Dissertations / Theses on the topic 'Rachel Criticism and interpretation'
To see the other types of publications on this topic, follow the link: Rachel Criticism and interpretation.
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 'Rachel Criticism and interpretation.'
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
O'Brien, Lauren Leigh. "Self, family and society in Nadine Gordimer's Burger's Daughter, Rachel Zadok's Gem Squash Tokoloshe, and Doris Lessings's The Grass is Singing." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006771.
Full textAbstract:
This dissertation examines Nadine Gordimer’s Burger’s Daughter, Rachel Zadok’s Gem Squash Tokoloshe, and Doris Lessing’s The Grass is Singing. It focuses on the development of each of the protagonists’ identities in three realms: the individual, the familial and the societal. Additionally, it is concerned with the specific socio-political contexts in which the novels are set. It employs psychoanalytic and historical materialist frameworks in order to engage with the disparate areas of identity with which it is concerned. The introduction establishes the analytical perspective of the dissertation and explores the network of theoretical frames on which the dissertation relies. Additionally, it contextualises each of the novels, within their historical contexts, as well as in relation to the theory. The first chapter examines Nadine Gordimer’s Burger’s Daughter. It focuses on the protagonist’s assertion of an identity independent of her father’s role as a political activist, and her eventual acceptance of the universal difficulty in negotiating a life which is both private and political. The second chapter, on Rachel Zadok’s Gem Squash Tokoloshe, examines the relationship between the protagonist’s traumatic experiences as a child and her inability to assert an identity as an adult. The similarities between the protagonist’s attempts to address her traumas and thereby create herself anew and South Africa’s employment of the Truth and Reconciliation Commission as a means to acknowledge and engage with its traumatic history is of import. The third chapter which deals with Doris Lessing’s The Grass is Singing traces the life of its protagonist, whose identifications remain childish as a result of having witnessed her parents’ difficult relationship. Her understanding of the world is informed by a rigid, binary understanding, which is ultimately disrupted by her relationship with a black employee. She is incapable of readjusting her frame of reference, however, and ultimately goes mad. I conclude that, while my focus has been on personal, familial and social identifications, the standard terms in which identity is examined, namely, race, class, and gender, are present in each of the three tiers of identity with which I have been concerned.
2
Roux, Rowan Pieter. "Experiencing loss : traumatic memory and nostalgic longing in Anne Landsman's The Devil's Chimney and The Rowing Lesson, and Rachel Zadok's Gem Squash Tokoloshe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006854.
Full textAbstract:
This thesis examines the experience of loss in Anne Landsman’s novels The Devil’s Chimney (1997) and The Rowing Lesson (2008), and Rachel Zadok’s Gem Squash Tokoloshe (2005). Positing the Truth and Reconciliation Commission (TRC) as an impetus for emerging literary traditions within contemporary South African fiction, the argument begins by evaluating the reasons for the TRC’s widespread impact, and considers the role that the individual author may play within a culture which is undergoing dramatic socio-political upheavals. Through theoretical explication, close reading, and textual comparison, the argument initiates a dialogue between psychoanalysis and literary analysis, differentiating between two primary modes of experiencing loss, namely traumatic and nostalgic memory. Out of these sets of concerns, the thesis seeks to understand the inextricability of body, memory and landscape, and interrogates the deployment of these tropes within the contexts of traumatic and nostalgic loss, examining each author’s nuanced invocation. A central tenet of the argument is a consideration, moreover, of how the dialogic imagination has shaped storytelling, and whether or not narrative may provide therapeutic affect for either author or reader. The study concludes with an interpretation of the changing shape of literary expression within South Africa.
3
Mokhele, M. P. "Race relations in two post-apartheid Sesotho farm novels." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50434.
