocalipsis de Solentiname" (1977) e em "Ventanas a lo insólito (1978); a busca por uma linguagem desautomatizada, proposta no ensaio "Para una poética" (1954), é trabalhada em "Las babas del diablo" e em "Diario para un cuento" (1982); o princípio analógico explicitado em "Para una poética" culmina no conceito de figura - uma nova forma de percepção da realidade e um efeito buscado nos contos -, retomado em "Cristal con una rosa dentro" (1969), texto cujo gênero é difícil definir e que compõe um dos livrosalmanaque cortazarianos; os "takes", propostos em "Melancolía de las maletas" (1967) como parâmetro para a literatura, parecem definir o movimento narrativo de "Las babas del diablo" e de "Diario para un cuento".
Abstract: This work aims at identifying the reading possibilities in Cortázar's works, based on an important aspect of the author?s path: his commitment not only to fiction, but also to literary criticism. From Cortázar's poetics regarding short stories, it is possible to identify metaphors and similes created in order to define the literary genre and to address the narrative act. Such metaphors assume several intonations throughout the author's work, configuring not only the recurrence of themes which is present in essays and narratives, but also the traces of contamination of fictional writings and critiques. The references to photography and to jazz as parameters for the literary construction are the object of analysis in essays that assume some fictional traces and constitute narrative motifs in short stories which span the dimension of criticism. Cortázar's short novels assume the critical discourse in its own structure, questioning the narrative act; the essays, many times, adopt an argumentative strategy based on the constitution of an image and resort to the anecdotal; the texts that compose the "almanac" books shift between fiction, autobiography and essay. Therefore, the comparison between short story and photography, which is discussed in "Algunos aspectos del cuento" (1962), had already been turned into fiction in the short story entitled "Las babas del diablo" (1959) and is discussed again in "Apocalipsis de Solentiname" (1977) and in "Ventanas a lo insólito" (1978); in "Las babas Del diablo" and "Diário para um cuento", Cortázar is in the quest for a language that is not automated, and such quest is also present in the essay "Para una poética" (1954); the analogy principle shown in "Para una poética" reaches its highest point with the concept of figure - a new form of perception of reality and effect which Cortázar looks for in his short stories -, which is recurrent in "Cristal con una rosa dentro" (1969), a text whose genre cannot be easily defined and that is part of one of Cortázar's "almanac" books; the "takes" proposed in "Melancolía de las maletas" (1967) as literary parameter seem to establish the narrative movement in "Las babas del diablo" and "Diario para un cuento".
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Kelly, Robert Louis. "In search of Michelangelo's tomb for Julius II : reconstructing that for which no fixed rule may be given." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38494.
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In early 1505, at twenty-nine years of age, Michelangelo began work on a massive tomb for Pope Julius II. The formal, temporal, and constructional intertwinings of this project are plumbed to create the foundation of this text. Finding its only full manifestation in the narratives of Vasari and Condivi, this tomb was the site of Michelangelo's first engagement with the making of architecture. The execution of this project would go on to intermittently occupy nearly half of Michelangelo's lifetime, making it a pivotal and paradigmatic work in the understanding of his opera. Explored as an embodied architectural treatise, the tomb reveals Michelangelo's dynamic process of creative making. Problematic issues in the prevailing Twentieth Century analyses and reconstructions of the tomb are called into question and alternative approaches to establish a deeper understanding of the project are proposed. Conjectures on the relevance of history, the hegemony and limits of analysis, the physical manifestation of ideas, what it means to "finish" a project, and what constitutes a "work," are projected from the foundations of the tomb onto the making of architecture today.
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Catelain, Valérie. "La voie initiatique dans l'oeuvre romanesque de Julien Green." Paris 10, 1997. http://www.theses.fr/1997PA100027.
