Dissertations / Theses on the topic 'Madonna, 1958- – Criticism and interpretation'

The poetical works of Paul Morin are not very well known, and are rarely ever read today. And yet, he was the successor of Emile Nelligan and Albert Lozeau. Paul Morin is one of the first French Canadians to publish his works in France and it was said of his collection of poems Le Paon d'email that it was the spark that ignited the famous "Querelle des regionalistes et des exotiques" in French Canada. Unfortunately, the negative reactions of some of his first critics, were to determine for a long time those of future generations.
This thesis focuses on the critical reception of Paul Morin's first two published books: Le Paon d'email (1911) and Poemes de cendre et d'or (1922), and attempts as well to retrace their critical fortunes up until the beginning of the sixties.

Wong Kar-wai is a premier avant-garde auteur of Hong Kong cinema. In the existing research, postmodernism is considered as a predominant approach to shed light on Wong’s aesthetics, poetics and politics. Being the iconoclastic ‘poet of time,’ Wong Kar-wai is extolled as a leading figure for his postmodernist style of visually unique and emotional resonant film works. Recurring motifs, such as alienation and rejection, time and memory, pursuit and loss, are regarded as representations of cultural and political anxieties of Hong Kong people in the context of 1980s and 1990s. Wong’s characteristic exoticism and cosmopolitism in his films also distinguishes him from other Chinese-language directors. However, when we expand the scope of the postmodern terrain, we find modernism and its attendant aesthetics are just as relevant and important as postmodernism to the understanding of Wong’s oeuvre. This thesis evokes a comparative perspective of modernism proposed by Eugene Lunn as an aesthetic approach, with an illustrative analysis by using David Bordwell’s and Kristin Thompson’s work on non-Hollywood cinema. This approach emphasizes four major directions of the social and cultural aspects influenced by modernism in art. Using this approach requires researchers to find cinematic representations of modernism in terms of aesthetic self-consciousness, juxtaposition of time, ambiguity and dehumanization within the film. This research takes Wong Kar-wai’sAshes of Time Redux (2008) as a case study to explore the alternative interpretations beyond postmodernism. The investigation of Wong’s uses of modernist approach involves the analysis of his experiments of conventional film techniques and strategic employment of the mise-en-scene, camera angles, lenses, lighting, and music, which constitute his pictorial world. My assertion is that Wong’s juxtaposition of time and space createsan elusive and ambiguous fictional world in response to his reflection on the dehumanization of an integral individual subject in the modernized world.

This thesis analyzes the work of Vasily Shuksin, an actor, director and writer in the Soviet Union during the Khrushchev and early Brezhnev eras, roughly 1958-1974. Shukshin's short stories, in particular, are of great value to anyone interested in Soviet attitudes during this period. The research suggests that Shukshin's work represents a sort of underground history. While the writer's stories are fictional, the issues are very real. Much of Shukshin's work provided the means for discussion on important topics such as gender relationships, alcohol use, and religious worship.Under Communism, nearly all sources of information were unable to tell the truth about Soviet society, but Shukshin's depictions of Soviet life appear to present a truer picture of the Khrushchev and Brezhnev eras. The author portrays women as "second class citizens" and often equates them with evil, while Shukshin's depictions of drunken males indicate that alcoholism was a serious problem in the Soviet Union. Finally, the author's religious symbolism provides evidence that Russian Orthodoxy was alive and well, despite a Communist government that continued to wage war against religion.
Department of History

This thesis examines the institutionalization and practice of literary historiography in Republican China through the writings of Zheng Zhenduo (1898-1956). On the basis of a careful reading of Zheng's three book-length histories of Chinese and world literature, written from the early 1920s to late 1930s, the thesis questions the characterization of Republican literary historical scholarship as simply iconoclastic (vis-a-vis Chinese tradition) or derivative (vis-a-vis the West). It shows that Zheng's literary historiography was actually comprised of multiple and sometimes contradictory approaches to the past. These approaches were shaped, on the one hand, by the demands of a professional discipline that was constructed on the ideal of a universal literature but also faced with the task of integrating the Chinese people into history; and, on the other, by a confrontation and creative negotiation with earlier readings and valuations of Chinese literature.

Orientador: Marcelo Siqueira Ridenti
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O trabalho analisa o processo de modernização da música popular brasileira compreendido entre 1958 e 1968, passando pelas tendências da bossa nova, da canção de protesto, da "moderna música brasileira" e do tropicalismo. No decorrer desse processo deflagrou-se a sigla MPB, reconhecível a partir de 1965. O objetivo do trabalho é o de compreender a gênese e identificar os princípios musicais que se tornaram parâmetros legítimos da produção musical conhecida como MPB, bem como o de analisar o processo de autonomização de um campo de produção simbólica: o campo da MPB.
Abstract: The work analyzes the process of modernization of brazilian popular music between 1958 and 1968, going by the trends of the bossa nova, song of protest, the "modern brazilian music", and the tropicalism. During this process emerged the acronym MPB, recognizable since 1965. The objective is to understand the genesis and identify the musical principles that have become legitimate parameters of music production known as MPB, as well as to analyze the autonomization process of a symbolic production field: the field of MPB.
Doutorado
Sociologia da Cultura
Doutor em Sociologia

