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1
Laigle, Geneviève. "Le Sens du mystère dans l'œuvre romanesque de Patrick White." Lille : Paris : Atelier reprod. th. Univ. Lille 3 ; diffusion Didier Erudition, 1989. http://catalogue.bnf.fr/ark:/12148/cb36109829g.
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Budurlean, Alma. "Otherness in the novels of Patrick White." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/994906943/04.
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Tournaire, Agnès. "Le silence dans l'oeuvre romanesque de Patrick White." Nice, 1997. http://www.theses.fr/1997NICE2033.
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White met en exergue de son avant-dernier roman un passage de David Malouf, extrait de An imaginary life, qui pourrait ouvrir un recueil de ses oeuvres, tant il éclaire avec justesse la vision existentielle au coeur de sa création romanesque : « what else should our lives be but a series of beginnings, of painful settings out into the unknown, pushing off from the edges of consciousness into the mystery of what we have not yet become ». Les termes « unknown » et « mystery of what we have not yet become » prennent une importance toute particulière quand ils sont appliqués à l'univers de White. Si le romancier incite avec force son lecteur à s'engager, à la suite des personnages, dans une exploration de son monde intérieur, il ne lui donne aucune réponse définitive et s'emploie au contraire, avec des moyens de plus en plus variés, complexes et maitrisés, à déjouer tous les modes conventionnels d'interprétation, à démonter les systèmes idéologiques et philosophiques, comme le prouvent les points de vue contradictoires adoptés par les critiques de ses oeuvresPatrick White's preoccupation is with the process of self-discovery, of setting out into the unknown territory of the mind. His novels are exploratory. What matters is the quest for meaning, more than definite answers. For him, truth is a matter of interrogation, it is unattainable and inexpressible. Only through intuition is it possible to apprehend it, beyond words and systems. The various assertions of silence in the novels offer a supplementary space, inviting a dynamic and inventive reading of a text that is unfinished but calling for completion
4
Dunning, Marie-Madeleine. "Patrick White and the nature of the artist." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314946.
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Bosman, Brenda Evadne. "Alternative mythical structures in the fiction of Patrick White." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1001821.
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The texts in this study interrogate the dominant myths which have affected the constructs of identity and history in the white Australian socio-historical context. These myths are exposed by White as ideologically determined and as operating by processes of exclusion, repression and marginalisation. White challenges the autonomy of both European and Australian cultures, reveals the ideological complicity between them and adopts a critical approach to all Western cultural assumptions. As a post-colonial writer, White shares the need of both post-colonising and post-colonised groups for an identity established not in terms of the colonial power but in terms of themselves. As a dissident white male, he is a privileged member of the post- colonising group but one who rejects the dominant discourses as illegitimate and unlegitimating. He offers a re-writing of the myths underpinning colonial and post-colonising discourses which privileges their suppressed and repressed elements. His re-writings affect aboriginal men and women, white women and the 'privileged' white male whose subjection to social control is masked as unproblematic freedom. White's re-writing of myth enbraces the post-modern as well as the post- colonial. He not only deconstructs and demystifies the phallogocentric/ethnocentric order of things; he also attempts to avoid totalization by privileging indeterminacy, fragmentation, hybridization and those liminary states which defy articulation: the ecstatic, the abject, the unspeakable. He himself is denied authority in that his re-writings are presented as mere acts in the always provisional process of making interpretations. White acknowledges the problematics of both presentation and re-presentation - an unresolved tension between the post-colonial desire for self-definition and the post-modern decentring of all meaning and interpretation permeates his discourse. The close readings of the texts attempt, accordingly, to reflect varying oppositional strategies: those which seek to overturn hierarchies and expose power-relations and those which seek an idiom in which contemporary Australia may find its least distorted reflexion. Within this ideological context, the Lacanian thematics of the subject, and their re-writing by Kristeva, are linked with dialectical criticism in an attempt to reflect a strictly provisional process of (re) construction
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Morcellet, Françoise. "Peinture et ecriture dans l'oeuvre romanesque de patrick white." Paris 3, 1995. http://www.theses.fr/1995PA030153.
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Patrick white, prix nobel australien, auteur d'une oeuvre romanesque considerable et proteiforme, s'est aussi employe a souligner l'incapacite du langage verbal a dire l'essentiel. C'est peut-etre ce constat qui justifie l'interet perceptible de bout en bout dans sa fiction pour d'autres formes d'expression artistique, pour l'intertextualite heterosemiotique, pour le dialogisme trans-artistique ou l'utilisation de differents "langages" croises (litterature, musique, danse, chant, peinture). Apres avoir execute plusieurs portraits d'artistes inaboutis dans the aunt's story, the tree of man, voss et the solid mandala, l'ecrivian se focalise sur la peinture, mode artistique qu'il privilegie, peut-etre parce qu'elle est plus universelle et plus immediate dans sa perception que l'ecriture. White ecrit avec l'oeil du peintre, convoque tableaux ou peintres sous forme de citations, represente des personnages peintres dont la creation est mise en parallele avec celle du roman qui les cree. Il se livre a l'exploration systematisee de la peinture dans the vivisector, roman qui met en scene une figure d'artiste visionnaire, qui est aussi artiste-vivisecteur, dont la production est tant le produit de l'imagination et de l'esprit que du corps, et dont la quete picturale est aussi quete du sacre (l'identification est totale dans riders in the chariot). Mais dans toute l'oeuvre romanesque, en meme temps que l7ecriture cherche a produire des visions epiphaniques qui s'accompagnent de la creatons de figures de la totalite (mandala, lustre-chandelier. . . ), la voix auctoriale fait la part belle a l'ironie qui tourne souvent a tragique, patrick whitePatrick white, australian winner of the nobel prize and author of a considerable number of protean novels, has emphasized the inability of verbal language to convey what is essential. This perceived inability explains the interest throughout his work in toher forms of artistic expression, in nonliterary intertextuality, in transartistic dialogue or in the use of different cross- "langues" (literature, music, dancing, singing, painting). After drawing several portraits of frustrated of failed artists in the aunt's story, the tree man, voss and the solid mandala, white focuses on painting, an art form for which he shows a marked preference, perhaps because it is more universally and immedialtely perceivable than writing. White writes with the painter's eye; he quotes paintings and painters, and he portrays painters whose creation is paralleled by the novel which creates them. The systematically explores painting in the vivisector, a novel about a visionary artist, a vivisector-artist, whose painting is as much the product of the imagination and the mind as of the body, and whose pictural quest is also a quest for the sacred (in riders in the chariot, the two quests are one). But, throughout the novels and their attempt to reach epiphanic visions with the accompaying creation of figures of totality such as the mandala or the chandelier, the auctorial voice is more than tinged with ironic - even tragic - overtones, and patrick white thus achieves a
7
Van, Niekerk Timothy. "Transcendence in Patrick White: the imagery of the Tree of Man and Voss." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1004269.
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This study represents an exploration of White's concept of transcendence in The Tree of Man and Voss by means of a detailed account of some of the key patterns of imagery deployed in these novels. White's imagery is a key mode of expression in his work, not simply manifesting in overarching religious symbols and framing structures but figuring in constantly modulated tropes continuous with the narrative, as well as in minor, but no less significant images occasionally susceptible to etymological or onomastic reading. While no attempt is made to provide an exhaustive exploration of the tropes at work in these novels, a sufficient range of material is covered, and its metaphoric density adequately penetrated, to highlight and explore a fundamental concern in White's work with a paradoxical unity underlying the dualities inherent in temporal existence. A useful way of approaching his fiction is to view the perpetual modulations of his imagery as the dramatisation of an enantiodromia or play of opposites, in which the conflicts of duality are elaborated and paradoxically - though typically only momentarily - resolved. This resolution or coincidence of opposites is a significant feature of his notion of transcendence as well as his depictions of illuminatory experience, and in this respect White's metaphysics share an essential characteristic, not only of Christianity, but a range of religious and mythological systems concerned with expressing a transcendent reality. Despite these analogies, however, the novels at hand are not so tightly bound to Christian, or any other, meaning-making systems so as to constitute sustained allegories, and hence this study does not aim to chart a series of correspondences between White's images and biblical or mythological symbols. Indeed, a criticism often levelled at White - with The Tree of Man and Voss typically figuring in support of this claim - is that he too rigidly imposes religious frameworks on his work. An extension of this view is formulated in the Jungian critique of White's corpus offered by David Tacey, who argues that White's conception of transcendence is consistently challenged by the archetypal significance of the images he employs, which point to a contrary process of psycho-spiritual regression in his protagonists. In a fundamentally text-based approach, this study explores White's use of imagery while taking biblical resonances and archetypal interpretations into account, and suggests that, though White's images are highly allusive, they are not merely agents of imported Christian, or other traditional symbolic values. Nor do they undermine the authenticity of his depiction of the spirituality of his protagonists, or obtrude on the fabric of the narrative. Instead, the range of his images are - though often ambivalent - integral to a network of mercurial tropes which articulate and constantly evaluate a notion of transcendence through inflections and oscillations rather than equations of meaning.