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Complexe et mouvante, l'errance apparait comme une composante majeure de la vision greenienne de l'homme et du monde. Tout personnage greenien incarne, a sa maniere, le visage de l'homme en soi. Eternel voyageur sur la terre. Presentant une analogie de structure avec le scenario initiatique ainsi que des motifs identiques, l'oeuvre capte surtout les evenements determinants de l'initiation vecue. Le protagoniste parvient difficilement a se degager de son milieu d'origine et a rompre avec son passe personnel tant il est prisonnier des limites du moi et subit l'etroitesse de la condition humaine. Sur le plan ontologique, il se sent dedouble. Sur le plan moral, il a le sentiment d'etre coupable. Et la marche s'apparente alors a un voyage dont il cree ou redecouvre la finalite essentielle. Eveille par les signes divins mis en oeuvre dans l'art, dans la nature, ou manifestes lors de rencontres decisives. Le personnage finit par s'eveiller, attentif aux richesses enfoues. Revendication du pouvoir de transmuer l'existence humaine, construction de la liberte, l'initiation est pour lui un recommencement : l'etre redevient l'eternel enfant qu'il n'a, en verite, jamais cesse d'etre. L'initie parcourt un chemin vers un "ailleurs" qui se devoile peu a peu. L'oeuvre greenienne acquiert de ce fait une tonalite eminemment mythique assurant l'enracinement de l'etre. Sur le mythe du pays perdu de l'enfance se greffe le mythe des pays lointains qui sous-tend notamment la quete amoureuse, celle qui fait de la nature une initiatrice, enfin celle qui motive la quete de la connaissance. En somme, a la quete de soi s'associe avant tout une recherche de verite personnelle qui suppose la certitude de ce qui relie a l'invisible et au sacre, et peut mener vers la sainteteBoth untricate and moving, the wandering seems as a major ingredient of greenian vision of man and world. Each greenian character umbodies man himself, the everlasting traveller on earth. Similar in structure and patterns to the plot of the initiation, the work focuses mainly on the key events of the experience the character has gone through. The protagonist has trouble escaping from his social background and breaking up from his personal past inasmuch as he is trapped within the limits of his ego and undergoes the narrowness of the human condition. From the ontological point of view, he feels split. From the moral one, he feels gilt. Therefore, going further means nothing but a trip whose essential purpose he creates or discovers. Awaked by the divin signs that show in art, nature, or vital encounters, the character eventually wakes up to some hidden wealth. Claiming the power to transmuate the existence, laying the foundations of liberty, the initiation is to the greenian character a fresh start: the being is back to the eternal child he has actually always been. The initiated makes his way towards an "elsewhere" that gradually discloses itself. Consequently the greenian work acquires an eminently mythical town that grounds the being will take roots. The myth of far away lands which particularly underlies the quest for love, the quest for nature and finally that of knowledge adds itself to the myth of childhood as a paradise lost. All in all, the quest of one's ego goes hand in hand with the search of personal truth which implies the knowledge that links the invisible, the sacred and paves the way towards godliness
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Hoyer, Steven. "Intention and interpretation." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68104.
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This thesis is in two chapters. Chapter one is about intentions. Literary theorists have, by and large, dismissed their relevance to interpretation, so it will be useful to consider what exactly is being ignored. Therefore, I devote chapter one to a clarification of the nature and role(s) of intention within the interlocking network of basic propositional attitudes. I argue that intentions incorporate both a functional and a representational dimension, triggering actional mechanisms and structuring the process of practical reasoning.Chapter two is about interpretation. I open the chapter with an examination of extreme conventionalist theses, arguing that their success depends on an unjustifiably strict demarcation between intentionality and textuality. Appropriating aspects of Donald Davidson's work in the philosophy of language, I argue for the recognition of linguistic communication as a form of intentional action. I then defend this thesis against more moderate conventionalist theories to offer a viable approach to the interpretation of literary works.
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Anger, Suzy. "Victorian hermeneutics and literary interpretation /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9374.
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Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.
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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
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Turner, Seth. "Revelation 11:1-13 : history of interpretation." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:57efe3b3-7c61-412f-9001-5269860a896d.
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The thesis provides a descriptive survey of the history of interpretation of Revelation 11:1-13. Prior to 1000 AD it aims to be comprehensive, but after this date concentrates on Western interpretation. Ch. 1 - Prior to 1000 AD. Rev 11:1-13 is examined in relation to the wider complex of traditions concerning Antichrist and the return of Enoch and Elijah. The commentary tradition on Revelation is examined, including an extensive reconstruction of Tyconius. The passage is applied in two ways: 1. to two eschatological figures, usually Enoch and Elijah. 2. to the Church from the time of Christ's first advent until his return. Ch. 2 -1000-1516 Exegesis similar to that of chapter 1 is found. There is new exegesis from Joachim of Fiore, who believes that the two witnesses will be two religious orders, and Alexander Minorita, who reads the entirety of the Apocalypse as a sequential narrative of Church history, arriving at the sixth century for 11:1-13. Ch. 3 -1516-1700 Protestants interpret the beast as the papacy/Roman Church, and the two witnesses as proto-Protestants prior to the Reformation, often interpreting their 1260 day ministry as 1260 years. Catholics respond by applying the passage either to the eschatological future or the distant past. Ch. 4 -1701-2004 Protestants continue to see the 1260 days as 1260 years, although this interpretation declines markedly in the nineteenth century. Both Catholics and Protestants apply the passage to the distant past of the early Church. Historical critical exegesis introduces a new exegesis, where John is regarded as having incorrectly predicted the return of two individuals shortly after his time of writing. Applications to the entirety of the time of the time of the Church increase in popularity in the twentieth century.
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Nicol, George Grey. "Studies in the interpretation of Genesis 26.1-33." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:8fff7ce7-9a50-4011-9f54-5776c84aa36a.