Thesis (PhD)-- Stellenbosch University, 2013.
ENGLISH ABSTRACT: The study explores fictional representations of poverty in selected novels of Meja Mwangi and Roddy Doyle, respectively Kenyan and Irish – examining techniques of literary representation and how the two authors make imaginative use of various stylistic techniques and verbal skills in a selection of their texts to achieve compelling representations of poverty. The study recognizes that poverty is one of the most recurrent subjects of discussion in the world, that it is a complex and multifaceted concept and condition and that it affects societal, political and economic dimensions of life. The study considers the (broad) United Nations definition of poverty as: “… a human condition characterised by the sustained or chronic deprivation of the resources, capabilities, choices, security and power necessary for the enjoyment of an adequate standard of living and other civil, cultural, economic, political and social rights” (United Nations High Commission for Human Rights, 2002). Rather than suggest that fiction replaces other approaches in the study of poverty, the study calls for a complementary “conversation” between fiction and the social sciences in depictions of the condition of poverty. However, the study notes the advantage that fiction has in its nuanced exploration of the subject of poverty. In fact, fiction reflects social reality in interestingly subversive but also empowering ways – showing a unique way of dealing with difficult situations. Fiction is equipped with the subtle instruments and complex power of literary devices to articulate multiple layers of possible meanings and human experiences and conditions vividly and movingly – in ways that are accessible to a variety of readers. While giving a voice to the voiceless – the poor – narrative fiction opens inner feelings and thoughts of the depicted poor and enables the reader to probe deeply into the inner feelings of characters depicted; allowing the reader to develop a deeper understanding of the condition of poverty, but also allowing the reader to bring his or her interpretation to bear on what is represented. The five main chapters of the thesis are thematically arranged, but the analysis draws on a variety of theoretical paradigms including but not limited to those of Maria Pia Lara and Mikhail Bakhtin. Significant to the study is Maria Pia Lara’s ideas of literature as a “frame for struggles of recognition and transformation” (Lara, 1998: 7) and of the “illocutionary force” (1998: 5) of literature – its ability to articulate aspects of a human condition (such as poverty) vividly and compellingly. Bakhtin’s suggestion that “language is not self-evident and not in itself incontestable” (Bakhtin, 2004: 332) is important – capturing the idea of a distinctive flexibility of discourse in the novel and rejecting simplistic ideas that there is a single truth concerning a particular situation such as poverty.
AFRIKAANSE OPSOMMING: Hierdie tesis onderneem ‘n studie van literêre voorstellings van armoede in geselekteerde romans van Meja Mwangi en Roddy Doyle, respektiewelik ‘n Keniaanse en ‘n Ierse outeur. Die analise sentreer rondom die literêre tegnieke waarvan die skrywers gebruik maak en ondersoek hul verbeeldingryke gebruik van verskillende stilistiese tegnieke en verbale kunste in ‘n seleksie van hul tekste om sodoende indrukwekkende voorstellings van armoede te boekstaaf. Die studie erken dat armoede een van die mees bespreekte onderwerpe in die wêreld is, dat dit ‘n komplekse en veelkantige konsep en tipe lewenservaring is en dat dit by sosiale, politiese en ekonomiese lewensdimensies aansny. Die studie maak gebruik van die breë definisie van armoede soos verskaf deur die Verenigde Volke: “… ‘n menslike kondisie wat gekenmerk word deur die langdurige of kroniese ontneming van die bronne, kapasiteite, keuses, sekuriteit en mag wat nodig is ten einde ‘n adekwate lewensstandaard en ander siviele, kulturele, ekonomiese, politiese en sosiale regte te kan geniet” (Verenigde Volke Kommissie van Menseregte, 2002). Instede daarvan om te suggereer dat fiksie ander maniere om oor armoede te bestudeer, behoort te vervang, stel hierdie studie voor dat ‘n komplementerende “gesprek” tussen fiksie en die sosiale wetenskappe behoort plaas te vind aangaande die toestand van armoede. Nogtans meld hierdie studie die voordeel aan waaroor fiksie beskik in die genuanseerde ondersoek aangaande die onderwerp van armoede. Fiksie reflekteer sosiale werklikhede op interessante, selfs subversiewe maar ook bemagtigende maniere – sodoende manifesteer dit ‘n unieke metode van omgaan met moeilike situasies. Fiksie beskik oor subtiele instrumente en die komplekse krag van literêre metodes om die veellagige moontlike betekenisse en toestande waardeur armoede gekenmerk word, te artikuleer – op heldere asook aandoenlike maniere wat terselfdertyd weerklank kan vind by ‘n verskeidenheid van lesers. Terwyl dit ‘n stem verskaf aan die stemloses – die armes – open narratiewe fiksie die dieper gevoelens en gedagtes van die armes en maak sulke werke dit vir die leser moontlik om deur te dring tot die binneste gevoelslewe van die karakters. Op hierdie manier maak fiksie dit vir die leser moontlik om ‘n beter begrip van die ervaringswêreld van armoedige mense te bekom, maar word dit ook vir die leser moontlik om sy of haar eie interpretasie te maak van die voorgestelde toestand van armoede. Die vyf hoofstukke van die tesis is tematies gestruktureer, maar die analise maak gebruik van ‘n paar teoretiese perspektiewe wat díe van Maria Pia Lara en Mikhail Bakhtin insluit. Lara se idees aangaande letterkunde as “[a] frame for struggles of recognition and transformation” en oor die “illocutionary force” (Lara, 1998: 7, 5) van letterkunde – m.a.w. die mag van literêre voorstellings om aspekte van menslike ervaring (bv. armoede) op duidelike en kragtige maniere uit te beeld – en Bakhtin se suggestie: “language is not self-evident and not in itself contestable” (Bakhtin, 2004: 332) is belangrik omdat dit die kenmerkende buigsaamheid van diskoers in die roman saamvat en simplistiese idees dat daar ‘n enkelmatige waarheid i.v.m. ‘n komplekse toestand soos armoede kan wees, verwerp.