8
Zaborowski-Seve, Dominique. "La tentation de l'infini dans l'oeuvre de Patrick White." Paris 12, 1993. http://www.theses.fr/1993PA120058.
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Patrick white, ecrivain australien qui s'est senti deracine toute sa vie, a utilise le continent australien comme catalyseur d'une experience spirituelle. La presentation topographique et ethnographique laisse des lors rapidement la place a une sision plus personnelle, y compris la satire du comportement de ses compatriotes trop materialiste selon lui, et des intellectuels. Desireux de trouver un monde harmonieux, il ne sert de se cinq sens et de symboles communs a diverses cultures, diverses religions, et qui font partie de ce que c. G. Jung appelais "l'inconscient collectif". Citions par exemple les quatre elements les mysteres orphiques ou encore la religion et sa signification profonde. En effet, white se detacle de la religion etablie pour se consacrer a la necessite de la souffrance pour arriver a la redemption. Nombreux sont les personnages de ses romans qui, apres maintes epreuves, quittent leur "ecorce" intellectuelle pour prendre compte l'humanite dans son ensemble. L'infini est le but de white : comment l'apprehender, si ce n'est, nous suggere-t-il, par l'humilite, par la sensualite et un gout pour la vie, l'art aussi, emanation dy pouvoir spirituel de l'hommePatrick white, an australian writer who felt he was uprooted, used the australian continent as the catalyst of a spiritual experience. The geographic and ethnographe discriptions soon give way to a more personnel vision, including the satire of his fellow citiezns who were materialistic according to him, and also the criticism of the intellectuals. Eager as he was to find harmony in this world, he used his five senses and symbols common to different cultures ans religions, and which are part of what c. C. Jung names "the collective unconscious". We shall quote for instance the four elements, orphic mysteries or religion and its profond significance. Indeed, white quickly turned away from all official religions and emphasized the necessity of suffering in order to know redemption. There are numeros characters in his novels who, having passed through quite a few ordeals, relinquish their intellectual "skin" and consider humanity as a whole. The infinite is white's aim : he suggests that one can only grasp it through an attitude of humility, through sensuousness and a willingness to live, through art also, which is a product of man's
9
Cowell, Lauren. "Against the monotonous surge : Patrick White's metafiction." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61949.
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Walton, Michael Scott. "Defending White America: The Apocalyptic Meta-Narrative of White Nationalist Rhetoric." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8491.
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Prior to attacking a Wal-Mart in El Paso, Texas, Patrick Crusius posted a manifesto on the notorious 8chan website in which he justifies his attack as a self-defensive response to the “Hispanic invasion of Texas.” While this manifesto certainly contains the irrationality necessary to justify mass murder, it also repeats and reinforces language and worldviews present in public discourse, especially in discourse from white nationalists. Analyzing the Crusius manifesto in context of this white nationalist public discourse reveals how language used and worldviews perpetuated by white nationalists ultimately construct an apocalyptic meta-narrative that transforms immigrants and refugees into dangerous invaders. By repeatedly telling stories that frame immigrants or refugees as criminals, invaders, and terrorists, white nationalists have constructed a meta-narrative that subsumes localized narratives, which means that any story about an immigrant seeking refuge in the United States becomes a story of an invader and criminal. Crusius repeats and reinforces this meta-narrative in his manifesto, drawing on the foundational white-nationalist French scholar Renaud Camus, whose “Great Replacement” theory claims that non-white populations are systematically replacing white populations, leading to a “white genocide.” Ultimately, the apocalypse in this meta-narrative is not a violent, devastating end to the United States, but rather the end of a structure dominated by whiteness and Western culture. It’s this perceived apocalypse that inspires Crusius’ violent response. Ultimately, this meta-narrative capitalizes on fear to transform genuine love of nation into a volatile xenophobia that can encourage a perceived need for violent self-defense. On the scholarly front, this research may reinforce the suggestion of scholar Dana Cloud, who claims that scholars and rhetors cannot challenge white nationalist irrationality with a rational approach, but rather with localized narratives that ground the experiences of immigrants and refugees in concrete details that foster empathy and understanding.
11
Watts, Jacqueline Anne. "An explication of the dual nature of narcissism in Patrick White's novel The solid mandala." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1002072.
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The focus of this thesis has been to engage in a hermeneutic dialogue with Patrick White's novel The solid mandala, to provide an explication of the dual nature of narcissistic wounding. To this end a brief review of Patrick White's novels is given, which traces a thematic development of the hero's strivings to attain wholeness and merger with an idealized image. This struggle is understood to reflect man's strivings to return to a state of omnipotent fusion with the maternal image, be it God, nature, the idealized other, or the self. Literature which reflects the dual nature of narcissistic wounding is reviewed, and the concept of narcissism is traced from the historical roots of Freud, to current understandings of the function and experience of narcissism. Emphasis is given to understanding the experiential nature of narcissistic wounding. As such it is implied that narcissism is a normal developmental component which requires the facilitation of containment and reflection for its transformation into appropriate adult functioning. The importance of the maternal environment is discussed, together with the various theoretical conceptualizations of the consequences of failure of the environment. The hermeneutic dialogue with the novel's description of the experiences of the twins, Waldo and Arthur provides the basis for an amplification of the experience of narcissistic wounding. This amplification is used as clinical material from which a number of psychoanalytic formulations are drawn. These formulations are supported by a number of clinical examples from the researcher's own practice. There appears to be evidence for the value of focusing on the dual nature of the experience of narcissistic wounding. This focus reveals two aspects of experience, a damaged, positive, libidinal aspect and a defensive, pathological destructive aspect. Amplification of these two aspects of experience contribute to further the understanding of the conflictual experience of narcissistic wounding, and suggest the necessity for such an understanding for effective therapeutic intervention
12
Dawson, Sally. "A variation of the rainbow : an examination of pastoral in Patrick White's prose fiction." Thesis, University of Leeds, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329270.
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Stein, Thomas Michael. "" Illusions of Solidity" : Individuum und Gesellschaft im Romanwerk Patricks Whites /." Essen : Verl. Die Balue Eule, 1990. http://catalogue.bnf.fr/ark:/12148/cb355187062.
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Beattie, V. M. F. "In other words : homosexual desire in the novels of Patrick White." Thesis, University of Edinburgh, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538107.
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Callaghan, Genevieve. "Immanence and transcendence in Patrick White : a study of three novels." Thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/23180.
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Whaley, Susan Jane. "Still life : the life of things in the fiction of Patrick White." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27562.
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"Still Life" argues that Patrick White's fiction reveals objects in surprising, unexpected attitudes so as to challenge the process by which the mind usually connects with the world around it. In particular, White's novels disrupt readers' tacit assumptions about the lethargic nature of substance; this thesis traces how his fiction reaches beyond familiar linguistic and stylistic forms in order to reinvent humanity's generally passive perception of reality.
The first chapter outlines the historical context of ideas about the "object," tracing their development from the Bible through literary movements such as romanticism, symbolism, surrealism and modernism. Further, the chapter considers the nature of language and the relation of object to word in order to distinguish between the usual symbolic use made of objects in literature and White's treatment of things as discrete, palpable entities. The second chapter focuses on White's first three published novels—Happy Valley (1939), The Living and the Dead (1941) and The Aunt's Story (1948)--as steps in his novelistic growth. Chapters Three, Four and Five examine respectively The Tree of Man (1955), The Solid Mandala (1966) and The Eye of the Storm (1973); these novels represent successive stages of White's career and exemplify his different formal and stylistic techniques. White's innovations demand a new manner of reading; therefore, each novel is discussed in terms of objects which reflect the shapes of the works themselves: "tree" defines the structure and style of Tree of Man "house" inspires Solid Mandala and "body" shapes Eye of the Storm. Reading White's novels in terms of structural analogues not only illuminates his methodology, but also clarifies his distinction between objective and subjective ways of understanding the world. Further, these chapters also refute critics' arguments that White's objects are merely victims of his overambitious use of personification and pathetic fallacy, or that they are the result of his dabbling in mysticism.