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These Studies in the interpretation of Genesis 26.1-33 are concerned with a relatively brief and well defined section of biblical Hebrew narrative, and following an Introduction are divided into two parts reflecting literary and historical interests respectively. The Introduction takes note of the current interest among Old Testament scholars in the literary interpretation of the biblical materials and, after opting for an approach which will take account of both literary and historical-critical enquiry, outlines the procedure which will be followed. No logical priority is claimed for literary analysis, although it is considered appropriate that it should be pursued prior to any historical enquiry. In this way, it has been possible to avoid any suspicion that literary analysis of the type pursued here is a further development of the historical-critical method. Part One (Chapters One - Four) is concerned to construct a literary interpretation of the text of Gen 26.1-33. The interpretation consists of three main studies of the Isaac narrative which are followed by a brief discussion of certain aspects of the method involved. This interpretation has developed in the main from a reflection upon the relationship which appears to exist between the promise made to the patriarch by the deity and the surrounding narrative material. Beginning from a literary-structural analysis of the Isaac narrative, it has been possible to observe that a number of relationships of a literary and structural nature exist between the promise and the surrounding narrative materials. The exploration of these relationships discloses a series of tensions between the promise and the narrated events which in one way or another seem designed to bring the fulfilment of different aspects of the promise under threat, and each of these tensions are resolved in turn in the narrative. Thus, even even if the events narrated appear to run counter to the direction of the promise, it is in the exploration of this dialectic which is set up between promise and those narrative events which tend to threaten the fulfilment of the promise that the beginnings of a satisfactory literary interpretation of Gen 26.1-33 is to be found. The literary interpretation of the Isaac narrative is carried out in three stages. In the first stage (Chapter One), the extent of the material under consideration is narrowed down to Gen 26.1-33, and other material (notably Gen 25.19-26) is excluded. Once the narrative structure has been analyzed in terms of divine promise, threat, and (partial) resolution, a further brief examination of the narrative context of the other divine promise sections in Genesis 12-36 shows that the literary technique of juxtaposing these same three elements has in fact been applied more widely, even if it is most clearly evident in Gen 26.1-33. An analysis of the role Rebekah plays in the wife-sister episode shows that she is clearly a subsidiary character, and that in the narrative Abimelech the Philistine king of Gerar and Isaac's antagonist throughout is the character closest in importance to Isaac. Indeed, in many respects the narrative appears to explore the relationship which exists between Isaac and the Philistine king. A number of literary features which enhance the impression of unity which has already been gained from the structural analysis are examined. In particular, a number of narrative transformations are seen to take place between the beginning and the end of the narrative. These are largely concerned with the situation of Isaac in relation to Abimelech. At the beginning of the narrative Isaac comes to Abimelech at Gerar and is dependent on the latter's good will for his wellbeing. But at the end of the narrative, Abimelech comes to Isaac at Beersheba, in order to participate in the blessing enjoyed by the Patriarch. In the second stage (Chapter Two), the structure of each of the episodes which combine to form the Isaac narrative is examined, using a form of structural analysis used by Bremond in relation to the fairy tale, but which is also appropriate to the analysis of other simple forms of narrative. This examination, which I have used to determine whether the individual episodes maintain a comic or tragic function within the Isaac narrative, is carried out without prejudice to the assumption that the narrative is a unity at some level. One of the impressive features of the Isaac narrative is that the Patriarch does not achieve his good fortune at the expense of Abimelech and his people, but the Philistines also prosper, and it is seen that this effect has been achieved by means of paradox. The discussion of the individual episodes leads to the conclusion that the ability of the narrative as a whole to generate meaning is greater than the sum of its parts. In the third stage (Chapter Three), I have attempted to construct an appropriate 'narrative background' against which the text may be understood. This exercise involves the careful observation of such signals as are raised in the text and appear to direct one's attention to materials elsewhere in the tradition, and particularly among the narratives of Genesis 12-25, which may combine to serve as a background against which the Isaac narrative may be understood, and which might properly enrich one's understanding of the text. This undertaking begins from the point that no text may be properly understood from within a vacuum, and that while it is proper to begin such a literary-structural investigation as has been undertaken in this Thesis from a detailed study of the text itself, it has been considered necessary to go on from there and to provide a richer understanding of the text. The formation of a 'narrative background' is to be distinguished from the method of 'narrative analogy' (Miscall, Alter) so far as it takes the canonical ordering of the narratives more seriously. Part One is concluded with the discussion of a number of methodological issues in Chapter Four which forms an attempt to say something about the aims and validity of the analyses set out in Chapters One-Three. There is no concern, however, to resume systematically issues which have already been raised in the earlier chapters. In Part Two, I have addressed some of the more usual historical concerns of biblical studies. The first main part of Chapter Five is concerned with the form-critical discussion of the Isaac narrative. An examination of the form-critical studies of Lutz. and Coats is followed by an analysis of the structure and content of Gen 26.1-33. The analysis is then filled out by a broad discussion which is informed to some extent by the earlier discussion of Chapter One, particularly by the degree to which the various episodes were there seen to be related to each other. The fact that, apart from vv 1-6, the episodes all required assumption of information provided by one or another of the preceding episodes in order to appear coherent suggests that the unity of Gen 26.1-33 is perhaps more than the result of a collector stringing them together in terms of the common theme "Isaac and the people of Gerar". This observation sets an obvious limit against the usual formcritical criterion which holds that the most original units were concered to narrate only single episodes. Throughout this discussion the results of current studies in folklore which have led to much uncertainty concerning the stability of oral transmission so that it is no longer possible to be so confident in the antiquity of the pentateuchal tradition were taken for granted. The traditio-historical question of priority is examined, and it is concluded that Abraham is in fact prior to Isaac.