Full textAbstract:
Thesis (MA)--University of Stellenbosch, 2005.ENGLISH ABSTRACT: This study examines the presentation of race relations in two Sesotho novels written after 1994. The purpose of the study is to establish whether or not post-apartheid Sesotho novels present race relations as they were presented during the apartheid era. The novels of focus are, N.S. Zulu's Nonyana ya Tshepo (The bird of hope) (1997) and T.W.D. Mohapi's Lehfaba fa fephako (The pain of hunger) (1999). The manner in which the authors who wrote during the two distinct eras presented the issue of race and presented race relations will be the focal point. At the end of this study it should be clear whether or not authors after 1994, that is, after the apartheid era continue to present race relations in an idealistic manner. During the apartheid era authors such Lesoro (1968) and Mophethe (1966) were very cautious when presenting race relations in their novels. The common factor in these novels is the portrayal of the white Afrikaner characters by the authors. White characters were portrayed as very merciful, good Samaritans and their relationship with their black counterparts were often harmonious and crisis free. Attributes of race such as racial discrimination, racial hatred, racial conflict and racial intolerance were seldom spoken about in those novels. This is reminiscent of the notorious apartheid laws, which prohibit freedom of press. White characters in some novels published during the apartheid era were not characters derived from real life. In N.S. Zulu's novel, Nonyana ya Tshepo we examine the portrayal of the characters from the two distinct races, black Africans and white Afrikaners. The author portrays the two groups of characters to be what Scholes (1981 :11) calls characters representative of a social class, race and a profession. Black characters are portrayed as the exploited, which are always inferior, submissive and subjected to racial discrimination by their white counterparts. White Afrikaners are portrayed as the exploiters, who are superior, oppressors and the ones who further the policy of apartheid. This state of affairs prompted the black Africans to develop hatred towards the Whites. Instead of idolizing their masters, Blacks do the opposite. Our main character, Tshepo who is said to be fathered by the white Afrikaner, is marginalized by his fellow Blacks and declared an outcast. In T.W.D. Mohapi's novel, Lehlaba la lephako, the main character, Seabata who lusts for power and wealth is seen struggling for both at the expense of his fellow black Africans. Seabata is used by his white boss, Sepanapodi, to maintain the legacy of apartheid. The narrator portrays Seabata in such a way that he could carry out his boss' mission. Seabata is power hungry and always likes to please his boss to attain that, even if that means creating enmity with his own black people. Seabata's socio-economic status makes him vulnerable to manipulation by Sepanapodi. Seabata was advised by his father that he should always strive to please his master in order to gain glory and wealth. He followed the advice slavishly and that left him devastated. He found himself at loggerheads with his colleagues, with the pastor, Nkgelwane, with a local teacher, Mohanelwa and with his wife, Mmabatho. Conflict between Seabata and the community is caused by the pain of hunger.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om ondersoek in te stel of die twee Sesotho novelles wat na 1994 geskrywe is, die verhouding tussen verskillende rasse behandel. Die doel van die studie is om uit te vind of die Sesotho novelles wat gedurende die tydperk van apartheid die aanbieding van rasse-verhouding dek, soos wat dit aangewys was gedurende die tydperk van apartheid. Die ondersoek sal gedoen word met die vergelykking van twee novelles wat na 1994 geskrywe is, d.w.s. N.S. Zulu se Nonyana ya Tshepo en T.W.D. Mohapi se Leh/aba /a /ephako . Die manier waarop die twee skrywers wat gedurende die twee afsonderlike tydperk, die kwessie van rasse behandel, en hoe hulle dit aangebied het, sal die fokuspunt wees. Aan die einde van hierdie studie moet dit duideliker word aan die