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Esta dissertação objetiva analisar o primeiro capítulo das duas edições não póstumas (1872 e 1884) do romance Inocência, do Visconde de Taunay (1843-1899), sob o ponto de vista filológico. Para tal foram utilizados os referenciais teóricos da filologia, da crítica textual, da crítica genética, da edótica e da estilística segundo os seguintes autores: César Nardelli Cambraia; Bárbara Spaggiari e Maurizio Perugi; Cecília Almeida Salles; Segismundo Spina; José Lemos Monteiro e Nilce Sant‟Anna Martins. Alfredo d‟Escragnolle Taunay atuou e escreveu sobre várias esferas do Brasil do século XIX, mas sua fama é atribuída a apenas duas de suas produções: La Retraite de Laguna (1871) e Inocência (1872). Pelo fato de o meio acadêmico ainda não ter ressaltado a necessidade da elaboração de uma análise aprofundada da recepção e das alterações pelas quais o romance campestre possa ter passado após tantas publicações, é que este estudo propõe a aplicação de dois procedimentos da crítica textual, recensio e collatio, por meio dos quais se revelarão, a partir de uma amostragem, as alterações às quais o texto foi submetido e a importância dessas escolhas em função de algumas coordenadas indicadas pela fortuna crítica. Este processo contribui para desmistificar o processo criativo das obras de arte (crítica genética) e também auxilia na criação de um conjunto de regras que constituem marcas de estilo do autor, presentes no processo de edição e reedição da obra
This dissertation aims to analyze the first chapter of the two not posthumous editions (1872 and 1884) of the novel Inocência, by Visconde de Taunay (1843-1899), using the philological approach. For this purpose, it was used the theoretical frame of references of philology, textual criticism, genetic criticism, ecdotics and stylistics according to the following authors: César Nardelli Cambraia; Bárbara Spaggiari e Maurizio Perugi; Cecília Almeida Salles; Segismundo Spina; José Lemos Monteiro e Nilce Sant‟Anna Martins. Alfredo d'Escragnolle Taunay acted and wrote about various spheres of nineteenth-century Brazil, but his fame is attributed to only two works of him: La Retraite de Laguna (1871) and Inocência (1872). Considering that academia has not emphasized the necessity of developing a thorough examination of the reception and the changes through which the country novel has spent after so many publications, this study proposes the application of two procedures of textual criticism, recensio and collatio, by means of which will show, from a sample, the changes to which the text was submitted and the importance of these choices on the basis of some coordinates indicated by critical fortune. This process helps to demystify the creative process of art works (genetic criticism) and also helps in creating a set of rules that constitute the author's style tags, present in the editing and re-editing process of the work

CAPES
O presente estudo focaliza as representações de ciência e tecnologia no pensamento do intelectual Gustavo Barroso entre o período de 1909 e 1935. Sendo um dos principais líderes da Ação Integralista Brasileira, averiguaremos especialmente a sua visão eugênica, anterior a sua participação no integralismo e a influência dessa ciência na construção de seu pensamento autoritário e antissemita. Procuramos perceber o diálogo de Gustavo Barroso, em um contexto de profundas transformações sociais e políticas, com a busca de um nacionalismo “verdadeiramente brasileiro”. A metodologia utilizada foi a pesquisa de cunho bibliográfica e documental, destacando-se a análise dos livros de Gustavo Barroso, que foram utilizados como fontes primárias: Intelligencia das Coisas(1923), Aquém da Atlântida (1931), Brasil Colônia de Banqueiros (1934), O Integralismo de Norte a Sul (1934), O Quarto Império (1935) e A Palavra e o Pensamento Integralista (1935), além de alguns de seus artigos pesquisados no acervo do Museu Histórico Nacional. Os resultados da pesquisa demonstram que neste período Gustavo Barroso passou a desenvolver em seus escritos uma visão política autoritária, eugênica e posteriormente, no integralismo, ligada fortemente ao antissemitismo.
This study focuses on the representations of science and technology in the thinking of the Brazilian intellectual Gustavo Barroso in the period between 1909 and 1935. As one of the main leaders of the Brazilian Integralism, we will discuss,especially, his eugenic vision, prior to his participation in integralism and the influence of this science in building his authoritarian and anti-Semitic thinking. We seek to realize Gustavo Barroso dialogue, in a context of profound social and political changes, with the search for a nationalism "truly Brazilian." The methodology used was of a documentary and literature research , highlighting the analysis of Gustavo Barroso books, which were used as primary sources: Intelligencia das Coisas(1923), Aquém da Atlântida (1931), Brasil Colônia de Banqueiros (1934), O Integralismo de Norte a Sul (1934), O Quarto Império (1935) e A Palavra e o Pensamento Integralista (1935), and, also, some of his articles surveyed in the National History Museum collection. The survey results show that in this period Gustavo Barroso went on to develop in his writings an eugenic and authoritarian political vision, later, in his integralist phase, linked strongly to an anti-Semitic view.