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Bennett, Richard. "Variations : influence intertextuality, and Milan Kundera, Jean Rhys, and Tom Stoppard." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26254.
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This thesis is in three chapters. Chapter one is about Harold Bloom's theory of the Anxiety of Influence. Bloom's argument is that literary history is shaped by the anxiety of "strong" poets at their belatedness. I show that he depends upon a subjective interpretation of literary production in order to defend a rigidly traditional canon.Chapter two deals with theories of intertextuality, principally those of Julia Kristeva and Michael Riffaterre. As alternatives to theories of influence, neither proves satisfactory. Both founder on the contradictory goal to explain all literature, at the expense of recognizing literary diversity.
Chapter three concerns literary variations. These are texts which are deliberately premised on pre-existing texts. I focus on three examples from this class of literary texts which is not satisfactorily dealt with by any of the theories I consider. I pursue a less wide-ranging approach in order to unearth important features of literary variations.
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Kilian, Monica. "The exile's experience : an examination of the poetry of Hilde Domin and Waclaw Iwaniuk." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26855.
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This thesis examines the effect of the experience of exile on the German poet Hilde Domin and the Polish poet Waclaw Iwaniuk. Their involuntary exile, their departure from their respective native cultures and languages has affected them profoundly, both as individuals and as poets. The exiled poet lives in the conflicting world of the exile: on the one hand, he attempts to maintain his close ties to his native language and culture, while on the other hand, he is constantly assailed by the demands of his new and alien environment. He is thus plunged into a crisis of identity. This thesis examines this crisis by concentrating on the aspect of language as a reference point of the poet's identity.
Through a close examination of a selection of the poetry of Domin and Iwaniuk, I have attempted to discover how they express their personal experiences of exile, which problems they are most concerned with, and, finally, how they attempt to solve these problems. Their poetry expresses similar concerns, such as feelings of insecurity, instability and loss, as well as a wish to recover a sense of security. Both Domin and Iwaniuk are aware of the danger of becoming poetic nonentities in their exile, because their link with their native language is threatened. Recognizing the poet's power to find security in his language (which in turn enables him to reassert his identity through his poetry), they both attempt, in different ways, to preserve their identities as poets by writing. Domin is on the whole more successful than Iwaniuk in defining herself through her language. She believes that language is an inseparable part of her, which naturally finds its expression through her writings. Iwaniuk, on the other hand, is more self-conscious about his language; the preservation of his native language as his poetic tool takes the form of struggle. This fact is not only reflected in the content of the two poets' poetry, but also in its form and style: Domin's language and poetry seem generally more spontaneous and harmonious, whereas Iwaniuk's language and poetry appear to be chiselled intellectually, as if it resisted the author's efforts.Arts, Faculty of
English, Department of
Graduate
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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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Petersen, Jeffrey J. 1981. "Playful Conversations: A Study of Shared Dynamics Between the Plays of Paula Vogel and Sarah Ruhl." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10155.
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vii, 130 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Pulitzer Prize winning playwright Paula Vogel, playwright and educator, has blazed a trail in American theatre, opening new avenues for female playwrights. In 2005 Vogel's student Sarah Ruhl burst onto the scene with her play The Clean House. As one of the most produced playwrights of 2005, Ruhl has been celebrated as the new voice of American theatre. There are similarities, as might be expected between teacher and former student, but some of the similarities suggest something more: a dynamic shared between Vogel's and Ruhl's plays which suggests an ongoing theatrical conversation and may suggest directions for future American drama.
Committee in Charge: Dr. John Schmor, Chair; Dr. Jennifer Schlueter
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Murray, Jessica. ""Notes for the Manual Assembly"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157616/.
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A collection of poems that seeks the balance between imagination and reality that Wallace Stevens calls for in art, with a preface exploring Elaine Scarry's On Beauty and Being Just through the work of two contemporary poets.