"Still Life" concludes by showing how Patrick White's novels sequentially break down assumptions about reality and appearance until the reality of language itself falters. The author restores mystery to things by relocating the possibility of the extraordinary within the narrow, prescribed confines of the ordinary. White succeeds in changing readers' notions about the nature of reality by disrupting the habitual process by which they apprehend the world of things.Arts, Faculty of
English, Department of
Graduate
17
Coad, David. "Le moi divisé et le mystère de l'union dans l'oeuvre romanesque de Patrick White." Paris 3, 1991. http://www.theses.fr/1992PA030046.
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Le monde imaginaire de patrick white se fonde sur l'idee du monde dechu et la nature divisee de l'homme. Pour palier cet etat de schize dans l'individu, white examine la possibilite d'une plenitude a travers l'union physique ou spirituelle, et meme l'union mystique et mysterieuse de l'ame en dieuThe fallen world and the consequent divided self form the basis of patrick white's imaginary universe. Attempts to regain a lost harmony and plenitude may involve physical and spiritual union between human beings, however the ultimate union desired by man is the mystic and mysterious communion of the soul with god
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Neunteufel, Patrick [Verfasser]. "Helium Accreting White Dwarfs as Progenitors of Explosive Stellar Transients / Patrick Neunteufel." Bonn : Universitäts- und Landesbibliothek Bonn, 2017. http://d-nb.info/1149154209/34.
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Ungari, Elena. "Australian national identity/ies in transition in the fiction of Patrick White." Thesis, University of Wales Trinity Saint David, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683214.
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Taylor, Colleen Jane. ""Variations of the rainbow" : mysticism, history and aboriginal Australia in Patrick White." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/22467.
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Bibliography: pages 206-212.This study examines Patrick White's Voss, Riders in the Chariot and A Fringe of Leaves. These works, which span White's creative career, demonstrate certain abiding preoccupations, while also showing a marked shift in treatment and philosophy. In Chapter One Voss is discussed as an essentially modernist work. The study shows how White takes an historical episode, the Leichhardt expedition, and reworks it into a meditation on the psychological and philosophical impulses behind nineteenth century exploration. The aggressive energy required for the project is identified with the myth of the Romantic male. I further argue that White, influenced by modernist conceptions of androgyny, uses the cyclical structure of hermetic philosophy to undermine the linear project identified with the male quest. Alchemical teaching provides much of the novel's metaphoric density, as well as a map for the narrative resolution. Voss is the first of the novels to examine Aboriginal culture. This culture is made available through the visionary artist, a European figure who, as seer, has access to the Aboriginal deities. European and Aboriginal philosophies are blended at the level of symbol, making possible the creative interaction between Europe and Australia. The second chapter considers how, in Riders in the Chariot, White modifies premises central to Voss. A holocaust survivor is one of the protagonists, and much of the novel, I argue, revolves around the question of the material nature of evil. Kabbalism, a mystical strain of Judaism, provides much of the esoteric material, am White uses it to foreground the conflict between metaphysical abstraction and political reality. In Riders, there is again an artist-figure: part Aboriginal, part European, he is literally a blend of Europe and Australia and his art expresses his dual identity. This novel, too, is influenced by modernist models. However, here the depiction of Fascism as both an historical crisis and as a contemporary moral bankruptcy locates the metaphysical questions in a powerfully realised material dimension. Chapter Three looks at A Fringe of Leaves, which is largely a post-modernist novel. One purpose of this chapter is to demonstrate how it responds to its literary precursors and there is thus a fairly extensive discussion of the shipwreck narrative as a genre. The protagonist of the novel, a shipwreck survivor, cannot apprehend the symbolic life of the Aboriginals: she can only observe the material aspects of the culture. Symbolic acts are thus interpreted in their material manifestation. The depiction of Aboriginal life is less romanticised than that given in Voss, as White examines the very real nature of the physical hardships of desert life. The philosophic tone of A Fringe of Leaves is most evident, I argue, in the figure of the failed artist. A frustrated writer, his models are infertile, and he offers no vision of resolution. There is a promise, however, offered by these novels themselves, for in them White has given a voice to women, Aboriginals and convicts, groups normally excluded from the dominating discursive practice of European patriarchy.
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Grogan, Bridget Meredith. ""Abject dictatorship of the flesh" : corporeality in the fiction of Patrick White." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001554.
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Harrison, Jen. "Incarnations exploring the human condition through Patrick White's Voss and Nikos Kazantzakis' Captain Michales /." Connect to full text, 2004. http://hdl.handle.net/2123/671.
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Thesis (Ph. D.)--University of Sydney, 2004.Title from title screen (viewed 16 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Modern Greek. Includes bibliographical references. Also available in print form.
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Wells-Green, James Harold, and n/a. "Contrivance, artifice, and art: satire and parody in the novels of Patrick White." University of Canberra. Creative Communication, 2005. http://erl.canberra.edu.au./public/adt-AUC20060418.131055.
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This study arose out of what I saw as a gap in the criticism of Patrick White's
fiction in which satire and its related subversive forms are largely overlooked. It
consequently reads five of White's post-1948 novels from the standpoint of satire.
It discusses the history and various theories of satire to develop an analytic
framework appropriate to his satire and it conducts a comprehensive review of the
critical literature to account for the development of the dominant orthodox
religious approach to his fiction. It compares aspects of White's satire to aspects
of the satire produced by some of the notable exemplars of the English and
American traditions and it takes issue with a number of the readings produced by
the religious and other established approaches to White's fiction.
I initially establish White as a satirist by elaborating the social satire that
emerges incidentally in The Tree of Man and rather more episodically in Voss. I
investigate White's sources for Voss to shed light on the extent of his engagement
with history, on his commitment to historical accuracy, and on the extent to which
this is a serious high-minded historical work in which he seeks to teach us more
about our selves, particularly about our history and identity. The way White
expands his satire in Voss given that it is an eminently historical novel is
instructive in terms of his purposes. I illustrate White's burgeoning use of satire
by elaborating the extended and sometimes extravagant satire that he develops in
Riders in the Chariot, by investigating the turn inwards upon his own creative
activity that occurs when he experiments with a variant subversive form, satire by
parody, in The Eye of the Storm, and by examining his use of the devices, tropes,
and strategies of post-modem grotesque satire in The Twyborn Affair.
My reading of White's novels from the standpoint of satire enables me to
identify an important development within his oeuvre that involves a shift away
from the symbolic realism of The Aunt's Story (1948) and the two novels that
precede it to a mode of writing that is initially historical in The Tree of Man and
Voss but which becomes increasingly satirical as White expands his satire and
experiments with such related forms as burlesque, parody, parodic satire, and
grotesque satire in his subsequent novels. I thus chart a change in the nature of
his satire that reflects a dramatic movement away from the ontological concerns
of modernism to the epistemological concerns of post-modernism. Consequent
upon this, I pinpoint the changes in the philosophy that his satire bears as its
ultimate meaning.
I examine the links between the five novels and White's own period to
establish the socio-historical referentiality of his satire. I argue that because his
engagement with Australian history, society, and culture, is ongoing and
thorough, then these five novels together comprise a subjective history of the
period, serving to complement our knowledge in these areas. This study
demonstrates that White's writing, because of the ongoing development of his
satire, is never static but ever-changing. He is not simply or exclusively a
religious or otherwise metaphysical novelist, or a symbolist-allegorist, or a
psychological realist, or any other kind of generic writer. Finally, I demonstrate
that White exceeds the categories that his critics have tried to impose upon him.
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Le, Pennec Hettie. "Du miroir au kaleidoscope : le dévoilement du sujet dans les quatre dernières oeuvres de Patrick White (The eye of the storm, A fringe of leaves, The Twyborn affair et Memoirs of many in one)." Rennes 2, 2009. http://www.theses.fr/2009REN20002.