Thesis (MA)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This study examines the construction of cultural identity in Mamma Medea by Tom Lanoye (2001) and it’s translation by Antjie Krog (2002) by employing various theories as well as exhausting binary oppositions, and analysing the way it relates to the difference in language use between the conflicting individuals and groups in the drama. Mamma Medea is based predominantly on two versions of the Greek myth of Medea and her shocking tale of infanticide in order to wound her deceitful spouse, Jason. It follows the long tradition in literature and art wherein Medea is used to comment on the subjugation and oppression of women and non-dominant groups, as well as on the formation of the Other. Lanoye uses the details of the Ancient account, but broadens the spectrum to include commentary on contemporary themes in order to seek an alternative motivation for her premeditated infanticide. The drama does not stay within the details of the intertexts, however, and is altered so that both Medea and Jason each kill one of their children. A context-relevant approach is followed to examine how Lanoye’s drama challenges modern myths surrounding cultural identity in the Flemish-Dutch context. The latter interpretation is warranted by linking Flemish en Dutch with the groups in the drama, in accordance with the real language tension between the two language regions. In contrast to this Krog makes use of much more dialectal forms of Afrikaans reflecting the multicultural and multilingual South-African context. Her translation is not studied from a purely translational, theoretical perspective, considering that the focus of the study is on differences in cultural identity and on the differences in context wherein the respective drama and translation is produced.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die konstruksie van kulturele identiteit in Mamma Medea van Tom Lanoye (2001) en in die vertaling daarvan deur Antjie Krog (2002) aan die hand van verskeie teorieë, asook met behulp van binêre opposisies, en analiseer die wyse waarop dit onder meer saamhang met die verskille in taalgebruik tussen konflikterende individue en groepe in die drama. Mamma Medea ontgin veral twee weergawes van Griekse mites oor Medea, wat haar twee seuns op skokkende wyse vermoor om haar verraderlike eggenoot, Jason, leed aan te doen, in aansluiting by ’n lang tradisie in die literatuur en kunste waarin dié figuur veral gebruik is om kommentaar te lewer op die uitbuiting en onderdrukking van vroue en nie-dominante groepe, asook die formasie van die die Ander in verhoudinge. Lanoye verruim in sy drama die onderwerp van die konvensionele huweliksdrama en betrek hedendaagse kwessies ten einde ’n geldige eietydse motivering te verskaf vir Medea se optrede. Hy wyk onder meer doelbewus af van die brontekste deurdat hy Medea en Jason elk ’n seun laat vermoor. ’n Gemeenskapsrelevante benadering word gevolg om na te gaan hoe Lanoye se drama in die proses moderne mites rondom kulturele identiteit uitdaag binne ’n Vlaamse-Nederlandse konteks. Laasgenoemde interpretasie word ondersteun deur onderskeidelik Vlaams en Nederlands te verbind met die hoofgroepe in die drama, in ooreenstemming met reële taalspanninge tussen die twee taalgebiede. Hierteenoor maak Krog van veel meer dialektiese taalvorme gebruik in aansluiting by die multikulturele Suid-Afrikaanse konteks. Haar vertaling word nie soseer vanuit ʼn vertaalwetenskaplike perspektief nagevors nie, aangesien die hooffokus val op sowel die verskille in kulturele identiteit as op verskille rakende die konteks waarin onderskeidelik die drama en die vertaling geproduseer is.