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Bailey, Catherine Diana Alison. "Mending the web : a thematic study of Xu Dishan’s fiction." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25343.
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This thesis is a thematic study of the work of the early Twentieth Century Chinese writer Xu Dishan (Luo Huasheng) (1894-1941). The title, "Mending the Web," is at once a reference to a specific story by Xu and an indication of the importance he placed on spiritual values in a changing world. His work represents a modest search for a solution to the dislocation of his society - his own attempt to mend the broken web of modern China. In his work Xu promoted personal solutions and individual salvation rather than the whole scale transformation of society. He stressed the importance of working for change within a given framework - he was a reformer, not a revolutionary, a moderator searching for a synthesis based on universal values rooted in both the Chinese and Western traditions. The values upheld in his fiction are uncompromising - one must follow one' s conscience, accept duty and responsibility calmly, show charity and forgiveness
and, above all be true to oneself.
Xu1s stress on personal and spiritual solutions marks him out from the majority of his iconoclastic contemporaries who advocated wholesale social change. In Chapter One, I try to provide an historical and ideological context for Xu, a comparative background from which to examine him in relation to his contemporary writers and the times in which he lived.
The value Xu placed on a unifying framework, or a sense of order to replace chaos, is made apparent in Chapter Two, where I discuss his quest for values and the romance and mythopoeic modes which inform much of his work. In particular I look at the quest themes which influence the structure and message of his stories, concentrating primarily on an analysis of "Yuguan" and "A Daughter's Heart" based on an extrapolation of the "monomyths" of Joseph Campbell and Northrop Frye. I examine the influence of Christianity on Xu's work, his emphasis on a strongly moral vision and his search for an affirmation of life and the individual's potentiality for goodness.
In Chapter Three I analyse Xu's attitude to life and fate in relation to his use of the coincidence motif which acts in his stories as a catalyst and test for action. The coincidence makes the world small, and thus provides a testing ground for characters' actions. A vital element in this is the concept of baoying or requital, whereby an individual is responsible for his or her actions and is judged accordingly. Xu believed an individual has a responsibility to make the best of an unknown fate, but still to work within given limits to have an influence for the good. A strong moral grammar informs Xu's work, providing a framework for judging the acts of his characters.
In Chapter Four I look at Xu's use of female protagonists to embody his philosophy of life. Women like Yuguan and Chuntao represent Xu's ideals in their most specific form, embodying that sense of affirmation and hope so central to Xu' s work and offering models of human potentiality, an optomistic vision of life as it could be.
In the conclusion I touch on the role of morality in Xu's fiction. His work is deeply moral in orientation and offers an interesting contrast to that of his contemporaries equally engaged in writing fiction for a purpose. Xu's concern for spiritual values was almost unique among writers of that period. His fiction is primarily a fiction of ideas and his themes and messages dominate. He was searching for a solution to the dislocation of his society, as were his contemporaries,
but he did not suggest a radical social transformation
but rather to work within the existing framework. He looked for personal solutions, believing in the innate capacity of the human being to change for the better. He advocated change, but stressed that it must first come individually,
through the development of self-knowledge, on a modest scale, before the world can be transformed. His solution was modest yet profound, and filled with hope.Arts, Faculty of
Asian Studies, Department of
Graduate
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Loevlie, Elisabeth M. "Literary silences : saying the unsayable: an exploration of literary silence in the works of Pascal, Rousseau and Beckett." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365530.
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Marais, Susan Jacqueline. "(Re-)inventing our selves/ourselves : identity and community in contemporary South African short fiction cycles." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016357.
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In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.
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King, Noel. "Anxieties of commentary : interpretation in recent literary, film and cultural criticism /." Title page, table of contents and abstact only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09phk532.pdf.
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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.
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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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Wetzel, Rebecca L. "ADAPTATION AND INTERPRETATION: A STUDY OF THEATRICAL BANDE DESSINEE." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1563987098560659.
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Greenlee, Christine Lund Koch. "The Constantian orations : a contextual analysis of self-presentation in Libanius' 'Orr.' 59, 11, 61 and 31." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/15923.
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A total of sixty-four orations survive from the hand of Libanius. Four of these speeches were delivered under the reign of Constantius II (AD 337-361) and thus form a distinct chronological cluster in the Libanian corpus. The Constantian orations include Or. 59 To Constantius II and Constans (AD 346-9), Or. 11 The Antiochikos (AD 356), Or. 61 Monody on Nicomedia (AD 358), and Or. 61 For the teachers (AD 360-1). This study adopts a diachronic approach and analyses the historical and literary context of each Constantian oration with a particular focus on Libanius' self- presentation. The study suggests that Libanius' self-presentation was characterised by adaptability and versatility; it shows Libanius exploring a range of different genres and communicating with attentiveness to context and audience. The thesis also argues that Libanius' attitude to and engagement with Constantius' court fluctuated significantly from the delivery of Libanius' panegyric in the mid- to late 340s where Libanius supported Constantius after his defeat in the battle of Singara, over Libanius' encomium to Antioch in 356 where Libanius emphasised the strong connection between the Emperor and the city following the devastating reign of Gallus Caesar, to the delivery of For the teachers in 360-361, where Libanius publically voiced his criticism of the Emperor's cultural and religious policies after Libanius himself had lost imperial funding. Furthermore, the study displays the continued importance of oratory in Late Antiquity and emphasises the central role of sophists both as commentators and mediators in society.