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Cette thèse se propose de réévaluer la spécificité des quatre dernières œuvres de fiction de Patrick White. En effet, la tendance de la critique fut de ramener l’intégralité de l’œuvre de White aux romans de la période médiane (dont plusieurs appartiennent indéniablement au canon de la littérature australienne), ce qui ne fait pas justice à la spécificité des différents textes et à l’évolution perceptible au sein de l’œuvre. Dans cette perspective, c’est le motif religieux qui fait figure de clef de voûte de l’univers whitien, l’union au divin s’offrant comme solution au questionnement identitaire des personnages, qui y trouvent une forme d’unité. Or, précisément, dans les quatre dernières œuvres fictionnelles, le divin disparaît au fur et à mesure que le sujet émerge, comme en témoigne notamment l’affirmation progressive du récit à la première personne. Cette évolution thématique et esthétique entraîne une révision radicale de la quête d’identité des personnages et de son point d’aboutissement. À la lumière des concepts de moi et de sujet, hérités de Freud et réinterprétés par Lacan, nous proposons de voir comment s’opère une subversion de l’identité entendue comme « mêmeté » (Ricœur), qui aboutit à une redéfinition de l’unité et de la vérité de soi. Cette subversion de l’identité va de pair avec la remise en cause de l’identité littéraire de l’écrivain, dont l’œuvre fictionnelle ultime devient plus ludique, le jeu avec le lecteur participant de la construction d’une vérité à multiples facettesThe purpose of this thesis is to reassess the specificity of Patrick White’s last four long fictional works. Critics have indeed tended to interpret the whole of White’s literary production through the prism of the novels of the middle period – several of which undeniably rank high in Australian literary heritage – thus missing the specific character of the various texts or the perceptible evolution within White’s work. This perspective presents the religious motif as the keystone of the Whitian universe, where uniting with the divine is seen as a solution to the characters’ quest for identity. In White’s last fictional works however, the divine element gradually disappears as a divided subject emerges, this being particularly noticeable in the progressive assertion of the first person narrative. This thematic and aesthetic evolution brings about a radical change in the characters’ quest for identity and its conclusion. Freudian concepts of the self and the subject reinterpreted by Lacan allow the subversion of identity – understood as “sameness” (Ricoeur) – to be presented in terms of a redefinition of the self’s unity and truth. This subversion of identity also means questioning the writer’s literary identity: White’s last fictional works become more of a game involving the reader in the process of building up a multi-faceted truth
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Byrge, Matthew Israel. "Black and White on Black: Whiteness and Masculinity in the Works of Three Australian Writers - Thomas Keneally, Colin Thiele, and Patrick White." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1717.
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White depictions of Aborigines in literature have generally been culturally biased. In this study I explore four depictions of Indigenous Australians by white Australian writers. Thomas Keneally's The Chant of Jimmie Blacksmith (1972) depicts a half-caste Aborigine's attempt to enter white society in a racially-antipathetic world that precipitates his ruin. Children's author Colin Thiele develops friendships between white and Aboriginal children in frightening and dangerous landscapes in both Storm Boy (1963) and Fire in the Stone (1973). Nobel laureate Patrick White sets A Fringe of Leaves (1976) in a world in which Ellen Roxburgh's quest for freedom comes only through her captivity by the Aborigines. I use whiteness and masculinity studies as theoretical frameworks in my analysis of these depictions. As invisibility and ordinariness are endemic to white and masculine actions, interrogating these ideological constructions aids in facilitating a better awareness of the racialized stereotypes that exist in Indigenous representations.
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Harrison, Jen. "Incarnations: exploring the human condition through Patrick White�s Voss and Nikos Kazantzakis� Captain Michales." University of Sydney. School of Modern Languages and Cultures, 2004. http://hdl.handle.net/2123/671.
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Nikos Kazantzakis� Captain Michales is a freedom fighter in nineteenth century Crete. Patrick White�s Voss is a German explorer in nineteenth century Australia. Two men struggling for achievement, their disparate social contexts united in the same fundamental search for meaning. This thesis makes comparison of these different struggles through thematic analysis of the texts, examining within the narratives the role of food, perceptions of body and soul, landscapes, gender relations, home-coming and religious experience. Themes from the novels are extracted and intertwined, within a range of theoretical frameworks: history, anthropology, science, literary and social theories, religion and politics; allowing close investigation of each novel�s social, political and historical particularities, as well as their underlying discussion of perennial human issues. These novels are each essentially explorations of the human experience. Read together, they highlight the commonest of human elements, most poignantly the need for communion; facilitating analysis of the individual and all our communities. Comparing the two novels also continues the process of each: examining the self both within and outside of the narratives, producing a new textual self, arising from both primary sources and the contextual breadth of such rewriting.
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Le, Guellec-Minel Anne. "Le roman épique australien de Patrick White : entre réalisme et mysticisme, une poétique de l'effort et de la modernité : étude de la trilogie romanesque de 1956 à 1961 : The Tree of Man, Voss, Riders in the Chariot." Paris 10, 2006. http://www.theses.fr/2006PA100101.
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La thèse évalue la réussite de l'ambition affichée par l'écrivain australien Patrick White (1912-1990) de réaliser un roman épique australien digne de fonder la littérature d'une nation nouvelle. Le travail étudie plus particulièrement The Tree of Man (1955), Voss (1957) et Riders in the Chariot (1961), romans qui lui ont valu le Prix Nobel en 1973. La thèse étudie les caractéristiques du personnage épique dans le roman whitien, en rapport avec la tradition de l'épopée classique mais aussi avec le roman nationaliste australien. Puis elle s'intéresse aux caractéristiques de l'action et de sa conduite dans le cadre du roman, mais aussi dans une logique mystique qui définit un rapport spécifique à la nature et à la psychologie nationale. Enfin, elle étudie des procédés stylistiques liés à la tradition rhétorique épique, ainsi que des effets de sublime, mais aussi l'ironie critique qui est à la fois l'héritage d'une tradition romanesque moderne et la base d'un discours épique novateurThe Australian writer and Nobel Prize winner Patrick White (191. 2-1990) had the avowed ambition, in the 1950s, to write the Crreat Australian Novel which would found the literature of a new nation. This thesis sets out to assess the success of this undertaking by looking at The Tree of Man (1955), Voss (1957) and Ridera in the Chariot (1961) in particular. The first part studies the characteristics of the epic hero in White's novels, with regard to the classic epic tradition, as well as the Australian nationalist novel. The second part deals with plot, showing how events are ordered according to a quest pattern on both a realistic and a mystical level, establishing a specific relation to Nature and defining a specifically Australian world-view. The third part attempts to show how White's use of stylistic devices belonging to the epic rhetorical tradition, of the sublime, but also of an irony specific to the novel form, ail contribute to the ground-breaking status of his epic writing
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Stefani, Monica. "'You are what you read' : intertextual relations in Patrick White's The solid mandala." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/32876.
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Este trabalho apresenta uma análise intertextual do romance The Solid Mandala, do escritor australiano, ganhador do prêmio Nobel, Patrick White, publicado em 1966, como parte de um esforço para estimular estudos sobre sua obra no Brasil e para investigar por que sua fortuna crítica tem passado por uma fase negativa recentemente. Primeiro, mostramos brevemente sua biografia e as condições relacionadas à produção e publicação de The Solid Mandala. Em seguida, apresentamos o contexto histórico do romance. As relações de conflito e complementação envolvendo os irmãos gêmeos Waldo e Arthur Brown na narrativa são analisadas, com destaque para a relação deles com a literatura (um tema importante no romance), retratando o papel das personagens como leitores e escritores na história, apreendendo, assim, seus sentimentos, suas visões de mundo e filosofia de vida (Waldo aspira à uma carreira de escritor e Arthur de fato compõe um poema). Os estudos de Gérard Genette sobre Narratologia são utilizados para embasar a análise, particularmente na relação intertextual entre The Solid Mandala e The Brothers Karamazov, do escritor F. Dostoyevsky, que é o título que chama a atenção de Arthur. Na busca pelo todo de sua vida, Arthur incorpora vários elementos (centrados em um único ponto, suas mandalas) e consegue criar sua própria filosofia. No final vemos que Arthur transcende sua realidade ao usar a leitura do romance russo como um instrumento. Esse estudo destaca a pertinência de revisitar a obra de Patrick White (uma vez que ela prova estar em sintonia com as questões filosóficas sendo discutidas atualmente) e coloca The Solid Mandala no contexto da literatura mundial.This work performs an intertextual analysis of the Nobel Prize winning Australian novelist Patrick White’s The Solid Mandala, published in 1966, as part of an effort to boost studies of his novels in Brazil and to investigate why his critical fortune has been undergoing a negative phase recently. First, we briefly present his biography and the conditions surrounding the writing and publication of The Solid Mandala. Later on, we present the historical context of the novel. The relations of conflict and complementation involving the twin brothers Waldo and Arthur Brown in the narrative are analysed, but we focus on their relation to literature (which is an important theme in the novel), depicting their roles as readers and writers in the story, thus, apprehending their feelings towards each other, worldviews and outlook on life (Waldo aspires to become a great writer, and Arthur actually produces a poem). Gérard Genette’s studies on Narratology are used to support our analysis, particularly in the intertextual relation between The Solid Mandala and F. Dostoyevsky’s The Brothers Karamazov, which is the title that calls Arthur’s attention. In his pursue to find the whole of his life, Arthur incorporates various elements (centred at just one point, his mandalas) and is able to create his own philosophy. At the end we see that Arthur transcends his reality by using the reading of the Russian novel as an instrument. This study enlightens the pertinence of revisiting Patrick White’s oeuvre (since it proves to be so well tuned in to the current philosophical issues being discussed), and places The Solid Mandala in the context of worldwide literature.