O tema da presente dissertação consiste na análise da construção da identidade e da subjetividade femininas da personagem Clara, narradora-protagonista da obra Duas iguais, de Cíntia Moscovich. Nesse sentido, observa-se como ocorre o processo de afirmação identitária do sujeito feminino representado na obra, considerando-se o contexto sócio-histórico-cultural em que está inserido: uma comunidade regional judaica, à época da ditadura militar brasileira (1964-1985). Para tanto, são discutidos aspectos como memória, região cultural, judaísmo, patriarcalismo, homossexualidade, preconceito, amor, subjetividade e identidade. Servem como aporte teórico a este trabalho os estudos culturais de gênero e a crítica literária feminista, bem como estudos acerca de cultura, identidade e regionalidade.
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The subject of this dissertation consists of analyzing the female identity and subjectivity construction of the character Clara, protagonist-narrator of the novel Duas iguais, by Cíntia Moscovich. Therefore, it is observed how the process of identity affirmation of the female subject represented in the novel occurs, considering the social, historical and cultural context in which this subject is inserted: a Jewish regional community, during Brazilian military dictatorship years (1964-1985). Aspects regarding memory, cultural region, Judaism, patriarchy, homosexuality, prejudice, love, subjectivity and identity are discussed. Gender studies and feminist critics, studies about culture, identity and regionality are used as theoretical support for this work.

Orientador: Miriam Viviana Gárate
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho propõe a leitura de três textos literários latino-americanos: O invasor, do brasileiro Marçal Aquino, Rosario Tijeras, do colombiano Jorge Franco, e Un asesino solitario, do mexicano Élmer Mendoza, elegendo como eixo de análise a figuração de um personagem emblemático, o pistoleiro/sicário. Nas três obras, é possível destacar aspectos semelhantes: o delineamento de um outro social, o bandido, ao qual se opõe ou com o qual se relaciona organicamente um representante da classe média/alta; a construção de uma voz narrativa que, em diferentes medidas, coloca em tensão essa relação; a configuração de cidades atravessadas pelo crime e de discursos sobre a violência; a recuperação de um personagem, o bandido, presente na tradição literária anterior de cada país; a adesão a gêneros populares, como o melodrama e o romance policial. Considerando esses aspectos, a tese divide-se em duas partes. Centrando-se no espaço e na voz narrativa, os dois capítulos da primeira parte buscam mostrar como os romances constituem a relação com a alteridade no território urbano e como constroem, ao mesmo tempo, um discurso sobre a cidade e sobre o delinquente. A segunda parte dedica-se ao imaginário cultural em torno do bandido e da figuração da violência. Assim, o terceiro capítulo aborda marcas do romance noir em O invasor, traços melodramáticos em Rosario Tijeras e elementos de tramas policiais em Un asesino solitario. O quarto capítulo propõe um estudo da elaboração da figura do marginal nas literaturas brasileira, colombiana e mexicana, passando, respectivamente, por tipos como o malandro e o cangaceiro, o pájaro e o bandolero. Por fim, o último capítulo dedica-se ao diálogo desses textos literários com os presentes em outros meios, como a televisão, o cinema e a música
Abstract: This study proposes the reading of three Latin American literary texts: O Invasor, written by Brazilian Marçal Aquino, Rosario Tijeras, written by Colombian Jorge Franco and Un asesino solitario, written by Mexican Élmer Mendoza. Elected analysis axis was the emblematic character figuration, the gunman/assassin. In all three texts, it is possible to highlight similar aspects: the design of a social other, the gangster, opposed by or to which organically relates a representative of the middle/upper class; the construction of a narrative voice that, in different measures, puts strain on that relationship; the configuration of cities crossed by the crime and discourses about violence; recovery of a character, the bandit, present in the earlier literary tradition of each country; the adherence to popular genres such as melodrama and detective novel. Considering these aspects, this thesis is divided in two parts. Focusing on space and narrative voice, the two chapters of the first part aim to show how the novels constitute the relationship with otherness in the urban area and how they build up, at the same time, a speech about the city and the delinquent. The second part is devoted to the cultural imaginary around the bandit and the violence figuration. Thus, the third chapter approaches marks of the novel noir in O Invasor, melodramatic traits in Rosario Tijeras and police plots elements in Un asesino solitario. The fourth chapter proposes a study of the development of the marginal figure in Brazilian, Colombian and Mexican literature, through, respectively, types like the trickster and the outlaw, the pájaro and the bandolero. Finally, the last chapter is devoted to dialogue these literary texts with the stories present in other media, such as TV, cinema and music
Doutorado
Teoria e Critica Literaria
Doutora em Teoria e História Literária

Orientador: Enid Yatsuda Frederico
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Neste trabalho, apresenta-se uma leitura da ficção de Cornélio Penna que privilegia a articulação entre as dimensões religiosa e social, aproximando assim os dois extremos em que grande parte da crítica tem localizado a obra do autor. Trata-se de um percurso de análise em que a noção de Itabirismo, conforme a concebe Cornélio Penna, ilumina o mergulho do romancista no universo de nossa formação social e cultural, como também o diálogo entre sua ficção e o grande romance católico do início do século XX.
Abstract: The present study consists of an analysis of Cornélio Penna's fiction focusing on the intersection between both religious and social dimensions in his work. In its analytical path, the notion of Itabirismo, conceived by the novelist, highlights his journey into the Brazilian cultural background, as well as the dialogue between his fiction and the Catholic novel from the beginning of the 20th century.
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária

As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.

M.A. (English)
Much scholarship dealing with works belonging to Athol Fugard's first decade as a writer does so distortedly or inadequately. This study traces and evaluates Fugard's formative and underexplored first decade, which has only recently become available in its entirety for scrutiny, by means of a systematic study of themes and the evolution of narrative and theatrical techniques, and, in some aspects, relates it to works of later phases which fall beyond the scope of this study...

