To see the other types of publications on this topic, follow the link: Mimesis in literature.
Dissertations / Theses on the topic 'Mimesis in literature'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Mimesis in literature.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Truscott, John Robertson. "Studies in mimesis in Greek literature before Aristotle." Thesis, University of Southampton, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236402.
Full text
2
Valakas, Konstantinos. "Homeric mimesis and the Ajax of Sophocles." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/283656.
Full text
3
McVittie, Marina P. de. "Eris the impulse at the root of mimesis /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/8308.
Full text
4
Lyle, Messina. "Reviving the Subject: A Feminist Argument for Mimesis in Literature." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2204.
Full textAbstract:
For centuries we have taken for granted Aristotle's assertion that fiction must encourage emotional identification by representing life realistically. With the development of a more pluralistic society, Postmodernist writiers have come to question that assumption. Having repudiated our ancestor's notions of identity, these writers create stories whose sole purpose is to comment on other stories. However, as some feminist critics have shown us, we must each have an identity in order to have the collaborative society that is the Postmodernist's goal. Therefore, the notion that a story must make a sensory impression on us and stand on its own as a story in itself is just as valid today as it was in the past.
5
Dovey, Lindiwe. "African film adaptation of literature : mimesis and the critique of violence." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423936.
Full text
6
Pellis, Vivien C., and mikewood@deakin edu au. "Inspiration and Mimesis in Plato's criticism of poetry." Deakin University. School of Social Inquiry, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.124541.
Full textAbstract:
Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Platos criticism of poetry, very little work exists which discusses the connection between them. This study examines Platos treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the inspiration dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the mimesis dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the one man, one job creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.
7
Georganta, Konstantina. "Modern mimesis : encounters between British and Greek poetry, 1922-1952." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1196/.
Full textAbstract:
This thesis considers the crisis in the portrayal of national spaces and national identities, insecure in the multiplicity of their cultural roots and thus diasporic and hybrid, from 1922, a year marked for its importance in the disintegration of imperial Britain and in the positioning of Greece on the threshold of its European literary Modernist inheritance, until 1952, the year of Louis MacNeice’s observations of Greece in his poetry collection Ten Burnt Offerings. The boundaries of cultures, states, religious beliefs and genders are considered in the figures of T.S. Eliot’s Mr. Eugenides, C.P. Cavafy’s Myris, Kostes Palamas’s Phemius, W. B. Yeats’s Crazy Jane and Demetrios Capetanakis’s Greek Orlando and the Greek space is explored as John Lehmann’s Mediterranean home and Louis MacNeice’s Easter gathering. The opening chapter considers the bardic performance of Yeats and Palamas’s poetic alter-egos and their respective progress towards a fusion with the feminine and a battle with the modern. Smyrna, an area of contention for British imperial and Greek irredentist claims raising questions about the stability of national states and national identities, is discussed in Chapters 2 and 3 in the way it informed the construction of identities in Eliot’s The Waste Land and Cavafy’s poetry, respectively. Chapters 4 and 5 consider the literary encounter between Capetanakis and Lehmann, a pair that advanced the dissemination of modern Greek poetry in Britain. The final chapter of the thesis examines MacNeice’s poetry and radio features inspired by Greece in an effort to explore how the imagining of Greece has developed both visually and metaphorically in the post-war years.
8
Stala, Krzysztof. "On the margins of reality : the paradoxes of representation in Bruno Schulz's fiction." Doctoral thesis, Stockholm : Almqvist & Wiksell, 1993. http://catalogue.bnf.fr/ark:/12148/cb37667617p.
Full text
9
Cojocaru, Daniel. "Violence and dystopia : mimesis and sacrifice in contemporary Western dystopian narratives." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:f3f2848d-d349-4dcd-8bff-810010a2e8e3.
Full textAbstract:
Violence and Dystopia is a critical examination of imitative desire, scapegoating and sacrifice in selected contemporary Western dystopian narratives through the lens of René Girard’s mimetic theory. The first chapter offers an overview of the history of Western utopia/dystopia with a special emphasis on the problem of conflictive mimesis and scapegoating violence, and a critical introduction to Girard’s theory. The second chapter is devoted to J.G. Ballard’s seminal novel Crash (1973). It is argued that the car crash functions as a metaphor for conflictive mimetic desire and leads to a quasi-sacrificial crisis as defined by Girard for archaic religion. The attempt of the medieval propheta-figure to resolve the crisis through violence fails and leads to potential violence without end. The third chapter focuses on the psychogeographical writings of Iain Sinclair. Walking the streets of London he represents the excluded underside of the world of Ballardian speed. The walking subject is portrayed in terms of the expelled victim of Girardian theory. The fourth chapter considers violent crowds as portrayed by Ballard’s late fiction, the writings of Stewart Home and David Peace’s GB84 (2004). In accordance with Girard’s hypothesis, the discussed narratives reveal the failure of scapegoat expulsion to restore peace to the potentially self-destructive violent crowds. The fifth chapter examines the post-apocalyptic environments resulting from failed scapegoat expulsion and mimetic conflict out of control, as portrayed in Sinclair’s Radon Daughters (1994), Margaret Atwood’s The Handmaid’s Tale (1985) and Oryx and Crake (2003) and Will Self’s The Book of Dave (2006). In conclusion it will become evident that Girard’s theory forms an indispensable analytical tool uncovering the pivotal themes of imitation and scapegoating in the discussed narratives: themes largely ignored in current scholarship on dystopia and secondary literature on the focussed authors.
10
Boulanger, Ghislaine. "Feintes, essences et mimesis chez Nicole Brossard, Patrick Imbert et Marie-Claire Blais." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/29080.
Full textAbstract:
En effet, la venue de Nicole Brossard à l'écriture féminine et/ou lesbienne s'est effectuée sous le signe d'un essentialisme stratégique longtemps avant que Stephen Heath et Gayatri Spivak ne popularisent cette expression. Aussi ne peut-on s'intéresser aux points d'intersection entre essence et feintise, dans l'oeuvre brossardienne, sans par la même occasion revenir à cette époque trouble où des sujets feinteurs se disputaient l'arène du féminin, où l'écrivaine refoulait aux limites de l'écriture-femme des sujets hybrides susceptibles de mettre en abyme ses propres im/postures. Aux frontières du féminin tenteront également de passer les écritures et identités lesbiennes, passant tantôt pour autres qu'elles ne sont vraiment, tantôt par cette figure utopique que l'écrivaine prend pour toute femme, pour toute lesbienne. L'idéal brossardien aura d'ailleurs un tel ascendant sur ses contemporaines que même ses contemporains souhaiteront se faire lesbiennes, émulant et défiant l'auteure du Désert mauve tout à la fois, comme nous le découvrirons dans une nouvelle de Patrick Imbert ou seront taraudées les cloisons entre les genres identitaires et scripturaires.
Car l'essence s'avère avant tout une question de frontières, de territoires autour desquels se greffent des identités marginales, et au coeur desquels s'imposent des entités dominantes, différenciatrices. Voilà, il est vrai, un tiroir dont les secrets encore aujourd'hui nous résistent où dont plusieurs souhaiteraient perdre la clef, car se cachent au fond de lui d'épineux problèmes d'exclusion, souvent involontaires, causes par une rhétorique essentialiste quelque peu piègée. La philosophe Elizabeth V. Spelman a certes eu raison de déconstruire métaphores et analogies, de démonter les mécanismes de forclusion intrinsèques à ces figures. Mais à tant vouloir franchir des frontières interdites, il arrive que l'on doive non seulement passer pour une autre, mais aussi, avec d'autres, comme nous le démontrera un roman de Marie-Claire Blais. Or, qu'advient-il de l'intention solidaire, lorsque celle-ci se conjugue à des problèmes de légitimité, lorsqu'elle ne saurait admettre certaines relations de pouvoir ou lorsque encore, elle tend à les reproduire? Qui disparait, dans la foulée des emprunts identitaires? (Abstract shortened by UMI.)
11
Schmitt, Marco. "Mimesis, Widerstand, Subversion : Bettina von Arnims Briefroman Die Günderode als Ansatz diskursiver Entgrenzung." Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/22094.