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Harrison, Jen. "Incarnations: exploring the human condition through Patrick White's Voss and Nikos Kazantzakis' Captain Michales." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/671.
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Nikos Kazantzakis' Captain Michales is a freedom fighter in nineteenth century Crete. Patrick White's Voss is a German explorer in nineteenth century Australia. Two men struggling for achievement, their disparate social contexts united in the same fundamental search for meaning. This thesis makes comparison of these different struggles through thematic analysis of the texts, examining within the narratives the role of food, perceptions of body and soul, landscapes, gender relations, home-coming and religious experience. Themes from the novels are extracted and intertwined, within a range of theoretical frameworks: history, anthropology, science, literary and social theories, religion and politics; allowing close investigation of each novel's social, political and historical particularities, as well as their underlying discussion of perennial human issues. These novels are each essentially explorations of the human experience. Read together, they highlight the commonest of human elements, most poignantly the need for communion; facilitating analysis of the individual and all our communities. Comparing the two novels also continues the process of each: examining the self both within and outside of the narratives, producing a new textual self, arising from both primary sources and the contextual breadth of such rewriting.
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Ward, Jill. "Self-discovery : process, progress and realisation in some characters of Patrick White : an exegesis of the last four novels." Thesis, University of Hull, 1986. http://hydra.hull.ac.uk/resources/hull:14034.
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Texier, Vandamme Christine Maisonnat Claude. "Espace et écriture ou l'herméneutique dans "Heart of darkness" de Joseph Conrad, "Under the volcano" de Malcolm Lowry et "Voss" de Patrick White." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/texier_c.
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Brock, Stephen. "A travelling colonial architecture Home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon /." Click here for electronic access: http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20070424.101150, 2003. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20070424.101150.
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A thesis submitted for the Degree of Doctor of Philosophy - Flinders University of South Australia, Faculty of Education Humanities, Law and Theology, June 2003.Title from electronic thesis (viewed 27/7/10)
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Brock, Stephen James Thomas, and brock stephen@saugov sa gov au. "A Travelling Colonial Architecture: Home and Nation in Selected Works by Patrick White, Peter Carey, Xavier Herbert and James Bardon." Flinders University. Australian Studies, 2003. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20070424.101150.
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This thesis is a study of constructions of home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon. Drawing on the work of postcolonial theorists, it examines ways in which the selected texts engage with national mythologies in the imagining of the Australian nation. It notes the deployment of racial discourses informing constructions of national identity that work to marginalise Indigenous Australians and other cultural minority groups.
The texts are arranged in thematic rather than chronological order. Whites treatment of the overland journey, and his representations of Aboriginality, discussed in Chapter One, are contrasted with Careys revisiting of the overland journey motif in Oscar and Lucinda in Chapter Two. Whereas Whites representations of Indigenous culture in Voss are static and essentialised, as is the case in Riders in the Chariot and A Fringe of Leaves, Careys representation of Australias contact history is characterised by a cultural hybridity. In Whites texts, Indigenous culture is depicted as an anachronism in the contemporary Australian nation, while in Careys, the words of the coloniser are appropriated and employed to subvert the ideological colonial paradigm.
Careys use of heteroglossia is examined further in the analysis of Illywhacker in Chapter Three. Whereas Carey treats Australian types ironically in Illywhackers pet emporium, the protagonist of Xavier Herberts Poor Fellow My Country, Jeremy Delacy, is depicted as an expert on Australian types. The intertextuality between Herberts novel and the work of social Darwinist anthropologists in the 1930s and 1940s is discussed in Chapter Four, providing a historical context to appreciate a shift from modernist to postmodernist narrative strategies in Careys fiction.
James Bardons fictional treatment of the Papunya Tula painting movement in Revolution by Night is seen to continue to frame Indigenous culture in a modernist grammar of representation through its portrayal of the work of Papunya Tula artists in the terms of the fourth dimension. Bardons novel is nevertheless a fascinating postcolonial engagement with Sturts architectural construction of landscape in his maps and journals, a discussion of which leads to Tony Birchs analysis of the politics of name reclamation in contemporary tourism discourses.
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Büker, Patrick [Verfasser], and Willy [Akademischer Betreuer] Werner. "Development of a stomatal conductance model for white clover and its application for ozone flux predictions / Patrick Büker ; Betreuer: Willy Werner." Trier : Universität Trier, 2010. http://d-nb.info/1197696423/34.
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Grandadam, Fleur. "Mythes, rites et symboles dans la littérature de Patrick White : essai de lecture anthropologique : "Voss", de la quête initiatique au rêve aborigène." Polynésie française, 2003. http://www.theses.fr/2003POLF0002.
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Marqué par sa participation à la dernière guerre au Moyen-Orient et en Grèce, marqué par la résistance culturelle et géographique de l'Australie à la colonisation européenne, Patrick White (1912-1990, Prix Nobel de littérature en 1973) saisit le prétexte d'une exploration avortée de la plus grande île du monde et l'érige en symbole d'introspection identitaire impliquant l'homme, le pays (ville, Bush, désert : Outback) et le rapport à la femme. Voss (1957) est l'histoire de l'impossible vécu homme-femme confiné dans le fantasme, l'ère du Rêve aborigène, l'osmose spirituelle, mais capable de transcender les clivages sociaux. Dans cette œuvre épique, White montre que l'identité doit passer par la terre, que l'avenir des Australiens doit résider dans la fusion du Dreamtime et de l'histoire judéo-chrétienne. Il faut parcourir des étendues désertes de sable sur une terre inconnue (Leichhardt l'explorateur) ou sillonner des mers dangereuses (Voss le navigateur) pour découvrir son moi intérieur et se réconcilier avec ses origines. Il faut hausser le ciel toujours plus haut pour mieux étreindre la terre, le tenir à distance, ne pas sombrer dans les entrailles chthoniennes, en un mot : devenir homme arborescentInspired by his experience of the battlefields of Greece and the Middle East during World War II and the cultural and geographical resistance of Australia to European civilization, Patrick White (1912-1990, Nobel Prize for Literature in 1973), enlarges on an abortive exploration of the biggest island in the world to build it up into a symbol of introspection, thus broaching upon the themes of human identity, country (town, bush and outback) and love. Voss (1957) unfolds the story of a man and a woman which can only fulfil itself in fantasy, blending at times with the Aboriginal Dreamtime and transcending social classes. In this epic masterpiece, White delivers the message that identity depends on land and that Judeo-Christian traditions must come to terms with Aboriginal mores. Man has to acknowledge his wilderness - Leichhardt as a land explorer, Voss as a circumnavigator - to find out where he belongs, prop up the sky in order to embrace the land, keep both of them at bay, and, tree-like, grow!
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Texier, Vandamme Christine. "Espace et écriture ou l'herméneutique dans "Heart of darkness" de Joseph Conrad, "Under the volcano" de Malcolm Lowry et "Voss" de Patrick White." Lyon 2, 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/texier_c.