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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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Pryor, Caitlin. "Vanishing Act." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801936/.
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This dissertation is comprised of a collection of poems preceded by a critical preface. The preface reconsiders the value of discontinuous poetic forms and advocates a return to lyric as an antidote to the toxic aspects of what Tony Hoagland terms “the skittery poem of our moment.” I consider poems by Wendy Xu, Kevin Prufer, Sharon Olds, and Stephen Dunn in depth to facilitate a discussion about the value of a more centrist position between the poles of supreme discontinuity and totalizing continuity. Though poets working in discontinuous forms are rightly skeptical of the hierarchies that govern narrative and linear forms, as Czesław Miłosz notes in The Witness of Poetry, “a poet discovers a secret, namely that he can be faithful to real things only by arranging them hierarchically.” In my own poems, I make use of the hierarchies of ordered perception in lyric and narrative forms to faithfully illuminate the collapsed structures of my own family history in the shadow of Detroit. I practice the principles I advocate in the preface, using a continuous form to address fractured realities in a busy, disordered age when poets often seek forms as fragmented as their perceptions. These poems are distinctly American, but because there is no true royalty in America, our great cultural and economic institutions—television, music, film, magazines, and big business—take the place of the castle (the book’s emblem) while Michael Jackson ultimately rises as the commanding dead king whose passing prompts contemplation of the viability of popular culture, family, history, and geography. The fallen structures that litter the work are many: the twin towers, chess rooks, bounce castles, nuclear families, the auto industry. However, the sole structure cohering the whole is that of a lyric voice whose authority is derived through lived experience and presented in rich, continuous poetic forms.
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Ingham, David Keith. "Mediation and the indirect metafiction of Randolph Stow, M. K. Joseph, and Timothy Findley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25819.
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In order to explore the range of indirect metafiction as presented in three exemplary novels, this dissertation begins by examining how the assumptions of "realism" on the one hand and "postmodernism" on the other relate to the paradigmatic triad of story-teller, story, and audience. From this context emerges the view that the range of metafiction is determined by how it reveals the processes and nature of fiction according to a spectrum of mediation: that of the writer between his "raw materials" and the text, that of the text between writer and reader, and that of the reader between the text and his interpretation.
Indirect metafiction (or "pretend realism") mediates between realism and postmodernism, revealing without breaking the illusions of realism.
Each of the next three chapters, after initially placing the key novel within the context of the author's work as a whole, discusses in detail a novel whose metafictional focus is on one of the three mediations. Accordingly, Chapter II focusses on Randolph Stow's The Girl Green as Elderflower (1980) and on the way it reveals the mediation of the author by presenting a writer's fiction as a synthesis of his personal and literary experiences. Chapter III notes how M. K. Joseph's A Soldier's Tale (1976) reflects the mediation of the reader by depicting a writer's interpretation and literary redaction of an oral tale. And Chapter IV shows how Timothy Findley's Famous Last Words (1981) demonstrates the mediation of the text by presenting a writer whose text "crystallizes" the illusions of fiction, then undercuts and exposes them. The analyses of the key texts employ both postmodern and traditional critical approaches, demonstrating them to be complementary; by noting the interpenetration of metafictional and traditional import and significance, the analyses also highlight the mediary nature of indirect metafiction.
The fifth chapter draws theoretical conclusions from ideas in the practical chapters: from metafictional revelations through the paradigm of mediation comes an "anatomy" of fiction, delineating its elements; from a sense of how the mind "structures" experience through "fictional" representations of both "reality" and fictional texts comes a "physiology," a sense of how fiction works through language. This discussion leads to definitions of realistic, unrealistic, and self-conscious fiction, and of metafiction, both direct and indirect; the dissertation concludes by remarking on the inter-relations of language, "fiction," and "reality."Arts, Faculty of
English, Department of
Graduate
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Scowcroft, Ann. "Escaping the hegemony of the written word : Canadian women writers and the dislocation of narrative." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61803.
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Léger, Ariane. "Le maître à écrire selon Valéry, Pessoa et Jaccottet /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115622.