Thesis (M.A. (English Studies)) -- University of Limpopo, 2014
This study discusses African identity as portrayed in Zakes Mda’s The Madonna of Excelsior (2002) and Bessie Head’s Maru (1971). It explores identity and its subcomponents within the South African context as asserted in these novels. Mda employs a retrospective communal voice that blends historical accounts with fiction in order to subvert and satirise apartheid nationalism. Head, on the other hand, constructs a positive image of feminine identity in the world characterised by tribalism, patriarchal system and stereotypical subjugation of women. She dismantles established racial and ethnic prejudice against minority groups and the underprivileged. The study applies a trilogy of theoretical framework to analyse and interpret selected data: Discourse Analysis, Text Analysis and Afrocentricity. It further examines a fluidity of identities in both social and political spheres and demonstrates how suppression of these identities affects individuals and nation states. It reveals that, as a microcosm of Africa, South Africa reflects atrocious injustices of the past, carried out in the form of colonisation and apartheid, bringing about a different kind of identity of the African people. These two novels take us back to the past so that we can understand the present and subsequently build Africa’s identity of the future. KEY CONCEPTS Afrocentricity; Identity; Discrimination; Miscegenation; Otherness; Hybridity; Animalistic Dehumanisation.

阮鳳香.
"2008年10月".
"2008 nian10 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 88-89).
Abstracts in Chinese and English.
Ruan Fengxiang.
Chapter 第一章 --- 引言 --- p.1
Chapter 第一節 --- 王朔生平介紹 --- p.1
Chapter 第二節 --- 本文的硏究目的 --- p.2
Chapter 第二章 --- 從人物形象看八九十年代的王朔小說特色 --- p.3
Chapter 第一節 --- 小引 --- p.3
Chapter 第二節 --- 孩童人物(兼論父母角色) --- p.3
Chapter 第三節 --- 從軍人物(兼論服從者角色) --- p.11
Chapter 第四節 --- 警官人物(兼論犯罪者角色) --- p.17
Chapter 第五節 --- 痞子人物(兼論知識分子角色) --- p.23
Chapter 第六節 --- 女性人物(兼論男性角色) --- p.30
Chapter 第七節 --- 綜論 --- p.45
Chapter 第三章 --- 解讀二十一世紀的王朔小說 --- p.49
Chapter 第一節 --- 小引 --- p.49
Chapter 第二節 --- 〈我的千歲寒〉 --- p.49
Chapter 第三節 --- 〈宮裡的日子〉 --- p.57
Chapter 第四節 --- 〈妄想照進現實〉 --- p.64
Chapter 第五節 --- 〈駭思想〉與〈死後的日子〉 --- p.67
Chapter 第六節 --- 《和我們的女兒談話》 --- p.70
Chapter 第七節 --- 綜論 --- p.74
Chapter 第四章 --- 對王朔小說的評價 --- p.76
Chapter 第一節 --- 小引 --- p.76
Chapter 第二節 --- 經歷文化浩劫的王朔 --- p.76
Chapter 第三節 --- 出身軍人家庭的王朔 --- p.77
Chapter 第四節 --- 痞子英雄王朔 --- p.79
Chapter 第五節 --- 藝術工匠王朔 --- p.80
Chapter 第六節 --- 聲光影畫背後的王朔 --- p.81
Chapter 第七節 --- 文學洪流中的王朔 --- p.82
Chapter 第八節 --- 綜論 --- p.79
Chapter 第五章 --- 結語 --- p.87
參考書目 --- p.88
附錄 --- p.90