lesers tot watter mate die skrywers wat na 1994 geskryf het, d.w.s na die apartheid tydperk, nog die rasse-verhouding op 'n idealistiese manier aangebied het. Die skrywers wat gedurende die apartheid tydperk geskrywe het, soos Lesoro (1968) en Mophethe (1966) was baie versigtig toe hulle die rasse-verhouding in hulle novelles aangebied het. Die gewone faktor van hierdie novelles is die uitbeelding van die wit Afrikaners se karakters deur die skrywers. Wit karakters is altyd as baie barmhagtig, en as goeie Samaritane beskrywe, en hul verhouding teenoor hulle swart teenhangers is dikwels eensgesind en vry van krisis uitgebeeld. Die hoedanigheid van rasseonderskeiding wat rassehaat, rasse in stryd met mekaar, en rasse onverdraagsaamheid, is in daardie tyd seide van geskryf in die novelle. Dit herinner die leser aan die ongunstige apartheidswette wat nie vryheid van die pers toegelaat het nie. Wit karakters, in sommige novelle wat gedurende die tydperk van apartheid gepubliseer is, is nie karakters wat van die ware lewe afgelei is nie. In N.S. Zulu se novelle, Nonyana ya Tshepo word 'n uitbeelding gemaak van karakters van die twee afsonderlike rasse, die swart Afrikaners en die wit Afrikaners. Die skrywer beeld die twee groepe van karaktes as die wat Scholes (1981 :11) noem die wat verteenwoordigend van 'n sosiale klas, rasse en beroep is. Swart karakters is beskrywe as diegene wat geeksploiteer word, wat altyd as minderwaardige, onderworpe en mindere rasse beskou word. Hulle word gediskrimineer deur hulle wit landgenote. Wit Afrikaners is beskou as die eksploiteerders, wat die voortreflike onderdrukkers is en wat wat die beleid van apartheid laat voortgaan. Hierdie toestand het die swart Afrikaners gelei om haat te ontwikkel teenoor die Wittes. In plaas van om hulle meesters eer te bewys, het die swart Afrikaners die teenoorgestelde gedrag. Die hoofkarakter, Tshepo, wat geglo is dat hy kind van die wit Afrikaner is, is deur sy mense verban en as verworpeling verklaar. In T.W.D. Mohapi se novelle, Lehlaba la lephako het die hoofkarakter, Seabata, begeertes van mag en rykdom. Hy word opgelei as 'n stryder op koste van sy medemense, swart Afrikaners. Seabata is deur sy wit meester, Sepanapodi misbruik om die nalatenskap van apartheid te handhaaf. Die verteller beeld Seabata af op so 'n manier dat dit duidelik is dat Seabata sy baas se opdrag sou voortdra. Hy, Seabata het 'n wens om mag te he en bo alles om sy baas tevrede te stel op koste van ander swart Afrikaners, al maak dit hom 'n vyand van sy mense. Seabata se sosiale status het hom laat kwesbaar ge stel teenoor Sepanapodi se manipulasie. Sy vader het hom advies gegee dat hy altyd sy meester moes bevredig ter wille van glorie en rykdom. Hy het toe die advies van sy vader slaafs nagevolg, daarom het dit hom in 'n neerdrukkende gevoel laat eef. Aan die einde is hy in 'n konflik met andere soos sy kollegas, die plaaslike predikant, Nkgelwane, die onderwyser, Mohanelwa en sy vrou. Die stryd wat Seabata met al die mense in die gemeenskap het, is die oorsaak van hongersnood.
4
Cheuk, Ka Chi. "Protest literature : aesthetics and race politics in Toni Morrison's historiographic trilogy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1515.
Full text
5
Pietrobruno, Sheenagh. "Myths of the body : performing identity in Genet." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56642.
Full textAbstract:
The issue of sexual and racial identity unfolds in a paradoxical light in Genet's works. Identity as a fixed essence is both deconstructed and maintained. His enigmatic portrayal of identity is addressed from a theoretical perspective which combines seemingly contradictory positions, namely essentialism and deconstruction. Such a theoretical stand claims that although identity categories are not fixed essences and consequently can be deconstructed, they must be maintained as political categories in order to deal with oppressive systems which construct essentialist-based identities. Through Genet's presentation of identity as a body performance, race and sex are deconstructed. At the same time, he illustrates how male dominance and racism maintain identities as fixed categories.