Full textAbstract:
Bibliography: pages 166-171.Bettina von Arnims novel Die Günderode was written during the period of early German romanticism. The novel consists of an exchange of letters between the literary figure Bettine and an opposite, Gunderode. This exchange takes place in the light of the philosophical discourse of German idealism, mainly represented by Johann Gottlieb Fichte, which excludes women as independent subjects. The novel reveals Bettine's dissatisfaction about her exclusion as a woman within the discourse of idealism. As Bettine realizes her non-representation in the existing discourse of her time she develops distinct writing techniques in order to discover her own subjectivity. She comes to the conclusion, however, that as a woman she can neither be represented in the prevailing discourse nor in another alternative "female" discourse. Using the feminist theoretical framework of Luce lrigaray, in particular her book Das Geschlecht, das nicht eins ist, the author investigates the discursive nature of German idealism and comes to the conclusion that it is essentially a male discourse. The author then analyses Bettine's attempts to liberate herself from male discourse using lrigaray. The author concludes that Bettine's writing technique corresponds to a great extent with the concepts formulated by Irigaray. While Bettine is able to undermine and subvert male discourse, she is aware that she cannot establish a new alternative discourse in which her subjectivity is fully represented.
12
Bowen, Deborah. "Mimesis, magic, manipulation: A study of the photograph in contemporary British and Canadian novels." Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/6007.
Full textAbstract:
The photograph is of interest to the writer because it is uniquely a product both of the realm of objective, physical reality and of the realm of artifice. Its ambiguous status as the physical emanation of a past referent endows it with an uneasy authority. It appears to offer assurances of identity and clarity; at the same time, it undermines the attempt to control experience by demonstrating that to freeze time and space is to render them obsolete. Thus the photograph can be seen as a metaphor for the life-giving and death-dealing enterprise of writing fictions. Moreover, because the photograph is a reflection of the past, private or public, a comparison of the use made of photographic images in the fictions of two different cultures, one older, one newer, may reveal differences in aesthetic between those two cultures. A theoretical dialectic for exploring the use made of the photograph in contemporary British and Canadian fiction can be constructed by comparing the thesis of Susan Sontag's On Photography (1977) with that of Roland Barthes' Camera Lucida (1980). Sontag is concerned with the camera as an instrument of power which victimizes its subjects; she sees the text as necessary to contextualize the image according to its function in time. Barthes understands the photograph's fragmentariness as potentially revelatory, and text as parasitic upon image. Where the Sontagian model emphasizes narrative contextualization and the photographer/writer as wielder of power, the Barthean model emphasizes a vertical hermeneutic of epiphanies and the spectator/reader as creator of meaning. A look at several contemporary British novelists who use photographic imagery (Julian Barnes, Graham Swift, Martin Amis, Fay Weldon, Penelope Lively, Anita Brookner, Timothy Mo, Salman Rushdie) suggests that these writers tend towards an ironical distancing of the photography, which is seen as parodic of traditional mimesis. Such novelists thus ascribe to and yet undermine Sontag's concern with narrative control. A number of contemporary Canadian writers (for instance, Margaret Atwood, Alice Munro, Margaret Laurence, Timothy Findley, Norman Levine, Diane Schoemperlen, Janette Turner Hospital, Michael Ondaatje) find within the photograph a representational magic that transcends boundaries of spatial and temporal logic. They share Barthes' belief in the intransigent value of appearances. An examination of these different writers' use of the photographic image thus provides a commentary upon their various understandings of the real, the fictive, and the relationship between the two.
13
McWilliams, Sara E. "Disturbances: Figures of hybridity and the politics of representation /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/9411.
Full text
14
Reza, Matthew. "A different mimesis : the fantastic in Italy from the Scapigliati to the postmodern." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:912367bc-0bab-401e-b463-b99c6baef661.
Full textAbstract:
This thesis investigates the literary fantastic in Italy from the late nineteenth century to the second half of the twentieth century. The purpose is to analyse the way in which the fantastic functions in a story—its ʻmechanicsʼ—and to see how the fantastic evolved structurally over the first century of its existence in Italy. This investigation is carried out by the development of a new theoretical methodology together with the close reading of a selection of texts from four key Italian authors of fantastic literature. The thesis is divided into six chapters. The first chapter is a historical overview of the emergence of the fantastic in Italy in the late nineteenth century up to the second half of the twentieth century; it examines the obstacles the fantastic has faced and some of the thematic and structural characteristics of texts which emerge. The second chapter is a literature review of the theoretical models used to analyse and understand the fantastic, followed by an outline of a new model, entitled Different Mimetics, which looks at the internal logic of the fantastic. In the following four chapters Different Mimetics is applied to the study of a selection of fantastic texts by four authors. Chapter three focuses on Ugo Tarchetti, and shows that his stories are defined by coexistence and coincidence in both historical and thematic terms. Chapter four demonstrates how Giovanni Papini reverses the mechanics one might expect, and how his stories are structured as internal narratives. Chapter five looks at how Dino Buzzatiʼs stories are characterised by instability and stretched narrative paradigms; and finally, chapter six looks at how Italo Calvinoʼs narratives focus on world creation and paradox and how they question the stability of narrative paradigms.
15
Bartch, Michael Christopher. "Reinvention in the Line of Death: A Reconsideration of Geoffrey Hill's Commemorative Verse." The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-05292009-093331/.
Full textAbstract:
This paper considers the embodied ethics of Geoffrey Hills poetic practice. Hill stages his engagement with poetry through the idioms, images, tropes, and diction of the literary tradition. Through this pragmatic rehearsal of the language of the dead, Hills poetry projects the tradition into the present. Hill resists the ethical entrapments of appropriative poetry through his insistence upon the brute physicality of atrocity and through a rigorous (for both poet and reader) formal difficulty. Hills practice refuses to console after the models of Peter Sacks, Jahan Ramazani, or John Vickery. Instead, concerned with modernitys disconnectedness, Hills poetry returns us to the presence of the dead, to their ritual and language. Alternatively, because Hills subjects are historical atrocities, rather than natural occurrences, the sort of communal consolation that the elegy traditionally offered would be inappropriate to Hills concerns. These atrocities are, most frequently, instances of human violence (the Holocaust, the Battle of Towton, the Wars of the Roses, etc.) and, for this reason, they do not lend themselves to the consolations of natural cycles of death and rebirth. Since they were often committed in the name of religion, Christian transcendence is similarly questionable, as are other consolatory transcendences. These conventional modes of consolation being denied, Hills poetry reconnects us with the dead through the formal devices and techniques of the historical institution of poetry. Through the rigorous engagement with and sacrificial making of poetry, Hill attempts to redeem tradition and history for the present.
16
Newman, Sigrid Julia. "Visual representation in the work of Joseph Roth, 1923-1932 /." St Andrews, 2007. http://hdl.handle.net/10023/317.
Full text
17
Underriner, Chaz 1987. "The Sound-Poetry of the Instability of Reality: Mimesis and the Reality Effect in Music, Literature, and Visual Art." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849623/.
Full textAbstract:
This paper uses the concept of mimesis to clarify the debate concerning the representation of reality in music. Specifically, this study defines the audio reality effect and the three main practices of realism as a way of understanding mimetic practices in multiple artistic media, in particular regarding the multimedia works of the "Landscape series." After addressing the historical debates concerning mimesis, this study develops a framework for the understanding of mimesis in sound by addressing the writings of Weiss, Baudrillard, Barthes, Deleuze, and Prendergast and by examining mimetic practices in 19th-century European painting and multimedia performance works. The audio reality effect is proposed as a meaningful translation of Roland Barthes' literary reality effect to the sonic realm. The main trends of realist practice are applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Risset, Riddell, Smalley, Murray Schafer, Fischman, Young, and Field. Lastly, this study mimetically analyzes "2 seconds / b minor / wave" by Michael Pisaro and Taku Sugimoto and the works of the "Landscape series" in order to demonstrate the relevance of mimesis for understanding current musical practice.
18
Soneji, Davesh. "Performing Satyabhāmā : text, context, memory and mimesis in Telugu-speaking South India." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85029.
Full textAbstract:
Hindu religious culture has a rich and long-standing performance tradition containing many genres and regional types that contribute significantly to an understanding of the living vitality of the religion. Because the field of religious studies has focused on texts, the assumption exists that these are primary, and performances based on them are mere enactments and therefore derivative. This thesis will challenge this common assumption by arguing that performances themselves can be constitutive events in which religious worldviews, social histories, and group and personal identities are created or re-negotiated. In this work, I examine the history of performance cultures (understood both as genres and the groups that develop and perform them) in the Telugu-speaking regions of South India from the sixteenth century to the present in order to elucidate the cross-fertilization among various performance spheres over time.My specific focus is on the figure of Satyabhama (lit. True Woman or Woman of Truth), the favourite wife of the god Kṛṣṇa. Satyabhama represents a range of emotions, which makes her character popular with dramatists and other artists in the Telugu-speaking regions of South India where poets composed hundreds of performance-texts about her, and several caste groups have enacted her character through narrative drama.