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The main objective of this study is to understand how Valery, Pessoa and Jaccottet created or recreated the figure of the master. This figure has truly made its entry into the literary scene in the second half of the nineteenth century, and it contributed to impose a profane and more egalitarian vision of writing. In the writing of the three authors studied, the master is still seen as a strategy to develop a concept of creation, since it allows the writers to define their poetic. It is therefore a matter of maitres a penser (literally "thinking masters") or, better yet, maitres a ecrire ("writing masters").For Valery, the desire to make Mallarme his master is best explained by his search for mastery. Even if he is eager to understand what makes Mallarme an exceptional creator, Valery's quest is hindered by Mallarme's refusal to explain his poetic. This resistance seems to encourage Valery to make the creative act a major concern of his work.
By coming up with a "non-existent coterie" made up of imaginary writers, and by recognizing one of them as his own master, Pessoa hopes to fill the gaps in his literary filiation. In the concert of voices that compose his work, it is yet the master himself which undermines the very legitimacy of the master, and that is why Pessoa finally gets rid of his invention.
Finally, Jaccottet creates his masters for the learning they could provide to him: in Jaccottet's unique story, the character of the master fails, allowing the poet to take his distance from assumptions related with the romantic vision of creation; then, a "good master" whose agony is described by poems becomes a model whose wisdom is inseparable from a kind of ignorance.
The presence of the master generates a story elaborated from the writings of these writers: the development of their poetic requires not only the creation of a master figure, but also its removal. Ultimately, the maitre a ecrire is not only one who induces writing in a unique way, but also the one which should be written in order to succeed.
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Davies-Browne, Bankole P. "The significance of parallels between the 'Testament of Solomon' and Jewish literature of late antiquity (between the closing centuries BCE and the Talmudic era) and the New Testament." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2685.
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The TSol is a Christian composition of late antiquity which narrates the story about how King Solomon built the Temple of God with the aid of demons he subjugated. Comparative analysis between the TSol and Jewish literature of late antiquity (between the closing centuries BCE and the Talmudic era), and the New Testament is primarily to establish any literary dependence and explore the nature of contact between the TSol and these materials; and also to isolate Jewish elements in the TSol. The Jewish materials discussed are the Hebrew Bible, the LXX, Tobit, Wisdom of Solomon, Pseudo-Philo, certain Qumran documents (11 PsApa and the Copper scroll), Josephus' Jewish Antiquities, Ecclesiastes, Proverbs, Song of Songs, rabbinic literature, and certain Aramaic incantation texts. My research has shown that parallels do exist between the TSol, the Jewish literature discussed and the New Testament. The parallels between the TSol and the aforementioned literature are twofold: verbal and conceptual. Verbal parallels occur in the form of technical terminology; quotations, allusions and echoes. The second type of parallels appears in the form of motifs, themes, structural elements and ideas. These parallels seem to dominate in my analysis. There is no need to explain the parallels between the TSol and the literature discussed in terms of literary dependence. I have attempted to demonstrate that these parallels in most of the literature are indicative of indirect influence through shared use of the biblical tradition: motifs, stories and themes regarding King Solomon; a common fund of oral tradition(s) regarding Solomon's magical power over demonic world; shared literary language, milieu, and cultural conventions. Moreover, the author of the TSol seems to have recycled Jewish materials pertaining to Solomon and related motifs in his work. Apart from the New Testament, the best case for a direct influence of a Jewish work on the TSol is Tobit.
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Hoedekie, Nelson G. U. (Nelson Gustaaf Urbain). "Naar analogie van schaduwen aan de wand : een wijsgerige interpretatie van 'de schaduw als kunstwerk' aan de hand van Plato's grotvergelijking." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53511.
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Thesis (MPhil)--University of Stellenbosch, 2003.ENGLISH ABSTRACT: In this thesis, 'shadow' is investigated as an object of thought and (analogically connected to this) of perception. This dialectical process is structured through means of a series of experiments and Plato's allegory of the cave, which is interpreted as a process directed towards selfconciousness. This process is further explained through thinkers such as, Blumenberg, Heidegger, Levinas en Voegelin. The purpose of this study is to break with the self-evident way in which 'shadow' is 'normally' treated and to bring back about a sense of astonishment for it.
AFRIKAANSE OPSOMMING: In hierdie tesis word die 'skaduwee' as waarnemingsobjek en (analogies verwant daaraan) as denkobjek ondersoek. Hierdie dialektiese proses word gestruktureerd met behulp van 'n aantal eksperimente en Plato se grotgelykenis, wat geinterpreteer word as programmaties van die proses van selfbewuswording. Hierdie proses word verder toegelig aan die hand van denkers soos Blumenberg, Heidegger, Levinas en Voegelin. Die doel van die ondersoek is om die vanselfsprekendheid waarmee daar met die fenomeen van die skaduwee omgegaan word te deurbreek en weer verwondering daarvoor op te roep.