6
Pettus, Sydney M. "Say make me, remake me : exposing and subverting negative racial sterotypes in the works of Toni Morrison and Carrie Mae Weems." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/239.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
7
Gomes, Maria José Pereira. "Língua, sujeito e enunciação em "Memorial de Maria Moura": deslizamentos metonímicos e metafóricos." Universidade Católica de Pernambuco, 2009. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=321.
Full textAbstract:
A presente dissertação tem um objeto de estudo situado entre três áreas do saber. Desse modo, traz como objetivo geral, investigar a relação da língua, do sujeito e da enunciação em Memorial de Maria Moura. E como objetivos
específicos: a) compreender a concepção de língua presente na obra, articulando-a a noção de alíngua; b) analisar os deslizes dos nomes através dos eixos metonímico e metafórico; c) estudar o sujeito do inconsciente,
articulando-o ao movimento da língua/alingua para a composição do romance. Para tanto, foi desenvolvida uma pesquisa teórico-empírica qualitativa, cujos procedimentos metodológicos adotados consistiram em trazer categorias de
análise advindas das teorias de Saussure, Benveniste, Jakobson, Lacan-Freud, bem como os trabalhos de Milner (1987), Authier-Revuz (1998-2004), dentre outros. Tendo em vista que, sobre a linguagem, poderia se pensar que os
linguistas procuram dar conta do funcionamento da linguagem dita corrente, no entanto, quanto ao funcionamento da linguagem poética, esse é visto pelo viés do desvio, dos deslizes, sendo, portanto, concebida como uma manifestação
da prática linguística. Assim, seria a própria criação literária, enquanto manifestação de uma vivência da língua, uma contribuição importante para uma teoria da linguagem. No que concerne a relação entre a linguística e a psicanálise, segundo Flores (2002), dá-se por uma articulação sem muitos
problemas, visto que, o interesse desta pela linguagem está posto desde os primeiros textos de Freud. É assim, uma relação que se estabelece pelo estudo do sujeito e do sentido, para tanto, lembramos Milner (1987), em O amor da
língua, trazendo determinadas questões linguísticas, impossíveis de serem descritas sem que para isso, haja a intervenção do sujeito o sujeito lacaniano. Lidar com as questões da língua, do sujeito e da enunciação, num
entrecruzamento de saberes distintos: a linguística, a literatura e a psicanálise lacaniana, encontrando nelas, pontos de ancoragem comuns, e até divergências, no trato do fenômeno abordado, no caso a constituição do sujeito
do inconsciente enquanto sujeito da enunciação. Não obstante, a interlocução entre a linguística e outros campos do saber tem sido um tema polêmico, é oportuno observar que, iniciar uma investigação que associe os estudos
linguísticos à análise literária durante muito tempo representou uma tarefa de risco, pois conforme Maingueneau (1996, p. 1), as relações entre Linguística e a Análise da Literatura não estão nem um pouco claras, sobremaneira,
separadas por um fosso. De certo, a relação entre Linguística e Literatura costuma ser vista como sendo unilateral, ou seja, o que é visado é a contribuição da ciência da linguagem para a compreensão do texto literárioThis dissertation is an object of study between three areas of knowledge. Thus, the goal has generally, to investigate the relationship of language, and the subject of enunciation in Memorial of Maria Moura. And as specific objectives: a) understand the concept of language in this work, linking it to the notion of alíngua b) examine the slide of the names of the axes through metaphorical metonymy and c) studying the subject of the unconscious, linking it to movement of the tongue / alingua for the composition of the novel. Thus was developed a theoretical and empirical qualitative research, the methodological procedures adopted consisted in bringing categories of analysis derived from theories of Saussure, Benveniste, Jakobson, Lacan, Freud, and the work of Milner (1987), Authier-Revuz ( 1998-2004), among others. Considering that, on language, might be thought that linguists seek to convey the current functioning of language itself, however, regarding the functioning of poetic language, this bias is seen by the deviation of the slide and therefore conceived as a manifestation of linguistic practice. It would be his own literary creation, as expressions of an experience of language, an important contribution to a theory of language. With regard to the relationship between language and psychoanalysis, according to Flores (2002), there is a link without many problems, since the interest of the language is made since the first texts of Freud. Thus, a