The dissertation is composed of four substantive parts - text, context, memory, and mimesis. The first part explores the figure of Satyabhama in the Mahabharata and in three Sanskrit Puraṇic texts. The second examines the courtly traditions of poetry and village performances in the Telugu language, where Satyabhama is innovatively portrayed through aesthetic categories. The third is based on ethnographic work with women of the contemporary kalavantula (devadasi) community and looks at the ways in which they identify with Satyabhama and other female aesthetic archetypes (nayikas). The final section is based on fieldwork with the smarta Brahmin male community in Kuchipudi village, where men continue to perform mimetic representations of Satyabhama through a performative modality known as stri-veṣam ("guise of a woman").
19
Reilly, Kara. "Automata : a spectacular history of the mimetic faculty /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/10235.
Full text
20
Lim-Midyett, Maria Eleanor S. "Mimeses of human desire a genealogical study of sexual desire and romantic passion as represented in twentieth century works of Chinese fiction /." online access from Digital dissertation consortium, 1999. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9954334.
Full text
21
Roux, Marié. "Koloniale en postkoloniale ontmoetings : representasie en identiteit in die romans Eilande (Dan Sleigh) en Pelican Bay (Nelleke Noordervliet) /." Link to the online version, 2007. http://hdl.handle.net/10019/1354.
Full text
22
Giugliano, Marcello. "Translating mimesis of orality: Robert Frost’s poetry in catalan and italian." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/127352.
Full textAbstract:
This doctoral thesis studies the recreation of spoken language in Robert Frost’s poetry and the translation of Frost’s poetry that has been carried out by Agustí Bartra and Miquel Declot into Catalan, and by Giovanni Giudici into Italian. The study starts by describing the meaning of the term mimesis of orality and its main features. It stresses the complexity of the phenomenon, which can be explained better only if a more eclectic theoretical and methodological approach is adopted that focuses on both the linguistic features of mimesis of orality and their potential effect on readers. Frost’s poetic language is well-known for its spoken quality. In this research I define the main traits of the poet’s language and then study how his evocation of orality has been interpreted by the poet-translators Bartra, Desclot and Giudici and how it has been interwoven with their own poetic style. The translations share common traits that can be traced back to the stylistic patterns of Frost’s original poetry. However, they also present divergent stylistic solutions that can be ascribed to each translator. By contextualizing these personal translation choices a better understanding is achieved of the causes that have motivated them, which ultimately brings the research to explore issues related to the translators’ ideology and cultural commitment.Aquesta tesi doctoral estudia la recreació de la llengua parlada en la poesia de Robert Frost i la traducció de la poesia de Frost duta a terme per Agustí Bartra i Miquel Desclot al català, i per Giovanni Giudici a l’italià. L’estudi descriu el significat del terme mimesi de l’oralitat i les seves principals característiques. Posa l’accent en la complexitat del fenomen, que es pot explicar millor si s’adopta un enfocament teòric i metodològic més eclèctic, que se centra tant en els aspectes lingüístics de la mimesi de l’oralitat com en els possibles efectes en els lectors. El llenguatge poètic de Frost és ben conegut per la seva qualitat parlada. En aquesta recerca defineixo en primer lloc els trets principals de la llengua del poeta i estudio de quina forma la seva evocació de l'oralitat ha estat interpretada pels poetes i traductors Bartra, Desclot i Giudici i de quina manera s'ha entrellaçat amb l’estil poètic propi dels traductors. Les traduccions comparteixen trets comuns que es remunten als patrons estilístics de la poesia original de Frost. No obstant això, també presenten solucions estilístiques divergents que poden ser atribuïdes a cada traductor. Mitjançant la contextualització d’aquestes opcions personals de traducció és possible aconseguir una millor comprensió de les causes que les han motivades. Això porta la investigació a examinar qüestions relacionades amb la ideologia dels traductors i el seu compromís cultural.
23
Hofmann, Anne. "Parnassische Theoriebildung und romantische Tradition : Mimesis im Fokus der ästhetischen Diskussion und die "Konkurrenz" der Paradigmen in der zweiten Hälfte des 19. Jahrhunderts : ein Beitrag zur Bestimmung des Parnasse-Begriffs aus dem Selbstverständnis der Epoche /." Stuttgart : F.Steiner Verl, 2001. http://catalogue.bnf.fr/ark:/12148/cb38809002q.
Full text
24
Tegman, Mira. ""Min ros du är som en älskling, dina fåglar äro händer" : Språk och verklighet i Stina Aronsons Feberboken och Martina Lowdens Allt." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-4850.
Full textAbstract:
Who tells the true story of the world? The western civilisation is highly influenced by the written word. The writings of ancient philosophers, poets and religious authorities still have a strong cultural impact. Myths and religion as well as philosophical and political systems effects our self-concept. These models are all unified by there ambition to explain mankind and tell the story of reality. This essay examines two published diaries in order to discuss their relation to the common story of the world. The objects of the study are Feberboken, by Stina Aronson (written in 1934) and Allt, by Martina Lowden (written in 2006). The diary is a place for the personal story, it gives the writer an opportunity to confront the surrounding world. The conventional conception of reality can be questioned. I will use Pierre Bourdieus theory about the biographic I to discuss the Self in the texts. Two definitions of mimesis will be treated. The traditional meaning of the term, given by Plato, and the postmodern point of view, represented by Gilles Deleuze. I aim to investigate how Feberboken and Allt are confronting the generic image of reality.
25
Hollingsworth, Lauren Colleen. "Reading the (in)visible race African-American subject representation and formation in American literature /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019837021&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274464483&clientId=48051.
Full textAbstract:
Thesis (Ph. D.)--University of California, Riverside, 2010.Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 21, 2010). Includes bibliographical references. Also issued in print.
26
Windsor, Robert. "Uses of Aboriginality : popular representations of Australian Aboriginality /." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw766.pdf.
Full text
27
Englander, Jenny. "Dikten och tillvaron : att finna uttryck för en verklighet i Hanne Ørstaviks Kjærlighet." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-4020.
Full textAbstract:
Syftet med uppsatsen har varit att synligöra verklighetsåtergivningen i Ørstaviks Kjærlighet i ett försök att närma sig och förstå den kvinnliga protagonistens tillvaro. Analysen har främst utgått från Erich Auerbachs (Mimesis) och Birgitta Holms (Tusen år av ögonblick) systematiska arbetssätt, där Auerbachs metod har styrt angreppssättet och där Holms perspektiv på den kvinnliga tillvaron lagts till. Två specifika textavsnitt valdes ut för att utifrån ett mikroperspektiv lyfta den kvinnliga tillvaron till ett makroperspektiv. Huvudargumentet har varit att visa att en verklighetsframställning av den kvinnliga tillvaron är möjlig genom litteraturen. Liksom andra perspektiv såsom till exempel det postkoloniala och det feministiska kan även Auerbachs metod att tolka verklighetsåtergivningen i litterära texter, ge oss en möjlig bild av människans, och i det här fallet även specifikt kvinnans tillvaro. I Ørstaviks roman har man kunnat tydliggöra flertalet av de kriterier som enligt Auerbach bidrar till en realistisk presentation i verket och på så sätt kan man synliggöra och därmed också tolka en verklighet utifrån texten. I analysen har det också framkommit vad som specifikt utmärker Ørstaviks sätt att genom sitt arbete med språket och texten närma sig verkligheten. I båda texterna kan man till exempel se hur hon arbetar med en konkret ögonblickssituation där hon låter alla skikt få träda fram såsom i ”verkligheten” med rummet och dess inredning, karaktärernas blick, tal och tankar. Men vad som kanske framförallt ska ses som unikt för Ørstaviks sätt att skriva är hur hon fångar en verklighet i sitt sätt att synligöra protagonistens inre och yttre språk och med det visa att det är i relationen däremellan som vi får tillgång till hennes tillvaro som modern, västerländsk kvinna.
28
Robin, Jean Luc. "Expérience et modèle dans les textes littéraires et scientifiques classiques /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055708.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 273-292). Also available for download via the World Wide Web; free to University of Oregon users.
29
Avery, Vanessa Jane. "Jewish vaccines against mimetic desire : Rene Girard and Jewish ritual." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14604.