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L'objet de cette thèse est d'interroger l'affirmation selon laquelle le roman à partir du XXe siècle est résolument " spatial ", en s'appuyant sur trois romans qui encadrent et traversent la période moderniste : Heart of Darkness de Joseph Conrad, Under the Volcano de Malcolm Lowry et Voss de Patrick White. Après un premier chapitre consacré à un tour d'horizon de la notion d'écriture spatiale dans la critique depuis les thèses de Joseph Frank et en passant par les analyses de Bakhtine, Todorov, Barthes et Ricoeur, deux positions critiques se dégagent : soit définir les œuvres " spatiales " comme des romans qui s'éloignent d'un modèle logico-temporel tel qu'on peut l'observer dans nombre de romans au XIXe, inspiré d'une esthétique à visée référentielle et mimétique, soit les définir par leurs caractéristiques propres qui sont celles d'œuvres dont la cohérence et la structure reflètent une logique interne et non externe. La première position est étudiée au deuxième chapitre qui porte par conséquent sur tous les avatars de la ligne logico-temporelle et leur remise en cause dans ces trois romans : la ligne logique et narrative, la ligne des origines ou téléologique, la ligne herméneutique et enfin la ligne organique. Dans le troisième chapitre, il s'agit de voir dans quelle mesure on peut parler d'une structuration à dominante spatiale dans Heart of Darkness, Under the Volcano et Voss et cette fois-ci de manière " positive " et non plus à contrario. Le paradigme de la ligne se voit remplacé par celui de l'étoilement des points de vue, des voix et des mots. Brouillage de la perspective, polyphonie et étoilement du signifiant redonnent du volume à la structuration linéaire héritée du XIXe. En dernier lieu se pose alors la question de la position du sujet (Personnage, narrateur, auteur, lecteur) dans ses rapports avec les autres, le monde, les mots et selon trois figures spatiales principales : la faille, l'entre-deux et une prédilection pour la surface.
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Stefani, Monica. "The translation of Patrick White's The solid mandala into Brazilian Portuguese : an analysis based on social, historical and cultural aspects." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/156966.
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Esta tese apresenta e analisa excertos da minha tradução não publicada de The Solid Mandala, de Patrick White, em português brasileiro, considerando seus aspectos sóciohistóricos e culturais em três níveis: como tradutor, como revisor da tradução e como crítico literário. A teoria dos polissistemas de Itamar Even-Zohar é adotada para justificar a importância de (re)introduzir Patrick White como representante da Literatura Australiana em nosso sistema literário brasileiro por meio da tradução. Como suporte às capacidades necessárias para realizar a tarefa, o modelo de competências de Amparo Hurtado Albir é apresentado. Quanto aos aspectos culturais, a teoria dos itens específico-culturais de Javier Franco Aixelá é empregada. As traduções publicadas em francês, italiano e espanhol são contrastadas com a minha a fim de identificar inconsistências e/ou soluções, bem como chamar a atenção para desafios que não foram contemplados. A versão em português brasileiro é proposta por meio de excertos selecionados, com os três níveis estando em funcionamento durante o processo de revisão da tradução. Ao buscar fazer a obra de Patrick White ser redescoberta não somente no Brasil, mas também na América Latina e em outros países de língua portuguesa, por meio da tradução, esta tese oferece uma contribuição inédita aos Estudos de Tradução.This dissertation presents and analyzes excerpts from my unpublished translation of Patrick White’s The Solid Mandala into Brazilian Portuguese considering its socio-historical and cultural aspects at three levels of reading: as a translator, as a revisor/proofreader of the translation and as a literary critic. Itamar Even-Zohar’s Polysystems Theory is adopted to justify the importance of (re)introducing Patrick White as a representative of Australian Literature into our Brazilian system via translation. Supporting the abilities necessary to perform the task, Amparo Hurtado Albir’s model of competences is presented. In regards to cultural aspects, Javier Franco Aixelá’s culture-specific items theory is used. The translations into French, German, Italian and Spanish are contrasted to mine, so as to identify inconsistencies and/or solutions and call attention to challenges which were not addressed. The version in Brazilian Portuguese is conveyed in this dissertation via selected excerpts, with the three levels being at work during the proofreading process of the translation. By attempting to make Patrick White’s oeuvre be rediscovered not only in Brazil, but also in South America and in other Portuguese-speaking countries, through translation, this dissertation presents an innovative contribution to Translation Studies.
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Park, Yeo Sun. "Modernity and the politics of place-experience in D.H. Lawrence's novels with parallel readings of Arnold Bennett, Giovanni Verga, Patrick White and Gregario Lopez y Fuentes." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.566694.
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D.H. Lawrence's literary imagination is inherently linked to diverse places and his writings are responses to the spirit of places where he travelled and lived. In opposition to the universalising spirit of modernity based on space, Lawrence turns towards a concrete and place-based consciousness and brings a new dimension of thought to the critical category of modem criticism: place. The thesis argues that Lawrence locates the question of place as the central problem of modernity predominated by space, and develops a place-based imagination in his oeuvre as a measure against the all-destroying dominance of space. In Lawrence's works, a 'place-consciousness' informed by place-specificity is, in return, to be projected on to space manifested in the domain of capital and modernity. In this regard, Lawrence is in accord witb the Anglo-Arnerican cultural geographers of the last few decades who have been trying to bring about a transformation of the pervasive space-experience of modernity. However, the way Lawrence's works relate to the dyad of space and place is different from tbat of cultural geograpbers. In their efforts to re-structure and re-evaluate the relationship between space and place, geographers tend to tumble into a snare oftheir own making: space-place binaries. The thesis argues that Lawrence, in contrast, persists with regard the fundamental primacy of place. The thesis parallels multiple dimensions of place expounded by Edward Casey in his philosophical topoanalysis based on phenomenology with Lawrence's literary topoanalysis as rendered in his novels relating to different places: England, Italy, Australia and Mexico. Lawrence's writings are in turn compared to topoanalyses by writers native to the places in which he travels and resides to produce his regional writings. These authors are Arnold Bennett, Giovanni Yerga, Patrick White and Gregorio Lopez y Fuentes.
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Lee, Deva. "The unstable earth landscape and language in Patrick White's Voss, Michael Ondaatje's The English Patient and David Malouf's An Imaginary Life." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002281.
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This thesis argues that Patrick White’s Voss, Michael Ondaatje’s The English Patient and David Malouf’s An Imaginary Life depict landscape in a manner that reveals the inadequacies of imperial epistemological discourses and the rationalist model of subjectivity which enables them. The study demonstrates that these novels all emphasise the instabilities inherent in imperial epistemology. White, Ondaatje and Malouf chart their protagonists’ inability to comprehend and document the landscapes they encounter, and the ways in which this failure calls into question their subjectivity and the epistemologies that underpin it. One of the principal contentions of the study, then, is that the novels under consideration deploy a postmodern aesthetic of the sublime to undermine colonial discourses. The first chapter of the thesis outlines the postcolonial and poststructural theory that informs the readings in the later chapters. Chapter Two analyses White’s representation of subjectivity, imperial discourse and the Outback in Voss. The third chapter examines Ondaatje’s depiction of the Sahara Desert in The English Patient, and focuses on his concern with the ways in which language and cartographic discourse influence the subject’s perception of the natural world. Chapter Four investigates the representation of landscape, language and subjectivity in Malouf’s An Imaginary Life. Finally, then, this study argues that literature’s unique ability to acknowledge alterity enables it to serve as an effective tool for critiquing colonial discourses.
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Hoffmann, Jérémie. "Histoire de la ville blanche de Tel-Aviv : l'adaptation d'un site moderne et de son architecture." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010626/document.