relationship that is established by the study of the subject and the sense to do so, remember Milner (1987), in the love of language, bringing some language issues, impossible to be described without having to do that, there is the intervention of the subject - the Lacanian subject. Dealing with issues of language, and the subject of enunciation, in a separate crossover of knowledge: the language, literature, and Lacanian psychoanalysis, finding them, anchor points in common, and even differences in the treatment of the phenomenon addressed, if the constitution the subject of the unconscious as a subject of enunciation. However, the interaction between linguistic and other fields of knowledge has been a controversial topic, it should be noted that, starting a research study involving the analysis of literary language long represented a task of risk, because as Maingueneau (1996, p. 1), the relationship between language and Analysis of Literature are not a clear, above all, separated by a gap. To some, the relationship between linguistics and literature is usually seen as unilateral, that is what is sought is the contribution of the science of language to understand the literary text
8
Béjar, Pachas Giovanna. "La sombra del racismo peruano en los cuentos de Julio Ramón Ribeyro /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82682.
Full textAbstract:
Ce resume analyse le phenomene du racisme dans les oeuvres de l'auteur peruvien Julio Ramon Ribeyro comme etant le reflet de la societe peruvienne contemporaine. L'auteur se sert d'arguments percutants pour confronter l'ordre etabli; un ordre qui refuse toujours d'acquiescer l'existence de ce phenomene. Pour nous, ce fait social transgresse la constitution de cette nation equitable envers tous ses membres, et par le fait meme, merite qu'on l'examine de plus pret et qu'on lui porte une attention toute particuliere.Le premier chapitre decrit le contexte historique de ces recits. De plus, il va inclure une presentation des faits politiques majeurs qui ont affecte ce phenomene qui est le racisme au Perou, durant le vingtieme siecle. Pour clore le chapitre, nous allons etudier le milieu social et professionnel de l'auteur. Dans le deuxieme chapitre, nous allons tenter de definir des termes essentiels tels que: race, ethnique et racisme, dans le contexte social peruvien. Finalement, dans le troisieme chapitre, nous allons analyser- en se servant des informations etablies auparavant- huit des recits de Ribeyro. Ces histoires, tous ecrits entre 1960 et 1990, traite sur le sujet du racisme.
9
Pycroft, Hayley. "Beyond Afrocentricism and Orientalism contemporary representations of transnational identities in the works of Nontsikelelo "Lolo" Veleko and Tracy Payne." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002216.
Full textAbstract:
South African photographer Nontsikelelo “Lolo” Veleko and South African painter Tracy Payne explore different ways of communicating African realities. The visual imagery of these two artists focuses a lot on movement, challenging the rigidity of boundaries set by Western social constructs. In their work, Veleko and Payne critique the limitations of terms such as “authenticity.” It is extremely difficult to portray shifting notions of contemporary African identity in light of the stain of colonial philosophies which have, in times past, exoticised and appropriated the African body and ascribed conventions of “authenticity” to African representations. Undermining the burden of Western boundaries1, Veleko and Payne redefine what it means to operate in Africa today. Veleko seeks additional cultural realities to complicate her identity as a woman living in Africa while Payne uses concepts of movement to question the validity of structures which advocate an either/ or binary such as “East” and “West” and “masculinity” and “femininity”. By subtly merging aspects of these binaries in their representations, Veleko and Payne bring transnational possibilities to light by undermining the restrictions inscribed in the social and political history of (South) Africa with regard to collective and individual identities. Constructs of gender have contributed to a heightened sense of “African” “masculinity,” forming a stereotype of the African body which is difficult to break free from. Considering the notion of transnationalism and the issue of moving beyond boundaries, borrowing aspects of different cultures in attempt to better define a sense of self, Veleko and Payne engage in the sampling of different lifestyles and perspectives to better define their individualities. This thesis seeks to provide an analysis of the visual language used by Veleko and Payne to promote fluid “African” identities.