Full textAbstract:
In 1972, with the publication of Violence and the Sacred, René Girard makes the stunning assertion that violence is the foundation of culture. Humanity’s innate urges for competition and rivalry entrap us in cycles of violence, which left alone would find no resolution. Girard calls the cause of this rivalry “mimetic desire”, and the only way out of this deeply embedded vengeance is to create a scapegoat to take the blame, reconciling the conflicting parties. Girard asserts that the biblical texts uniquely reveal the mechanisms of mimetic rivalry and scapegoating, and even demystify sacrificial rituals as nothing more than sacrilized “good” violence to keep a fragile peace. This revelation, according to Girard, can finally allow us to remove violence from the sacred. Much scholarship has been devoted to Girard’s theory, in particular how it offers a viable alternative to the still-dominant sacrificial theology of the cross. But there is little scholarship on the connection between Girard and Judaism; and Girard’s own work leaves us with a picture of Judaism that is at best incomplete, and at worst unable to find an answer to disturbing violence permeating the scriptures. This dissertation brings the Hebrew Bible into dialogue with Girard’s ideas in a systematic fashion to assert, contra Girard, that the Jewish revelation is a full, effective and even practical expression of his theory. After an overview of Girard’s work in the first chapter, the dissertation examines three Jewish “vaccines” to the mimetic disease as follows: the Birkhat ha-Banim (“The Blessing of the Children”); the reading of the Book of Esther on Purim; and the reading of Jonah on Yom Kippur. The conclusion to the dissertation asserts, drawing on these three demonstrations, the following points: 1) Rene Girard gives an important and clarifying lens to aid us in finding a new way to talk about, understand, and unify Jewish scripture and ritual; 2) a Jewish perspective can help flesh out what a different “revelation” of Girard’s mimetic desire looks like—even providing prescriptions to curtail this desire; and 3) positive mimesis is possible, and there are Hebrew examples of it free of originary violence. The final chapter addresses certain challenges in reconciling Girard with Judaism, moving toward a sincere Jewish Girardianism that will harmonize with the central views of the tradition.
30
Dickson, Polly Letitia. "The stakes of mimesis : tracing narrative lines in the works of E.T.A. Hoffmann and Honoré de Balzac." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269768.
Full textAbstract:
My project offers a set of comparative close readings of texts by E.T.A. Hoffmann and Honoré de Balzac. Balzac’s early fiction, I contend, grapples with questions relating to the representational practice of mimesis through an explicit engagement with Hoffmann’s work. Hoffmann’s fiction, in turn, proves itself repeatedly to contain the traces of a proto-realist tendency, through its playful interventions into the staging of narrative creation. The contribution of my project to scholarship is twofold. First, it offers comparative readings of texts that have not yet been drawn together, hoping to re-adjust the common ascriptions of ‘Romanticism’ and ‘Realism’ to Hoffmann and Balzac respectively, and to identify a new complication in the relationship of those generic categories. Second, it articulates a new account of mimesis. By drawing on the work of twentieth-century theorists such as Erich Auerbach, Walter Benjamin and Merleau-Ponty, it shows that ‘mimesis’ refers not merely to the imitation of an object, but rather to the reproduction of a particular sensory experience of that object. This perspective on mimesis allows me to unfold new readings of the two authors. How is life compromised in the name of fiction, of the artwork? This question recurs compulsively in Hoffmann’s tales, figured in repeated and near-repeated scenarios in which the everyday is pitted against an ideal or delusional alternative. When Balzac imitates or repeats this mimetic question in the works I consider, it is invariably figured in the image of Hoffmann, called upon as a fictional co-author or authorial double, or as a para-textual element, often in highly visual terms. The thesis thus addresses what I have come to term the ‘stakes of mimesis’. If a particular compromise, or particular stakes, are involved in the creation of fictions, for Balzac those stakes are drawn in distinctly Hoffmannesque terms. The thesis is structured according to the conviction that the relationship between the two writers is not simply a linear one of filiation or influence, but one led by a more complicated sense of imitation. To this end, I take to task the conventional figure of the narrative ‘line’ and follow it through various Romantic and modernist complications. My first chapter, ‘Chiasm’, works as a conceptual introduction to the readings, tracing a particular account of literary mimesis from Plato to Maurice Merleau-Ponty. The four subsequent chapters each read a pair of texts by Hoffmann and Balzac alongside one another. Chapter Two, ‘Line’, focuses on the arabesque lines of Der goldne Topf and La Peau de chagrin. Chapter Three, under the emblem ‘Trope’, examines the paper identities of characters in Die Abenteuer der Sylvester-Nacht and Le Colonel Chabert. Chapter Four, ‘Figure’, considers the delusional artist figures and ekphrastic narrative frameworks of Der Artushof and Le Chef-d’œuvre inconnu. Finally, Chapter Five, ‘Cross’, examines questions of inheritance between Die Elixiere des Teufels and L’Élixir de longue vie. In unfolding these emblematic figures as models of reading, I seek new ways of thinking about the relationship between these two authors, and about the act of comparative reading.
31
Somers, Kathleen Emerald. "Pierced Through the Ear: Poetic Villainy in Othello." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2436.
Full textAbstract:
The paper examines Othello as metapoetry. Throughout the play, key points of comparison between Iago and Shakespeare's methodologies for employing allegory, symbolism, and mimetic plot and character construction shed light upon Shakespeare's self-reflexive use of poetry as an art of imitation. More specifically, the contrast between Shakespeare and Iago's poetry delineates between dynamic and reductive uses of allegory, emphasizes an Aristotelian model of mimesis that makes reason integral to plot and character formation, and underscores an ethical function to poetry generally. In consequence of the division between Iago and Shakespeare as unethical and ethical poets respectively, critical contention concerning the play's representation of race and gender receive commentary. While Iago authors reductive narratives that lead to stereotypes, Shakespeare's narrative critiques and condemns the works of his villain to argue against common opinion and customs which deny justice by replacing individuality with generalizations about groups of people. Moreover, as he demonstrates Iago's conscious, manipulative creation of such reductive narratives for his own purposes, Shakespeare draws attention to the construction of narratives both within and without poetry, and, in so doing, he defends poetry against the Puritan condemnations from his day by showing that these condemnations cannot be restricted to poetry alone. Ultimately, reading the play as metapoetry offers a perspective on Iago's characterization which blurs the typical classifications made by modern critics, challenges the notion of a reason/ imagination dichotomy wherein reason stands outside of or even in opposition to poetic imagination, and exposes the shortcoming of the critical view that Iago represents reason and the play Shakespeare's own concerns about its limitations.
32
Andrade, Nayara Cristina Rodrigues de. "“A casa tornou-se minha mente": a representação da realidade em The House of Hunger, de Dambudzo Marechera." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6542.
Full textAbstract:
Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-11-23T18:26:44Z
No. of bitstreams: 2
Dissertação - Nayara Cristina Rodrigues de Andrade - 2016.pdf: 1839680 bytes, checksum: 845d47c8f4cb849d7e0c7aa9c84459fd (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2016-11-30T15:41:00Z (GMT) No. of bitstreams: 2 Dissertação - Nayara Cristina Rodrigues de Andrade - 2016.pdf: 1839680 bytes, checksum: 845d47c8f4cb849d7e0c7aa9c84459fd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2016-11-30T15:41:01Z (GMT). No. of bitstreams: 2 Dissertação - Nayara Cristina Rodrigues de Andrade - 2016.pdf: 1839680 bytes, checksum: 845d47c8f4cb849d7e0c7aa9c84459fd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-09-29
The aim of this research and of the dissertation resulting from it is the analysis of the construction of the representation of reality in the book The House of Hunger (1978), by Dambudzo Marechera. Prominent writer from Zimbabwe, inscribed in the African Literature in English, his works do not have yet translations into Portuguese. In his own country, he has suffered several accusations for refusing to write according to the Preand Post-Independence national call to the production of works under the 19th century Realism and the 20th century Socialist Realism. His rejection of these “traditions” has resulted in a critical fortune that sometimes vilifies his works for being antirealist and anti-mimetic. This work focuses primarily on tracing how the concept of mimesis already presented differences in Ancient Greece, through Plato’s and Aristotle’s ideas, and how the contribution of the theorist Erich Auerbach (2013) collaborates for the analysis and understanding of the construction of the representation of reality in the works by Dambudzo Marechera, which re-evaluates the charges against the author afore mentioned. For the development of this thesis, we decided to focus our attention on the novel “The House of Hunger” and the short stories “Burning in the Rain” and “The Transformation of Harry”, through the analysis of how the choice of the narrative point of view used in the works and how their narratives are constructed help for the construction of the representation of reality. In the Third Chapter, we made use of the postcolonial theories by Homi Bhabha (1998) and Frantz Fanon (2005) to help us analyze how mimesis is built in the short story “Black Skin What Mask”, through an identity crisis suffered by the protagonist-character. The short-story, which has in its title an obvious paraphrase of the title of Fanon’s Black Skin, White Masks (2008), has the construction of reality emerging through the tension between the fictional entity and the environment, which is a configuration of what Erich Auerbach understands mimesis is.