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Après sa naissance en 1909, La ville de Tel Aviv continue son essor jusque dans les années 1930-1948 marquées par l'architecture modernes, sous l’influence de l’urbaniste Patrick Geddes. Celui-ci écrit son rapport à 1925, qui s’inspirent du modèle de la Cité Jardin. Le site comprend 3 000 bâtiments inspirés par des architectes modernistes européens : Mendelsohn, Le Corbusier, Gropius et autres. La déclaration d’indépendance d’Israël en 1948 entraîne l’établissement d’institutions nationales et la construction rapide de bâtiments publics et de logements. La prise de conscience de l’importance de la conservation de La Ville Blanche et sa patrimonialisation engendrent à leur tour un changement du tissu urbain et de son architecture (1977-2003). Nous tentons d’identifier ici les facteurs susceptibles de déclencher les mutations nombreuses qui ont pris place durant les années 1948 - 2003 et qui ont amené la ville de Tel Aviv jusqu'à son inscription au patrimoine mondial de l’UNESCO. Nous avons analysé l’apparition de certains modes d’adaptation de la ville aux changements, à la lumière des principes de planification de Geddes, issus de la biologie organique. Les mécanismes d’adaptation sont analysés en fonction de 3 facteurs : Les processus de planification, les décisions d'ordre politique et la réception du public. Afin de comprendre les différentes représentations de chacun des trois facteurs, nous avons consulté les archives historiques des plans de la ville, les protocoles, les débats et publications officielles de la municipalité, ainsi que les représentations de la ville telle qu’elle apparait dans la littérature pour enfants, le cinéma, et la presse. Pour chacune de ces époques, nous avons identifié un modèle de comportement récurrent des changements. Ainsi sont discernés les modes d’influence des trois coefficients de planification - architectes, décideurs, et le grand public - et leur influence réciproque sur la ville est démontréeAfter its creation in 1909, the city of Tel Aviv continued to develop until the years 1930 – 1948 during which the Modern style was predominant. That took place under the remarkable influence of the urban planner sir Patrick Geddes whose vision on the extension of the city was published in 1925 inspired by the ideas of Garden-City. The site of the White City includes 3,000 buildings designed by Jewish immigrants under the influence of Modern European architects such as Mendelssohn, Le Corbusier and Gropius. The Declaration of Independence of the state of Israel in 1948 brought about the establishment of national institutions and the need for the quick solutions of construction of public buildings and social housing, meant for thousands of refugees. The awareness and importance of the conservation of the White City brought about significant changes in the local approach towards the existing urban tissue, and its architecture (1977-2003). This research aims at identifying the factors susceptible to trigger the architectural mutations that took place during the years 1948 – 2003 up until the final inscription of the White City as world heritage site by UNESCO. We have analyzed the emergence of a number of types of adjustment to changes within the City, from the field of organic biology. The various mechanisms of adjustment are analyzed according to three different factors: Planning process, the political decision making, and the reception of the values and myths of the city by the Public. In order to understand the different representations of each of those 3 factors, we have checked the historical archives of the City Planning Department, including protocols, debates and official publications. We have then gone through the representation of the city as it materializes in children literature, movies and the media. For each time period, a recurrent pattern of behavior of changes was identified. This method allows pinpointing the various types of influence of each of the three coefficients of planning: architects, Decision Makers, and the Public. The reciprocal influence of those factors on each other can then at last conclusively be established
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Alexander, Ian. "Novos continentes: relações coloniais em O continente e Voss." Pontifícia Universidade Católica do Rio Grande do Sul, 2006. http://hdl.handle.net/10923/4239.
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Previous issue date: 2006This study suggests a comparison of literary works from Brazil and Australia in terms of their colonial and post-colonial experiences, using a model of the cultural interactions that characterise colonisation. This model offers a terminology for comparing cultural hybridism in different contexts by schematising possible relationships between the different cultural roots of societies that result from the colonial process. The three main influences identified are the indigenous cultures, the cultures of the colonisers, and the cultures of those transported to the colony against their will: African slaves, in the case of Brazil, and prisoners from the British Isles, in the case of Australia. This model is applied in a comparative analysis of the representation of these colonial and post-colonial relationships in two novels that deal with the formation of new societies in the Latin and British worlds: O Continente (1949), by the Brazilian Erico Verissimo, and Voss (1957), by the Australian Patrick White. The study demonstrates the analytical utility of the model and identifies a high level of morphological similarity between the cultural relationships represented in the two works.
O presente estudo sugere uma comparação entre obras literárias do Brasil e da Austrália em termos das suas experiências coloniais e pós-coloniais, através de um modelo das interações culturais que caracterizam a colonização. O modelo fornece uma terminologia para comparar o hibridismo cultural em contextos diferentes, esquematizando as relações entre as várias raízes culturais de sociedades que surgem no processo colonial. As três principais influências identificadas são as culturas indígenas, as culturas dos colonizadores e as culturas dos indivíduos transportados à colônia contra a sua vontade: os escravos africanos, no caso do Brasil, e os prisioneiros das Ilhas Britânicas, no caso australiano. Este modelo é aplicado em uma análise comparativa da representação dessas relações coloniais e póscoloniais em dois romances que tematizam a formação de sociedades novas nos mundos latino e britânico: O Continente (1949), do sul-rio-grandense Erico Verissimo, e Voss (1957), do australiano Patrick White. O estudo comprova a utilidade analítica do modelo e mostra um alto grau de semelhança morfológica entre as relações culturais representadas nos dois textos.
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Freitag, Patricia [Verfasser], Karl [Akademischer Betreuer] Leo, and Manfred [Akademischer Betreuer] Helm. "White Top-Emitting OLEDs on Metal Substrates / Patricia Freitag. Gutachter: Karl Leo ; Manfred Helm. Betreuer: Karl Leo." Dresden : Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://d-nb.info/106718984X/34.
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Alexander, Ian. "Novos continentes : rela??es coloniais em O continente e Voss." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2006. http://tede2.pucrs.br/tede2/handle/tede/1872.
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Previous issue date: 2006-01-11O presente estudo sugere uma compara??o entre obras liter?rias do Brasil e da Austr?lia em termos das suas experi?ncias coloniais e p?s-coloniais, atrav?s de um modelo das intera??es culturais que caracterizam a coloniza??o. O modelo fornece uma terminologia para comparar o hibridismo cultural em contextos diferentes, esquematizando as rela??es entre as v?rias ra?zes culturais de sociedades que surgem no processo colonial. As tr?s principais influ?ncias identificadas s?o as culturas ind?genas, as culturas dos colonizadores e as culturas dos indiv?duos transportados ? col?nia contra a sua vontade: os escravos africanos, no caso do Brasil, e os prisioneiros das Ilhas Brit?nicas, no caso australiano. Este modelo ? aplicado em uma an?lise comparativa da representa??o dessas rela??es coloniais e p?scoloniais em dois romances que tematizam a forma??o de sociedades novas nos mundos latino e brit?nico: O Continente (1949), do sul-rio-grandense Erico Verissimo, e Voss (1957), do australiano Patrick White. O estudo comprova a utilidade anal?tica do modelo e mostra um alto grau de semelhan?a morfol?gica entre as rela??es culturais representadas nos dois textos.
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Noordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.
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Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.
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Moore, Jackson. "The Queer Novels of Patrick White." Phd thesis, 2018. http://hdl.handle.net/1885/164284.
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This thesis argues that the representation of sexuality in the novels of Patrick White articulates and performs a queer politics of critique that resists the trope of identity. If the extant body of White scholarship has struggled to make sense of the sexual dimensions of White’s texts, this thesis argues that this is because the sexual politics that White articulates are inherently ambiguous: the closeted aesthetic that White deploys articulates a crisis of representation that is central to White’s queer politics of critique. The failure of White’s prose to fully circumscribe meaning performs a radical deconstruction of identity that disrupts the basis of the political itself. This thesis argues that White’s texts stimulate the gaps, the silences and the ambiguities inherent in the process of signification in order to problematize any narrative of knowable and legible sexual identities. Even in his later texts, where sexuality is thematised more freely and openly, White’s texts still refuse to cohere around a comfortably stable gay identity, emphasising instead the failures and ambiguities that attend any attempt to represent the process of coming out. White’s overt representations of sexuality emerge as a textual performance of jouissance, as the disruption of, rather than expression of, his character’s true identities. In addition to his closeted aesthetic then, this thesis argues that it is in White’s camp sensibility that we might understand the queer politics that inform his texts: the playfulness, the arch humour, and the wit of White’s prose all attest to a critically queer cultural project that is conceived in opposition to the stable referents of politics and identity. The political White that emerges from this thesis is somewhat different to the one with which most critics of White’s texts would be familiar. While White’s status as a social and political activist is well known, it is equally well known that this activism did not extend to the politics of sexuality. This thesis argues that if, or perhaps even because, White opposed the gay rights movement, it is his literary texts that are the site of a queer project that is resolutely opposed to identity politics. White rarely if ever spoke up about the politics of sexuality in his public speeches arguably because his queer project is conceived in opposition to the identity politics that subtends grassroots political activism. White’s opposition to identity politics is expressed – can perhaps only be expressed – as a literary and aesthetic project that stands at a remove from street demonstrations and practical politicking. Queer theory, as a tool of literary analysis, helps us then to articulate a facet of White’s cultural politics that would otherwise remain hidden behind the very public portrait of White the activist.
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Young, Richard William. "The theatre of transcendence : Patrick White's last four novels." Thesis, 1995. https://eprints.utas.edu.au/21941/1/whole_YoungRichardWilliam1996_thesis.pdf.