10
Kenqu, Amanda Yolisa. "The black and its double : the crisis of self-representation in protest and ‘post’-protest black South African fiction." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020835.
Full textAbstract:
This study explores the crisis of representation in black South African protest and ‘post’-apartheid literature. Conversant with the debates on the crisis of representation in black South African protest literature from the 1960s to the late 1980s, the dissertation proposes a re-reading of the ‘crisis’ by locating it in the black writer’s struggle for an aesthetic with which to express the existential crisis of blackness. I contend that not only protest but also contemporary or ‘post’-protest black South African literature exhibits a split or fractured mode of writing which is characterised by the displacement/unheimlichheid produced by colonialism and apartheid, as well as by the contentious nature of that which this literature endeavours to capture – the fraught identity of blackness. In my exploration of the split or double narratives of Mongane Serote’s To Every Birth Its Blood, K. Sello Duiker’s Thirteen Cents, and Kopano Matlwa’s Coconut, I examine the representation of blackness through the themes of violence, trauma, powerlessness, failure, and unhomeliness/unbelongingness – all of which suggest the lack of a solid foundation upon which to construct a stable black identity. This instability, I ultimately argue, suggests a move beyond an Afrocentric perspective on identity and traditional tropes of blackness towards a more processual, fluid, and permeable post-black politics.
11
Gomes, Maria José Pereira. "Língua, sujeito e enunciação em "Memorial de Maria Moura": deslizamentos metonímicos e metafóricos." Universidade Católica de Pernambuco, 2008. http://tede2.unicap.br:8080/handle/tede/109.
Full textAbstract:
Made available in DSpace on 2017-06-01T18:08:26Z (GMT). No. of bitstreams: 1
dissertacao_maria_jose_gomes.pdf: 800478 bytes, checksum: eef29e32cfe9ea7c0dda1aca8603d88a (MD5)
Previous issue date: 2008-05-05This dissertation is an object of study between three areas of knowledge. Thus, the goal has generally, to investigate the relationship of language, and the subject of enunciation in Memorial of Maria Moura. And as specific objectives: a) understand the concept of language in this work, linking it to the notion of alíngua b) examine the slide of the names of the axes through metaphorical metonymy and c) studying the subject of the unconscious, linking it to movement of the tongue / alingua for the composition of the novel. Thus was developed a theoretical and empirical qualitative research, the methodological procedures adopted consisted in bringing categories of analysis derived from theories of Saussure, Benveniste, Jakobson, Lacan, Freud, and the work of Milner (1987), Authier-Revuz ( 1998-2004), among others. Considering that, on language, might be thought that linguists seek to convey the current functioning of language itself, however, regarding the functioning of poetic language, this bias is seen by the deviation of the slide and therefore conceived as a manifestation of linguistic practice. It would be his own literary creation, as expressions of an experience of language, an important contribution to a theory of language. With regard to the relationship between language and psychoanalysis, according to Flores (2002), there is a link without many problems, since the interest of the language is made since the first texts of Freud. Thus, a relationship that is established by the study of the subject and the sense to do so, remember Milner (1987), in the love of language, bringing some language issues, impossible to be described without having to do that, there is the intervention of the subject - the Lacanian subject. Dealing with issues of language, and the subject of enunciation, in a separate crossover of knowledge: the language, literature, and Lacanian psychoanalysis, finding them, anchor points in common, and even differences in the treatment of the phenomenon addressed, if the constitution the subject of the unconscious as a subject of enunciation. However, the interaction between linguistic and other fields of knowledge has been a controversial topic, it should be noted that, starting a research study involving the analysis of literary language long represented a task of risk, because as Maingueneau (1996, p. 1), the relationship between language and Analysis of Literature are not a clear, above all, separated by a gap. To some, the relationship between linguistics and literature is usually seen as unilateral, that is what is sought is the contribution of the science of language to understand the literary text