O objetivo desta pesquisa e da dissertação dela resultante é a análise da construção da representação da realidade no livro The House of Hunger (1978), de Dambudzo Marechera. Proeminente escritor do Zimbábue, inscrito na literatura africana de língua inglesa, suas obras ainda não têm traduções para a língua portuguesa. Dentro do seu país, o autor foi alvo de diversas acusações por se negar a escrever segundo a chamada nacional pré e pós-independência, que objetivava produzir obras que obedecessem à estética do realismo do século XIX ou do realismo socialista do século XX. Sua rejeição a essa “tradição” resultou em uma fortuna crítica que, por vezes, vilipendia suas obras por serem antirrealistas e antimiméticas. Esta dissertação tem como foco principal traçar o modo como o conceito de mímesis já apresentava divergências desde a Grécia antiga, com Platão e Aristóteles, e como as contribuições do teórico Erich Auerbach (2013) colaboram para a análise e entendimento do modo da construção da representação da realidade na obra de Dambudzo Marechera, o que reavalia a acusação mencionada anteriormente. Para o desenvolvimento desta dissertação, decidimos focar nossa atenção na novela “The House of Hunger” e os contos “Burning in the Rain” e “The Transformation of Harry”, para analisamos como a escolha do foco narrativo usado nas obras e o modo como suas narrativas são construídas ajudam na construção da representação da realidade. No capítulo terceiro, fizemos uso das teorias pós-coloniais de Homi Bhabha (1998) e de Frantz Fanon (2005) para analisarmos o modo como a mímesis é construída no conto “Black Skin What Mask”, através de uma crise identitária vivenciada pelo personagem-protagonista. O conto, que tem em seu título uma paráfrase evidente da obra Pele negra, máscaras brancas (2008), de Frantz Fanon, tem sua realidade construída em meio à tensão entre a entidade ficcional e o ambiente, o que é a configuração daquilo que Erich Auerbach considera seja a mímesis.
33
Ticha, Ignatius Khan. "Evocations of poverty in selected novels of Meja Mwangi and Roddy Doyle : a study of literary representation." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85650.
Full textAbstract:
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.
34
Faasen, Petro. "Die representasie van Kwasi/Aquasi : 'n ondersoek na die voortsetting al dan nie van die koloniale diskoers in De zwarte met het witte hart deur Arthur Japin." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53385.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: The term 'representation' is often used to refer to the possibility of a link between literature and reality. The word also suggests the reiteration of an event and is used in literary studies to indicate that a representation should be read as the author's interpretation of events and thus as a mediated rendition thereof. This study focuses on the representation of a black character who lived in the 19th Century by a white author from the zo" Century, Arthur Japin, in his novel, De zwarte met het witte hart (1997). This novel, based on historical events, is a rendering of the lives of two Ashanti princes who were taken to the Netherlands in 1837 as guarantee to an agreement between the king of the Ashanti and the Netherlands. This study therefore looks at the way in which Japin interpreted and represented the available information in his novel. This study furthermore focuses on ways in which this novel, written in what may be termed a postcolonial era could be read as a continuation of the colonial discourse in the 21st Century. This is demonstrated by identifying and examining the characteristics of colonial discourse, postcolonial discourse, the historic novel and the didactic novel, as well as ways in which these genres deal with representation. The study refers to the work of literary and social theoreticians such as Edward Said, Frantz Fanon, Homi Bhabha, Gayatri Spivak, Linda Hutcheon and Maaike Meijer. The study indicates that this novel can partially be read as a continuation of the colonial discourse. The results of this study also indicates that an uncritical reading of the novel De zwarte met het witte hart could lead to a continuation of the colonial discourse in the 21st Century. The role and responsibility of the reader in the interpretation and the subversion of the colonial discourse could therefore be further investigated.
AFRIKAANSE OPSOMMING: Die term 'representasie' word dikwels gebruik om die moontlikheid van 'n verband tussen die letterkunde en die werklikheid aan te dui. Die woord suggereer die herhaling van 'n gegewe en word in die letterkunde gebruik om aan te dui dat die representasie wat gelees word, die outeur se interpretasie en dus bemiddelde weergawe van gebeure is. Hierdie ondersoek fokus op die representasie van 'n swart hoofkarakter uit die 19de eeu deur 'n blanke outeur in die 20ste eeu soos dit in die roman, De zwarte met het witte hart (1997) deur Arthur Japin, weergegee word. Hierdie roman, gebaseer op historiese gegewens, handeloor die lewens van twee Ashanti prinse wat in 1837 as onderpand vir 'n ooreenkoms tussen Nederland en die Ashantynse koning na Nederland geneem is en die gevolge wat dit vir hulle ingehou het. Daar word dus in dié ondersoek gekyk na die manier waarop Japin die gegewens tot sy beskikking geïnterpreteer en in die roman weergegee het. Verder fokus die ondersoek op die manier waarop hierdie roman, geskryf in wat as 'n postkoloniale era gesien kan word, moontlik as 'n voortsetting van die koloniale diskoers in die 21ste eeu gelees kan word. Dit word gedoen deur kenmerke van die koloniale diskoers, die postkoloniale diskoers, die historiese roman en die tendensroman te identifiseer en ondersoek, saam met die wyses waarop hierdie genres met representasie omgaan. Daar word verwys na die werk van letterkundige en sosiale teoretici soos Edward Said, Frantz Fanon, Homi Bhabha, Gayatri Spivak, Linda Hutcheon en Maaike Meijer. Uit die ondersoek blyk dat hierdie roman gedeeltelik as 'n voortsetting van die koloniale diskoers gelees kan word. Die resultate van hierdie ondersoek dui ook aan dat 'n onkritiese lees van die roman De zwarte met het witte hart kan lei tot die voortsetting van die koloniale diskoers in die 21ste eeu. Die rol en die verantwoordelikheid van die leser in die interpretasie en ondermyning van die koloniale diskoers kan dus verder ondersoek word.
35
Mårsell, Maria. ""I go to Elland Road sometimes. Would you bomb me?" : en genealogisk närläsning av villkoren för överlevnad och subjektivitet i Sarah Kanes Blasted." Thesis, Södertörn University College, School of Gender, Culture and History, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1761.
Full textAbstract:
Sarah Kane’s first play Blasted (1995) has often been read in a normative and biographical way by critics, authors and previous researchers. This essay makes a supplementary close reading of Blasted from gender and genealogical perspectives and utilizes theoretical works by Judith Butler, Luce Irigaray and Michel Foucault. My study makes clear that the characters different positions in language and talk create and maintain a power imbalance between them. Efforts to change and develop one’s individual position in language and talk are being made throughout the play since it is the only way to bring about a change in the social power structure. A fact that in turn also subsequently punishes those efforts. By analyzing the tools of representation, Kane points out a direct link between a violent power imbalance in a couples relationship and the violence of a war zone. In Blasted, it is revealed how violence in a private situation is mirrored in a situation of public violence and how the public violence, in turn, crawls back to the private zone and there repeats itself. By forcing one of the main characters to regress back to the infancy of language and from there alter the ability to act within the framework of human interrelations, Kane demonstrates how a change in social structures can be made, and as is shown in this essay, this indicates that a knowledge of how the social structures are being maintained and how they in turn can be disarranged, is what is required to create an opportunity for change.
36
Carlshamre, Katarina. "Pulsion et résistance : Émancipation, liberté et tendances conservatrices dans trois romans d'Anne Hébert." Doctoral thesis, Stockholms universitet, Institutionen för franska, italienska och klassiska språk, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-31146.