王艷杰.
"2004年9月".
論文(哲學碩士)--香港中文大學, 2004.
參考文獻 (leaves 166-196).
附中英文摘要.
"2004 nian 9 yue".
Wang Yanjie.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 166-196).
Fu Zhong Ying wen zhai yao.
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 硏究範圍 --- p.1
Chapter 第二節 --- 前人硏究綜述 --- p.8
Chapter 第三節 --- 硏究方法. --- p.13
Chapter 第四節 --- 硏究目的和意義 --- p.17
Chapter 第二章 --- 「個人化寫作」的命名 ´ؤ´ؤ潛藏于批評話語中的男性權威 --- p.21
Chapter 第一節 --- 命名中的問題. --- p.21
Chapter 第二節 --- 「個人化寫作」的幾類理解 --- p.25
Chapter 1. --- 無名狀態下的「個人化寫作」
Chapter 2. --- 現代性意義上的「個人化寫作」
Chapter 3 . --- 后現代意義上的「個人化寫作」
Chapter 第三節 --- 女性「個人化寫作」 --- p.36
Chapter 1. --- 九十年代文學環境與女性寫作
Chapter 2. --- 女性「私」人化寫作的指認
Chapter 3. --- 批評中的性別立場和男性權威
Chapter 第三章 --- 陳染、林白「個人化寫作」中的女性話語 ´ؤ´ؤ對失蹤性別的尋找與建構 --- p.51
Chapter 第一節 --- 話語權力之思 --- p.51
Chapter 第二節 --- 身份書寫 --- p.56
Chapter 1. --- 對男權文化的警覺與放逐
Chapter 2. --- 對女性身份的認知與自覺
Chapter 第三節 --- 軀體寫作 --- p.67
Chapter 1. --- 自戀情結：身體與存在焦慮的映射
Chapter 2. --- 記憶空間：挖掘女性自身的深度模式
Chapter 第四節 --- 自傳體寫作 --- p.87
Chapter 1. --- 成長之路：孤獨的體驗、叛逆與反思
Chapter 2. --- 女性私語：自我訴¨®Ơ與建立女性話語同盟的努力
Chapter 第四章 --- 陳染、林白「個人化寫作」建構女性話語的困境 ´ؤ´ؤ處於傳統與現實的夾縫之中 --- p.105
Chapter 第一節 --- 精神分裂的宿命 --- p.105
Chapter 1. --- 決絶的思想與虛幻的行動
Chapter 2. --- 姐妹情誼的想象與徒勞
Chapter 3. --- 拒絶異化與再度異化
Chapter 第二節 --- 詩性敍事的窘迫 --- p.119
Chapter 1. --- 叛離男性敍事傳統
Chapter 2. --- 進入女性原生姿態的詩性表達
Chapter 3. --- 詩性敍事在建立女性話語上的權宜性
Chapter 第三節 --- 解構男權話語的循環 --- p.138
Chapter 1. --- 解構的歧途
Chapter 2. --- 超性別意識中的悖論
Chapter 3. --- 搖擺於文學與主義之間
Chapter 第五章 --- 結論 --- p.154
Chapter 第一節 --- 女性「個人化寫作」的迷失與俗化 --- p.154
Chapter 1. --- 差異性：陳染、林白「個人化寫作」的分別
Chapter 2. --- 迷失：陳染、林白「個人化寫作」的轉向
Chapter 3. --- 俗化：衛慧、棉棉等人的欲望化寫作
Chapter 第二節 --- 女性「個人化寫作」的經驗及貢獻 --- p.159
Chapter 1. --- 寫作姿態：爲自己的性別和反抗而寫作
Chapter 2. --- 敍事策略：以身體修辭與自傳寫作建構女性話語
Chapter 3. --- 困境的警醒：傳統/現實夾縫中異化的危險
Chapter 第三節 --- 硏究方法的反思 --- p.162
Chapter 1. --- 性別關照中的問題
Chapter 2. --- 槪念界定中的問題
Chapter 3. --- 文學現象探討中的問題
參考書目 --- p.166
Chapter 1. --- 陳染、林白等作家作品 --- p.167
Chapter 2. --- 女性主義、敍事學等理論著作 --- p.173
Chapter 3. --- 中國現、當代文學硏究著作. --- p.180
Chapter 4. --- 其他著作 --- p.184
Chapter 5. --- 期刊論文 --- p.184
後記 --- p.197