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White's fiction is a writing under pressure from the twin claims of
being and becoming. In his earlier novels, for example The Tree of Man,
the essential and absolute structures of being emerge as the ultimate
ground of existence. White was always concerned with the flow of
existence, and in particular, with the question of identity. The question
White particularly wrestles with is whether identity is reducible to the
unchanging forms of being, or whether it is given over to the flux of
existence. White's project became, in part, an attempt to find a trope
which would contain, without reconciling, the dual claims of being and
becoming.
In his last four novels, The Eye of the Storm, A Fringe of Leaves, The
Twyborn Affair, and Memoirs of Many in One, the theatrical emerges as a
structure which contains within its form both being and becoming. The
theatrical presents a structure which consists of an enclosing form in
which an action —a becoming—unfolds. The enclosing form appropriates
being to its structure, while the action appropriates becoming. The
theatrical thus operates as a metaphor of the reconciliation of the absolute
and the contingent. It is the theatrical, emerging ever more clearly in
White's last four novels, which determines the ultimately ungrounded
quality which they exhibit, and which denies any seeing of the ultimate.
The theatrical elements do not reflect any falling away of White's
powers as a writer, on the contrary, they signal a solution to the problem
which he wrestled with throughout his career: of holding together within
a fictional structure the antithetical claims of being and becoming. This
shifts White's fiction away from the modernist attempt to lay hold of the
ultimate and unchanging, and towards those concerns with existence as
such which might be characterised as post-modernist. In order to justify
this view of White's fiction, those philosophers who have contested the
notion that mind and language can reach the absolute—in particular
Kierkegaard, Nietzsche, Wittgenstein, Heidegger and Derrida—will be
appealed to.
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Brugman, Albert Pieter. "'Torture in the country of the mind', a study of suffering and self in the novels of Patrick White / Albert Pieter Brugman." Thesis, 1988. http://hdl.handle.net/10394/10864.
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This study is concerned with an evaluation of the suffering
and self of the elected characters in the novels of Patrick
White. The suffering these elected characters endure, apart
from the uncomprehending antagonism of society, takes place
mainly in the country of the mind - "that solitary land of
the individual experience, in which no fellow footfall is
ever heard" (Epigraph to The Aunt's Story) - and is a form
of catharsis in preparatory to a reunion with God as the
Source of all Being. The suffering, whether of a psychic or
physical nature - or both - is complicated by the duality
between the esoteric and exoteric selves of the characters
involved. The nature of the suffering is always solitary.
The wisdom eventually gained from the suffering cannot be
shared. Contact with fellow elect is brief and without consequence
except for mutual recongnition of "outsidership".
It is clear that the elected character has no apparent control
of what happens to him in life. The reader gains the
impression that the elected characters in White's novels are
the involuntary victims of some "malign" life-force that,
paradoxically, brings about a state of grace. White touches
on, but wisely prefers not to examine, the problems of
predestination and euthanasia.
The elected characters are all outsiders in the sense that
they are, in some psychic or physical manner, different from
the members of the society in which they find themselves.
In the earlier novels the elected characters' alienism is
characterised by their intuitive awareness of another, nonphysical,
transcendent plane of being - "There is another
world, but it is in this one" (Epigraph to The Solid
Mandala) . Progressive reading of White's novels reveals
that his conception of suffering, despite disavowal, is in
line with the Biblical concept of suffering as described in
Paul's letter to the Romans.
The non-elected members of society with whom the elect come
into conflict either do not understand or are unwilling to
admit their intuitive awareness that there is another world
within the familiar one, a concept White frequently refers
to in his image of boxes and boxes within boxes. The secret
knowledge the elect seem to have antagonises the other members
of society because of the sense of loss they experience.
White's later novels reveal a concern with sexually aberrated
suffering which is closely aligned to his own unhappiness.
The sexual duality that is an essential aspect of
Theodora Goodman's (The Aunt's Story) dilemma gains progressively
more of White's attention and is eventually exposed
in his biography of Eddie Twyborn (The Twyborn Affair).
White's concern with abnormal sexuality is related to his
disquiet with the mystery of the soul baing "housed” in a
body not only unsuitable, but also contrary to the nature of
the psyche which is either predominantly male or female.
White is clearly angry that this mystery should be the
profound result of momentary lust. Although so many of
White's elect labour under spiritually destructive burdens
of guilt, the parents who are considered the root cause of
all suffering in a post-lapsarian state, feel little of any
compunction because they are too concerned with their own
suffering, real or imagined.
God as Source or God as the "One" is an all-pervading, if
unacknowledged force in White's corpus and in the lives of
his elect. The elect turn to God only when they have suffered
and acknowledged their dependence on Him.
It is sad that White should, in the end not find himself in
"the boundless garden" with Stan Parker (The Tree of Man).
He seems to share the fates of Theodora Goodman (The Aunt's
Story) and Arthur Brown (The Solid Mandala).Thesis (DLitt)--UOVS, 1989
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Plush, Vincent Patrick. "Music in the life and work of Patrick White." Thesis, 2017. http://hdl.handle.net/2440/113616.
Full textAbstract:
Arguably, Patrick White (1912-1990) is Australia’s best known and most celebrated writer.
In a working life spanning almost seven decades, he produced twelve novels, eight
produced plays, three books of short stories and several collections of poetry, as well as
several film scripts (only one of which was produced during his lifetime), countless essays
and possibly around 5,500 letters.
This study traces the role of music in White’s life, and details the extent to which music
played a part in his literary praxis, both at the narrative level, and as a structural
framework. A survey of White’s exposure to, and subsequent embrace of music over the
course of his life is followed by a critical overview the extent to which music shaped four
significant works. These case studies comprise three published novels – The Aunt’s Story
(1948), Voss (1957) and The Vivisector (1970) – as well as an unpublished film script – The
Monkey Puzzle (1978). Together, they represent four distinct periods of his creative life and
exemplify not simply the growing importance of music in his creativity, but the maturation
of his musical tastes and knowledge of music.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2018
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Kulemeka, Andrew Tilimbe Clement. "Ambivalence and scepticism in Patrick White's later novels." Master's thesis, 1986. http://hdl.handle.net/1885/139564.
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Day, Natalie. "Expressionism and the unconfined female protagonist in three novels by Patrick White." Thesis, 2019. http://hdl.handle.net/1959.7/uws:55116.
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This thesis examines how Patrick White’s expressive portrayal of the confined femaleprotagonists in three of his novels: The Aunt Story (1948), Voss (1957), and A Fringe ofLeaves (1976) enacts their ultimate liberation. I propose that the women are restricted bythe social conventions of their gender, but are given opportunities to escape theserestrictions via their expressive responses to their relationships and circumstances.Scholarly research has given limited attention to the key female characters of White’snovels in a way that does not closely analyse the expressive depictions of their conditionsand behaviour. Passages and episodes in the novels reveal their characters, conditions,relationships, and reactions or responses to the world around them. This requires theclose examination I provide in this thesis to determine how White’s expressionistic stylegives agency to his female characters. I analyse each novel from the perspective of thefemale protagonist: Theodora Goodman in The Aunt’s Story, Laura Trevelyan in Voss, andEllen Roxburgh in A Fringe of Leaves, and explore their narrative trajectories. The firstchapter considers Theodora Goodman’s life at Meroë, and her experiences as she movesbeyond her home to the Jardin Exotique and later her meeting with Holstius in America.I outline how Theodora’s transitory state psychologically and imaginatively enables her toreconcile illusion and reality. In the second chapter I contend that Laura Trevelyan is thetrue protagonist of Voss. I examine how her experience defies boundaries as sheimaginatively joins Voss on his expedition and demonstrates: “knowledge was never amatter of geography. Quite the reverse, it overflows all maps that exist” (V 275). Myclose analysis of Laura’s journey examines how White’s use of characterisation, gender,space, and relationships leads to Laura’s transcendent experience, eclipsing Voss. Thefinal chapter on Ellen Roxburgh in A Fringe of Leaves identifies the masquerades and rolesshe plays in direct response to the men in her life. My analysis of Ellen is split into twoclear parts: before and after her shipwreck and capture – before and after the socialmasks are removed – where I explore her agonising immersion into a more primitivesense of self. I conclude that at the end of their narratives all three discover somethingprofound, and present a visionary intelligence that transcends ordinary existence. White’sexpressive portrayal of the women throughout these experiences reveals their agency.