NEDERLANDSTALIGE SAMENVATTING: In deze thesis wordt de 'schaduw' als waarnemingsobject en (analogisch verwant daaraan) als denkobject onderzocht. Dit dialectische proces wordt gestructureerd met behulp van een aantal experimenten en Plato's grotvergelijking, die geïnterpreteerd worden als een proces gericht op zeltbewustwording. Dit proces wordt verder toegelicht aan de hand van denkers zoals, Blumenberg, Heidegger, Levinas en Voegelin. Het doel van het onderzoek is om de vanzelfsprekendheid waarmee met het fenomeen van de 'schaduw' omgegaan wordt, te doorbreken en er opnieuw verwondering voor op te roepen.
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Fisher, Susan Rosa. "A genre for our times: the Menippean satires of Russell Hoban and Murakami Haruki." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25047.pdf.
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Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
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This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
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Selby, Don. "Bridging the gap? : a critical reading of Bhabha, Said and Spivak's postcolonial positions." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43947.pdf.
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Ocaña, Karen Isabel. "Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix Guattari." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26748.
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This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.
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Bourgon, Julie. "Création, éthique et vérité : Broch et Blanchot ; suivi de, En trompe-l'oeil." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37193.pdf.
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Lanthier, Lalita Bharvani. "Two outsiders in Indo-English literature : Ruth Prawer Jhabvala and Salman Rushdie." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56664.
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This thesis shows the condition of outsidedness in the fiction of two Indo-English authors: Ruth Prawer Jhabvala and Salman Rushdie. Ruth Prawer Jhabvala focuses on the intercultural encounter from the European perspective. Salman Rushdie writes from the expatriate's point of view. Astride the cultural frameworks of India and the West at once they examine the ironic similarities of prejudice and intolerance in both societies. These authors' novels are examined through concepts elaborated by the Russian literary theoretician, Mikhail Bakhtin, such as exotopy or outsidedness, heteroglossia, dialogism, etc. They confirm Bakhtin's contention that cultural confrontation is a potentially enriching source of literary and artistic creation. Jhabvala treats the intercultural encounter within the colonial and post-colonial frameworks and shows the fragile dialogue that does occur between her European characters and India. Rushdie on the other hand centres mainly on contemporary India although he does satirize certain aspects of colonial India. He uses a plethora of historical, literary, cultural and linguistic referents from both eastern and western traditions to subvert the hegemonic discourse of either and to celebrate cultural hybridity.
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Miller, Dane Eric. "Micah and its literary environment: Rhetorical critical case studies." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185441.
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I began this investigation with the presupposition that the MT of Micah offered us a valid object upon which to apply the methodology of rhetorical criticism. The examination of the text proceeded along the lines of two emphases: (1) a structural analysis which studied the various blocks of material in order to describe a unity or cohesiveness in Micah, and (2) a thematic approach which identified underlying images which tend to enhance the coherence of the work. I used these two methodologies to address both pericopes and also larger units and even to discuss the book itself. Two other methodological strategies have also guided my analysis of Micah. In Chapter 1, I described two foci of the ellipse that is rhetorical criticism: first, those who emphasize the task of "listening" to the text, which I understand as more of an empathic approach, and second, those who utilize a quantifying style of investigation. Both these focal points are reflected in my structural and thematic analyses. Although no readily recognizable patterns such as A:B:A appears in describing the three parts of the book, there does seem to be a thematic development in Micah 1-7. Thus Part I (Micah 1-3) resounds with the words of witness followed by judgment and concludes with the destruction of Jerusalem. That scene of destruction gives way, however, to the restoration and encouragement of Part II (4:1-5:8), although the threats in 4:9-5:8 remind us that the restoration is not an accomplished fact. Part III (Mic 5:9-7:20) begins with what seems to be an assertion that the judgment will take place, especially with the appearance again of the witness/judgment model in 6:9-7:6. However, the final picture of restoration and covenant fidelity on the part of YHWH affirms that the judgment will be overturned. I have further suggested that echoes from the literary tradition of Israel enhance the movement from judgment to renewal in Micah. The conclusion to the judgment in Part I (Mic 3:1-12) has particular impact, because it is presented in the language of the judgment scene from the garden of Eden (Genesis 3). In fact, we see here again that theme and structure intermix in Micah. I suggest that the book begins with material which mimics and recalls older traditions (the theophany, David, and even Anat) and ends with similarly old recollections (David and Moses). Thus I posit that Micah comes to us wrapped in an envelope of ancient echoes.
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Suzuki-Martinez, Sharon S. 1963. "Tribal Selves: Subversive Identity in Asian American and Native American Literature." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/565575.
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Walton, Jennifer Lee. "POLITICAL REELISM: A RHETORICAL CRITICISM OF REFLECTION AND INTERPRETATION IN POLITICAL FILMS." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143492027.
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