Full textAbstract:
This thesis investigates some motifs in the fiction of Québec writer Anne Hébert (1916-2000), largely by exploring interesting affinities with notions in the philosophy of Luce Irigaray (1930-). The main focus is on the young female characters and their way to adulthood in three of Hébert’s books: her first novel, Les chambres de bois (LCB, 1958) and two of her later works, Aurélien, Clara, Mademoiselle et le Lieutenant anglais (AC, 1995) and Est-ce que je te derange ? (ECD, 1998). The study also addresses the situation of the male characters and the difficulties which confront them within a phallocentric order. It is argued that a comparison with features of Irigaray’s thought can shed light both on the emancipatory and the conservative tendencies in the novels. In particular, it is Irigaray’s notion of mimesis that proves to be fruitful for a deeper understanding of the female protagonists in the analysed works, but her specific use of the Oidipus complex, and her vision of a culture of sexual difference, also give important clues for the interpretation of both male and female figures in Herbert’s texts. With regard to LCB, it is shown that it is only when the female protagonist consciously positions herself as a reflection of male desire, as a mimetic figure, that substantial change comes about. In AC the female character is an incarnation of “utopian mimesis” and represents a new order. In ECD the female protagonist functions as a manifestation of a “symptomatic mimesis” and thereby becomes a catalyst for the revelation of the repressed sensibility of the male subject. Irigaray’s reading of the Oidipus complex is used to evince the utopian tendencies in AC, but also to explore how the male characters of all three works are stuck in a denied repetition of their childhood, which leaves little room for change. Irigaray’s vision of a culture of sexual difference provides a comprehensive picture of a place towards which all three novels can be seen to aim.
37
Fuller, Deborah. "Ionesco's Absurd Anthropology." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd922.pdf.
Full text
38
Newman, Sigrid J. "Visual representation in the work of Joseph Roth, 1923-1932." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/317.
Full textAbstract:
Through an examination of Joseph Roth’s reportage and fiction published between 1923 and 1932, this thesis seeks to provide a systematic analysis of a particular aspect of the author’s literary style, namely his use of sharply focused visual representations, which are termed Heuristic Visuals. Close textual analysis, supplemented by insights from reader-response theory, psychology, psycholinguistics and sociology illuminate the function of these visual representations. The thesis also seeks to discover whether there are significant differences and correspondences in the use of visual representations between the reportage and fiction genres. Roth believed that writers should be engagiert, and that the truth could only be arrived at through close observation of reality, not subordinated to theory. The research analyses the techniques by which Roth challenges his readers and encourages them to discover the truth for themselves. Three basic variants of Heuristic Visuals are identified, and their use in different contexts, including that of dialectical presentations, is explored. There is evidence of the use of different variants of Heuristic Visuals according to the respective rhetorical demands of particular thematic issues. It has also been possible to establish synchronic correspondences between the different genres, and diachronic correspondences within genres. Although there are examples within the reportage where the entire article is based on an Heuristic Visual, the use of Heuristic Visuals cannot be seen as a key organizing principle in Roth’s work as a whole. As his mastery of the technique reaches its highest point in the early 1930s, Heuristic Visuals are often incorporated into the reconstruction of a complete sensory experience. Analysis of Roth’s heuristic use of visual representations has led to important insights, including a reinterpretation of the endings of Roth’s two most famous novels: Hiob and Radetzkymarsch.
39
Roux, Marie. "Koloniale en postkoloniale ontmoetings : representasie en identiteit in die romans Eilande (Dan Sleigh) en Pelican Bay (Nelleke Noordervliet)." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2897.
Full textAbstract:
Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2007.This study investigates the way in which the representation of history and of the "other" coheres with the construction of the identity of the characters in Eilande (2002) by Dan Sleigh and Pelican Bay (2002) by Nelleke Noordervliet. Initially the research contextualises the authors and their novels by means of a short biographical introduction on the two authors and their different oeuvre’s, as well as an outline of the reception history of the two chosen postcolonial novels. The theoretical background which follows, gives a review on postcolonial literature in general and, more specific, in the Netherlands and South Africa respectively. Different perspectives on representation of the history and the representation of the "other" are provided, with specific attention to the relationship between hybridity, syncretism and identity. These theoretical insights form the basis for the analysis of the two novels, where the relationships and differences between these two postcolonial texts are highlighted. The conclusion is that Eilande and Pelican Bay could be seen as, firstly postcolonial, as both novels provide criticism on the colonial order in different ways and, secondly, were published during a period which followed the colonial era. Hybridity is an important term in this study, with reference to the forming of identity of some of the prominent characters. The conclusion is that the term dynamic cultural hybridity could be used in discussions about postcolonial mixed identities. Although both novels use techniques to give a voice to voiceless marginal subjects, shortcomings in their portrayal as fully-fledged characters do, however, exist. Both novels also have as an ultimate objective to prove that it is impossible to know history and the "other" and that no one truth exists. The motif of islands which appears frequently in both novels is related to aspects like identity, exile and alienation. In conclusion it is not only apparent how strongly the different characters in the novels are formed by their socio-historical contexts, but also from the approach of the authors in their contemporary criticism on oppressing systems like the VOC and/or slavery.
40
Orr, Sara Ceilidh. "The Scrivener De-Scribed: Logos and Originals in Nineteenth-Century Copyist Fiction." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406254390.
Full text
41
Bastick, Jérôme. "Étude comparative de la construction littéraire du personnage dans le roman grec de l'Antiquité et le roman byzantin du XIIe siècle." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN026.
Full textAbstract:
La première naissance du roman de langue grecque a coïncidé avec l’avènement de l’Empire romain, dans un contexte de bouleversement des structures sociales où l’individu tendait à remplacer les valeurs collectives jusqu’alors incarnées par les grands héros épiques ou tragiques : les nombreux personnages de ce nouveau genre littéraire, soumis aux aléas de la Fortune et aux traits de l’Amour dans un monde qui les dépasse, en constituent un marqueur fort. Le récit s’organise désormais autour d’un couple de héros qui s’aiment, d’opposants qui veulent les séparer et d’adjuvants qui essaient de conjurer ceux-ci, sans compter tous les personnages secondaires. Presque disparu à partir du IVe siècle, le roman grec continue d’être lu mais sa production ne refait vraiment surface qu’au XIIe siècle, dans le contexte bien différent de la cour byzantine des Comnènes. Il s’agit alors d’œuvres écrites en langue savante par et pour une élite restreinte et lettrée. Si les topoi de l’ancien roman sont souvent repris (amour, épreuves, séparation, retrouvailles, polythéisme, etc.), des changements sont néanmoins notables sur la forme (versification) comme sur le fond (caractérisation). Les personnages, qui restent un élément constitutif du genre comme support de l’action, reflet d’un ethos, noyau de l’intrigue et vecteur de l’intérêt du lecteur dont ils sont une co-création, y sont moins nombreux mais plus approfondis, agissent moins mais parlent plus. Aussi, dans une perspective de littérature comparée, le propos de notre thèse vise à déterminer, en partant de la notion de mimésis, les procédés d’écriture onomastiques, ecphrastiques et rhétoriques mis en œuvre pour caractériser ces personnages, en tentant de dégager en quoi et pourquoi les personnages des romans byzantins correspondent ou diffèrent de leurs modèles antiques. Nous proposons enfin dans un second volume, avec les annexes et la bibliographie, une traduction des romans byzantins qui n’ont pas été récemment publiés en françaisThe earliest birth of the novel in Greek language coincided with the advent of the Roman Empire, in a context of major changes in the social structures where the individual tended to replace collective values until then embodied in the great epic or tragic heroes. The numerous characters of this new literary genre, subjected to Fortune’s vicissitudes and to Eros’s arrows in a world that overwhelms them, represent a strong marker. From then on, the narrative has been organized around a couple of heroes in love, of opponents wanting to separate them and helpers trying to undermine the will of the latter, not to mention all the minor characters. The production of Greek novels sank in the 4th century, though they were still read, to only re-emerge really in the 12th century, in a very different context: the Byzantine court of the Komnenoi, under the form of literary works written in scholarly language by and for a restricted learned elite. Even if the topoi of the ancient novel are often reused (love and lost love reunions, hardships, polytheism, etc.), changes were nevertheless notable on the form (versification) as well as on the substance (characterization). The characters, who remain a constituent element of the genre as agents of the action, reflection of an ethos, core of the plot and vectors of the interest of the reader, by whom they are co-created, are fewer but deeper, they act less but speak more. Thus, from a perspective of compared literature and in the light of the notion of mimesis, our thesis aims at determining the onomastic, ekphrastic and rhetorical writing processes implemented in the crafting of these characters by trying to highlight how and why the characters of the Byzantine novels match or differ from their antique models. In a second volume, for the Byzantine novels with no recent translation into French published yet, we finally propose a personal translation, together with appendices and bibliography
42
Siwers, Carl-Wilhelm. "Upprepning, kombination, yta : Per Olov Enquists mogna författarskap i relation till det svenska 1960-talet." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194046.