四個男作家指王統照, 許地山, 葉聖陶及鄭振鐸
論文(哲學碩士)--香港中文大學硏究院中國語言及文學學部,1994.
參考文獻: leaves 322-342
陳亞鳳.
提要
Chapter 第一章 --- 緒諭 --- p.1 ´ؤ16
Chapter 第二章 --- 研究的範圍與方法 --- p.17 ´ؤ20
Chapter 第三章 --- 由“人的文學´ح到“婦女解放´ح題材 --- p.21 ´ؤ31
Chapter 第四章 --- 王統照小說中的女性 --- p.32 ´ؤ74
小引 --- p.32
Chapter 第一節 --- 王統照的“愛´ح和“美´ح的美學觀
Chapter 第二節 --- 王統照對婦女的期望 --- p.37
Chapter 第三節 --- 王統照的文學觀 --- p.39
Chapter 第四節 --- 王統照小說中的女性
Chapter 一 --- “美´ح和“愛´ح的化身 --- p.45
Chapter 二 --- 為愛情而自我犧牲的女性 --- p.56
Chapter 三 --- 王統照理想中的妻子 --- p.65
Chapter 四 --- 無夢可紀的霍君素 --- p.69
Chapter 第五節 --- 小结 --- p.73
Chapter 第五章 --- 許地山小說中的女性 --- p.75´ؤ145
小引 --- p.75
Chapter 第一節 --- 許地山的創作三寶 --- p.76
Chapter 第二節 --- 許地山的宗教精神 --- p.79
Chapter 第三節 --- 許地山對愛情的執著 --- p.85
Chapter 第四節 --- 許地山的婦女觀 --- p.89
Chapter 第五節 --- 許地山小說中的女性
Chapter 一 --- 愛情理想的追求者 --- p.96
Chapter 二 --- 理想人生哲學的追隨者 --- p.108
Chapter 三 --- 對男性忠心耿耿的女性 --- p.123
Chapter 四 --- 被“愛父母的民族´ح犧牲的女性 --- p.133
Chapter 五 --- 走上絶路的母親 --- p.139
Chapter 第六節 --- 小結 --- p.142
Chapter 第六章 --- 葉聖陶小說中的女性 --- p.146´ؤ196
小引 --- p.146
Chapter 第一節 --- “真實´ح與“真誠´ح的文學觀
Chapter 一 --- “不能超越認識與理解´ح的創作 --- p.149
Chapter 二 --- 講求創作獨特的作品 --- p.150
Chapter 三 --- 本著真情實感創作 --- p.154
Chapter 第二節 --- 葉聖陶對女子人格的重視 --- p.156
Chapter 第三節 --- 葉聖陶小說中的女性
Chapter 一 --- 體現母愛的女性 --- p.160
Chapter 二 --- 願為男人奴僕的女性 --- p.169
Chapter 三 --- 處在家庭矛盾中的母親 --- p.181
Chapter 四 --- 保持人格獨立的萬女士 --- p.192
Chapter 第四節 --- 小結 --- p.194
Chapter 第七章 --- 鄭振鐸小說中的女性 --- p.197 ´ؤ236
小引 --- p.197
Chapter 第一節 --- 鄭振鐸的“文學為人生´ح的思想體糸
Chapter 一 --- 文學是感情的產物 --- p.200
Chapter 二 --- 表現個性的文學 --- p.203
Chapter 三 --- 血和淚的文學 --- p.205
Chapter 四 --- 推崇悲劇文學 --- p.207
Chapter 第二節 --- 《新社會》旬刊與改革社會的熱忱
Chapter 一 --- 熱忱之火燃於五四運動 --- p.208
Chapter 二 --- 言論涉及婦女解放的《新社會》 --- p.212
Chapter 第三節 --- 鄭振鐸小說中的女性
Chapter 一 --- 追逐理想愛情的女性 --- p.215
Chapter 二 --- 以婚姻為唯一出路的女性 --- p.224
Chapter 三 --- 自願為丈夫犧牲的紫涵 --- p.231
Chapter 第四節 --- 小结 --- p.234
Chapter 第八章 --- 總結 --- p.237 ´ؤ243
〔附錄1〕-〔附錄6〕 --- p.244´ؤ263
第一章注釋-第八章注釋 --- p.264 ´ؤ321
參考書籍 --- p.322 ´ؤ331
參考論文 --- p.332 ´ؤ341
後記 --- p.342

The study vacillates between the text, the reader and the author. Examining biography and such socio-cultural factors as marriage and cosmology, the reader is equipped with sufficient background which illuminates the ideology behind the text. The cosmological conceptions of the Northern Sotho shed some light on the poet's views on the child's first cry. These assumptions lay a foundation for the religious views expressed in his texts. The contradictions between African religion and Christianity help us comprehend the frustrations of secular and religious lives in our country. These also serve as linchpins towards understanding the pursuit of religious pluralism. The concept 'intertextuality' is explored. Cases of intratextuality and intertextuality which dispute the absolutist view in meaning composition highlight the interrelatedness of texts and how each relationship impacts on meaning.
African Languages
M.A. (African Languages)

This dissertation is a report on how Tom Lanoye, a contemporary Flemish author who explores themes of social relevance, deconstructs the sexual identity of his characters within the context of a postmodernist culture. The manifestation of this deconstruction process is described within those theoretical paradigms of Michel Foucault and Judith Butler that link sexual identity and social mores. For the purpose of this research Tom Lanoye‘s ‘Monster’ Trilogy was selected. Set against the backdrop of Belgium society during the late nineties of the twentieth century and highlighting the moral downfall of the Deschryver patriarchy, Lanoye’s novels address an assortment of contemporary gender and social political issues in his trilogy. These include the following: political corruption; incest; homosexuality; racism; the sexual abuse of minors; the relation between language and identity, volatile childrenparent relationships; the subversion of gender norms and sexual transformation.
In hierdie verhandeling word verslag gedoen van die wyse waarop Tom Lanoye as hedendaagse eksponent van die Vlaamse versetprosa die seksuele identiteit van sy karakters binne die konteks van 'n postmodernistiese verwysingsraam dekonstrueer. Die manifestasie van hierdie dekonstruksieproses word beskryf binne die teoretiese paradigmas met betrekking tot die verband tussen seksuele identiteit en maatskappy van Michel Foucault en Judith Butler. Vir die doel van hierdie ondersoek is Lanoye se 'Monstertrilogie' geselekteer. Gesitueer teen die agtergrond van die Belgiese maatskappy in die laat negentigerjare van die twintigste eeu en gefokus op die morele ondergang van die Deschryver-patriargie, sny Lanoye se trilogie 'n verskeidenheid van aktuele gender-en sosio-politieke kwessies aan. Hierdie kwessies sluit in: politieke korrupsie; bloedskande; homoseksualiteit, rassisme; die seksuele misbruik van minderjariges; die verhouding tussen taal en identiteit; onbestendige ouer-kind-verhoudings; die ondermyning van gendernorme en die kwessie van seksuele transformasie.
Afrikaans & Theory of Literature
M.A. (Afrikaans)