Full textAbstract:
By conceptualizing repetition with the Swedish avantgarde aesthetics of the 1960s as a point of departure, this thesis argues that the repetition phenomena in the mature works of Per Olov Enquist (1934–2020) are indebted to the period. Hereby it brings together two major trends in the Enquist research that previously have been separate. In accordance with the main tendency of the period, the Enquistian repetitions reuse concrete constituents and are of technical and combinatory nature. According to the taxonomy introduced in the thesis, they are mainly internarrative, i.e., they transcend the limits of the individual stories. Thus, in Enquist, the superficial, anti-mimetic as well as anti-hermeneutical qualities pertaining to the period are a consequence of the specifically internarrative character of the repetitions, whereas the individual stories remain mimetically coherent. Furthermore, the thesis investigates a metapoetic discourse in the mature works; in part, it demonstrates a continuity between this discourse and the non-metapoetic notion of repetition in Enquist’s novels of the ‘60s. Altogether, the thesis proposes a way of historically situating the Enquist oeuvre as a whole; supposedly, it will contribute to further studies with similar aims.
43
Eyrolles, Stéphanie. "Explorer la faille : Identité et narration dans l'œuvre de William Faulkner." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV079/document.
Full textAbstract:
Ce travail présente la manière dont William Faulkner réfléchit la fonction identitaire de la narration dans plusieurs de ses romans : The Sound and the Fury, As I lay Dying, Light in August, Absalom, Absalom! et Requiem for a Nun. L’appartenance des personnages du corpus au Sud des États-Unis exacerbe leur faille constitutive, qu’ils cherchent alors à compenser par la médiation du récit. Cette thèse étudie, à travers le prisme de la théorie de la mimèsis de Paul Ricœur, comment ces personnages configurent leur temps vécu et se projettent mimétiquement dans leur récit afin de procéder à une herméneutique de soi et atteindre ainsi l’appropriation de soi qu’ils recherchent. Cependant, les narrateurs sont tous saisis d’un élan déconstructeur qui met en lumière l’irrésolution du langage grâce auquel ils essayent de se créer une identité de substitution. Ils prennent alors conscience que le langage se dissémine et que la présence qu’ils tentent de faire advenir se dérobe dès qu’elle apparaîtThis dissertation studies the issue of identity in several of William Faulkner’s novels (The Sound and the Fury, As I Lay Dying, Light in August, Absalom, Absalom! and Requiem for a Nun) and how characters attempt to retrieve a sense of self through narration. The characters’ belonging to the American South exacerbates their inner gap, which they then try to fill thanks to their story-telling. This study examines, through the prism of Ricoeur’s theory of mimesis, how these characters configure their world of action and project themselves mimetically into their narratives so as to achieve self-understanding through a hermeneutical process. However, the narrators under study are overwhelmed with a deconstructive impetus which sheds light on the indecisiveness of the language thanks to which they are trying to create a substitute identity. They thus become aware that language disseminates itself and that the presence they are attempting to create gives way as soon as it appears
44
Fleitz, Elizabeth J. "Troubling Gender: Bodies, Subervision, and the Mediation of Discourse in Atwood's the Edible Woman." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1112551802.
Full text
45
Costa, César Vergara de Almeida Martins. "Direito e literatura: a compreensão do direito como escritura a partir da tragédia grega." Universidade do Vale do Rio do Sinos, 2008. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2434.
Full textAbstract:
Made available in DSpace on 2015-03-05T17:20:08Z (GMT). No. of bitstreams: 0
Previous issue date: 29Nenhuma
A presente dissertação tem por objetivo a afirmação do Direito como “escritura”, que é ao mesmo tempo transgressora e conservadora da tradição jurídica. Para tanto, parte-se da aproximação do direito à literatura, investigando-se, mais precisamente, as relações que se estabelecem entre a tragédia grega e o direito. Nessa senda, investiga-se o panorama geral em que se inserem os estudos que aproximam o direito da literatura e vice-versa, e visita-se a poética aristotélica para, então, examinarem-se as características do gênero e do homem trágicos. São investigados conceitos básicos da Grécia Antiga – os conceitos de physis, ethos, nomos, hamartia, hybris, themis e diké - e, então, a passagem das estruturas de pré-direito ao direito que se desvela nos mitos gregos e, por conseqüência, no gênero trágico, com base nos estudos de Louis Gernet e Vernant.vIdentificada, a partir da Poética Aristotélica, a mimesis ínsita à literatura, e, reconhecida a tragédia como evento que coincide com a afirmação da democracia gre
The main objective of the present dissertation is the affirmation of the Law as “scripture”, which is, at same time, transgressor and conservative of the juridical tradition. In order to state so, one has to approach the Law to the Literature, more precisely investigating the relations that have been established between the Greek tragedy and the Law. This way, one has to investigate the general panorama in which the studies that approximate law and literature (and vice-versa) are inserted, and the Aristotelic poetics is visited in order to allow the gender and the tragic man characteristics to be examined. Basic concepts of the ancient Grece are herewith investigated – such as physis, ethos, nomos, hamartia, hybris, themis e diké – as well as the passage of the pre-law structures to the law itself which are unveiled in the Greek myths and, consequently, in the tragic gender based on studies signed by Louis Gernet and Vernant. Identified since the Aristotelic poetics, the mimesis inserted into Literature, and
46
Rocha, Jéssica Aracelli. "Borges e o realismo: o outro da literatura borgeana." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-18032009-103159/.
Full textAbstract:
Busca compreender o conto El Otro, de Jorge Luis Borges. Para tanto, efetua sua análise formal; acrescida pelo exame de um corpus secundário. Uma vez que a narrativa apresenta dois personagens autobiográficos, sendo o jovem similar e estranho à produção deste autor, é necessário comparar tal personagem à obra borgeana de juventude, no tocante ao realismo, engajamento, biografismo e ultraísmo. Verifica que o Borges de 1918 a 1920 não exibe tais concepções literárias, exceto pelo ultraísmo. Na segunda etapa juvenil, entre 1921-1928, encontra ultraísmo, biografismo e alguns pontos de contato, com elementos do realismo. Contudo, observa a existência de realismo, engajamento, biografismo e ultraísmo no contexto literário argentino dos anos vinte. Os três primeiros rasgos estão especialmente ligados ao grupo boedista. No entanto, como o conto alude ao Modernismo, entende-se que não só o Realismo, mas toda a geração de vinte é contemplada na figura do personagem mais novo. Na leitura do conto, entende que as personagens produzem um diálogo entre a obra borgeana e a geração argentina dos anos vinte, na qual, o jovem Borges da realidade fica incluso. A matéria sob o diálogo, tanto nas estruturas quanto na temática, consiste de uma série de questionamentos ao realismo. Essas representações também podem ser lidas enquanto duas atitudes fundamentais diante da arte literária. Entende-se que em Nota sobre Walt Whitman há uma oposição aos postulados boedistas, no tocante ao biografismo. Como a segunda etapa juvenil apresenta concepções biografistas, verifica que este ensaio de 1932 (a Nota) assinala uma mudança. Por isto, propõe que a polêmica Boedo-Florida foi um momento importante para a transformação ocorrida entre a obra juvenil e a obra madura. Em seu Prólogo, Domingos F. Sarmiento: Facundo, encontra objeções ao realismo e ao engajamento. Nos pressupostos, foi destacado que o autor começa um combate aos postulados realistas na década de trinta. Uma vez que o prólogo é escrito em 1974, compreende-se, que através de seus ensaios, o autor está em constante diálogo com o realismo. Interpreta em La Postulación de la Realidad a divisão borgeana entre dois modos de fazer literatura: o clássico e o romântico. Com isso, entende-se que estes modos literários genéricos, propostos neste ensaio, possuem um paralelo com os modos derivados das personagens e estruturas do conto analisado. Ao mesmo tempo, percebese que o modo realista / romântico (expressivo) está ligado à obra juvenil, ao passo que o modo clássico (alusivo) é associável à obra borgeana da maturidade. Ademais, no conto, El Milagro Secreto, encontra uma das técnicas clássicas, gerando alta verossimilhança (efeito buscado pelas obras românticas). Igualmente esta é uma técnica recorrente em algumas obras realistas. Assim, o uso dos detalhes circunstanciais representa um ponto de contato entre a obra borgeana e o realismo. No entanto, concluise que a utilização deste recurso ainda pode ser vista como uma crítica a esta estética.This dissertation tries to understand El Otro, a short story by Jorge Luis Borges. In order to achieve this goal, we make an analysis of it and of a secondary group of texts. As the narrative has two autobiographical characters, and the youngest of them seems different from the author and his first books, it is necessary to compare this character with this authors youth works (essays) in relation to realism, engagement, tendency to look for relations between literature and the authors life (called biographism in this paper), and ultraism. The first chapter confirms that the young Borges (1918-1920) does not present these characteristics in his evaluation of literature, except for ultraism. In a later period of his youth (1920-1928), there is ultraism and biographism and some relations with the realistic way of literary construction. However, there were realism, engagement, biographism and ultraism in the Argentine literary context of the twenties. The three first can be associated with the writers in the Boedo group. However, the story alludes to Modernism too; so it is possible to understand that the young character in the short story is related to the generation of Argentine writers in the twenties. The reading of the short story shows that it produces a dialog between the borgesean literature and the Argentine writers of the twenties, including the young Borges. The dialog and the narrative resources reveal that realism is criticized. These two representations can be read as two generic ways to deal with literature. So, it is possible to state, that in Nota sobre Walt Whitman, there is an opposition to the way boedists dealt with biographism. As Borges second youth period does not present biographism, we affirm that this essay captures a transformation. Therefore, we can confirm that the controversy between the groups, Florida and Boedo, may have been an important moment between Borges youth books and his well known works. In his preface Domingos F. Sarmiento: Facundo, new objections to realism and engagement can be found. In the first chapter it is asserted that Borges fights realism since the thirties. Thus, if the preface was written in 1975, we can assert that this authors critical texts are in dialog with realism. The essay La Postulación de la Realidad shows the borgesean classification of literature: the classical way and the romantic way of writing. Thus, we verify the existing parallel between this essay and the short story analyzed. This text shows that the romantic way has a connection with the second period of Borges youth works, while the classical way is related to his mature works. Other borgesean short story, El Milagro Secreto, uses one of the classical techniques to generate verisimilitude, but this is a technique commonly used by realists too. Therefore, this story shows that there is a contact point linking the borgesean works and realism. This same technique keeps a final objection to realism.
47
Fouto, Catarina I. B. C. "Edition and study of Teive's Epithalamium : the Epodon libri tres (1565) and Neo-Latin literature in Counter-Reformation Portugal." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0b820530-7df0-4f36-9af6-b83add38c798.
Full textAbstract:
This dissertation comprises the first study of the poetry of the Portuguese humanist Diogo de Teive (1513-14 – c. 1569). It examines and presents a scholarly edition of the Epithalamium which Teive composed on the occasion of the marriage of Princess Maria of Portugal to Alessandro Farnese in 1565. It also critically explores the work in which the poem was published, the Epodon libri tres (Lisbon, 1565). Because both this and the Epithalamium bring together different strands of Teive’s literary work, Chapter One analyses the development of his literary career, linking it to the ideological and cultural transformations which took place in Portugal from the 1540s to the 1560s, and the author’s attempt to carve his identity and space in the Portuguese literary scene. Chapter Two explores the concepts of ‘imitatio’ and ‘mimesis’ in the Epodon libri tres, shedding light on specific aspects of the Epithalamium. In the eyes of his readers, Teive emerges as a Catholic Horace. This is achieved by means of formal imitation, ‘aemulatio’, and allusion to Horace, a process whereby Teive introduces significant and ideologically motivated differences representative of the impact of Counter-Reformation upon literary writing. The ‘aemulatio’ of Prudentius’s Peristephanon in book II is to be understood in this light. Part Two engages with Teive’s comments on questions of verbal representation in the Epodon libri tres. Chapter Three analyses the Epithalamium from a generic perspective, arguing that it presents instances of generic enrichment, and that these are an example of the appropriation of occasional poetry for the purpose of authorial self-representation. One of the instances of generic enrichment is the incorporation of a didactic passage indebted to the tradition of the ‘speculum principum’, which is analysed in Chapter Four. Part One interprets the rewriting and appropriation of Plutarch and Erasmus as authorising strategies whereby Teive represents himself as an advisor of kings in the Epodon libri tres. Part Two discusses the author’s political thought and opinions, drawing from an analysis of the Epithalamium. Finally, Chapter Five comprises the study of the transmission of the poem, its metrical analysis, edition, translation, and commentary.
48
Guimiot, Vincent Bernard. "Plagiat, emprunts, cliché : mise en question de l'originalité artistique et disparition de l'auteur dans La Carte et le Territoire de Michel Houellebecq." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1313764886.
Full text
49
Rodrigues, Luciana Varga. "A literatura do fato." Universidade Federal de Juiz de Fora (UFJF), 2006. https://repositorio.ufjf.br/jspui/handle/ufjf/3296.
Full textAbstract:
Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-02-13T12:42:22Z
No. of bitstreams: 1
lucianavargasrodrigues.pdf: 641645 bytes, checksum: ac9f4f78272acd9f1945cbb6e00279e9 (MD5)Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-13T16:48:53Z (GMT) No. of bitstreams: 1 lucianavargasrodrigues.pdf: 641645 bytes, checksum: ac9f4f78272acd9f1945cbb6e00279e9 (MD5)
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-13T16:49:06Z (GMT) No. of bitstreams: 1 lucianavargasrodrigues.pdf: 641645 bytes, checksum: ac9f4f78272acd9f1945cbb6e00279e9 (MD5)
Made available in DSpace on 2017-02-13T16:49:06Z (GMT). No. of bitstreams: 1 lucianavargasrodrigues.pdf: 641645 bytes, checksum: ac9f4f78272acd9f1945cbb6e00279e9 (MD5) Previous issue date: 2006-12-06
Esta dissertação tem como proposta analisar as obras literárias que trazem como proposta a epresentação do real. Como mimesis, torna presente um real ausente, mas que se quer alcançar. Denominamos de literatura do fato estas obras que trazem os recursos literários do romance tradicional com temas e personagens reais, o que gera discussão real, e a inserção do leitor nas questões da sociedade. Estabelecendo uma distinção entre literatura e escritura, procuramos mostrar que a literatura do fato, como obra de arte, cumpre a sua função questionadora e possibilita ao leitor uma maior contextualização das questões da contemporaneidade, uma vez que trabalhamos com a idéia de que fatos marcantes (principalmente negativos) do passado devem ser lembrados para que não se repitam no presente.
-
50
Valentová, Kateřina. "Los elementos no verbales en “L’Assommoir” de Émile Zola y “La desheredada” de Benito Pérez Galdós: descripción, análisis y justificación." Doctoral thesis, Universitat de Lleida, 2018. http://hdl.handle.net/10803/462195.
Full textAbstract:
El propòsit d'aquesta tesi és enjudiciar el paper de la no verbalitat en un context literari especial, partint de l'aparent paradoxa que el text l'integren paraules, que no obstant això han de donar compte de fets d'índole no verbal la significació dels quals es transfon en tota classe d'experiències sensorials.
S'examina la participació dels elements no verbals en la construcció d'un relat que aspira a un grau màxim de mimesi, la major aproximació possible al fenomen material, reproduint amb versemblança tant les interaccions comunicatives entre els personatges com els seus contextos, i que s'inspira en la consciència o la imaginació del lector una crítica social implícita.
Es combinen metodologies lingüístiques i literàries per examinar les similituds i divergències en l'ús d'aquests recursos per Émile Zola i Benito Pérez Galdós, hereus de tradicions artístiques diferents, però que comparteixen una mateixa concepció de la novel·la.El objetivo de esta tesis es enjuiciar el papel de la no verbalidad en un contexto literario especial, partiendo de la aparente paradoja de que el texto lo integran palabras, que sin embargo han de dar cuenta de hechos de índole no verbal cuya significación se trasfunde en toda clase de experiencias sensoriales. Se examina la participación de los elementos no verbales en la construcción de un relato que aspira a un grado máximo de mimesis, a un acercamiento más próximo al fenómeno material, reproduciendo con verosimilitud tanto las interacciones comunicativas entre los personajes como sus contextos, y que inspira en la conciencia o la imaginación del lector una crítica social implícita. Se combinan metodologías lingüísticas y literarias para examinar las similitudes y divergencias en el uso de tales recursos por Émile Zola y Benito Pérez Galdós, herederos de tradiciones artísticas distintas, pero que comparten una misma concepción de la novela.
The aim of this thesis is to judge the role of nonverbal elements in an especial literary context, starting from the apparent paradox that the text is composed of words, which nevertheless have to account for nonverbal facts whose significance is transposed into all kinds of sensory experiences. It examines the participation of nonverbal elements in the construction of a narrative that aspires to a maximum degree of mimesis, to the closest approximation towards the material phenomenon, by means of reproducing with verisimilitude both the communicative interactions of the characters and their contexts. This sense of veracity inspires in the reader's consciousness or imagination an implicit social critique. Linguistic and literary methodologies are combined to examine the similarities and divergences in the use of such resources by Émile Zola and Benito Pérez Galdós, heirs of different artistic traditions, but who share the same conception of the novel.