A presente dissertação tem um objeto de estudo situado entre três áreas do saber. Desse modo, traz como objetivo geral, investigar a relação da língua, do sujeito e da enunciação em Memorial de Maria Moura. E como objetivos específicos: a) compreender a concepção de língua presente na obra, articulando-a a noção de alíngua; b) analisar os deslizes dos nomes através dos eixos metonímico e metafórico; c) estudar o sujeito do inconsciente, articulando-o ao movimento da língua/alingua para a composição do romance. Para tanto, foi desenvolvida uma pesquisa teórico-empírica qualitativa, cujos procedimentos metodológicos adotados consistiram em trazer categorias de análise advindas das teorias de Saussure, Benveniste, Jakobson, Lacan-Freud, bem como os trabalhos de Milner (1987), Authier-Revuz (1998-2004), dentre outros. Tendo em vista que, sobre a linguagem, poderia se pensar que os linguistas procuram dar conta do funcionamento da linguagem dita corrente, no entanto, quanto ao funcionamento da linguagem poética, esse é visto pelo viés do desvio, dos deslizes, sendo, portanto, concebida como uma manifestação da prática linguística. Assim, seria a própria criação literária, enquanto manifestação de uma vivência da língua, uma contribuição importante para uma teoria da linguagem. No que concerne a relação entre a linguística e a psicanálise, segundo Flores (2002), dá-se por uma articulação sem muitos problemas, visto que, o interesse desta pela linguagem está posto desde os primeiros textos de Freud. É assim, uma relação que se estabelece pelo estudo do sujeito e do sentido, para tanto, lembramos Milner (1987), em O amor da língua, trazendo determinadas questões linguísticas, impossíveis de serem descritas sem que para isso, haja a intervenção do sujeito o sujeito lacaniano. Lidar com as questões da língua, do sujeito e da enunciação, num entrecruzamento de saberes distintos: a linguística, a literatura e a psicanálise lacaniana, encontrando nelas, pontos de ancoragem comuns, e até divergências, no trato do fenômeno abordado, no caso a constituição do sujeito do inconsciente enquanto sujeito da enunciação. Não obstante, a interlocução entre a linguística e outros campos do saber tem sido um tema polêmico, é oportuno observar que, iniciar uma investigação que associe os estudos linguísticos à análise literária durante muito tempo representou uma tarefa de risco, pois conforme Maingueneau (1996, p. 1), as relações entre Linguística e a Análise da Literatura não estão nem um pouco claras, sobremaneira, separadas por um fosso . De certo, a relação entre Linguística e Literatura costuma ser vista como sendo unilateral, ou seja, o que é visado é a contribuição da ciência da linguagem para a compreensão do texto literário
12
Sneddon, Andrew John. "Discourses of race, place and nationalism in the writing of Neil M. Gunn." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/367.
Full textAbstract:
My thesis examines the early and middle periods of Neil M. Gunn’s writing career in the context of contemporaneous debates and discourses emergent in Scottish political and cultural nationalism. I locate my thesis within a new, broad development in Scottish Studies which is adopting more rigorously analytical, interdisciplinary and theorised models of interpretation. The first chapter examines Gunn’s own nationalism in the light of other contemporaneous Scottish nationalisms and assert that it is moderate in tone but radical, being based on a model of cultural repression / resistance. I examine current theoretical approaches to the study of nationalism and adopt the analytical methods of Anthony D. Smith’s ethno-symbolism. The second chapter examines Gunn’s used of racial figures of speech and concludes that he carefully constructs a politicised account of Scotland’s early history. This account is predicated on a theory of racial essentialism communicated through the visual clue of race. The third chapter examines Gunn’s racial tropes alongside those of D. H. Lawrence and fellow Scottish novelist James Leslie Mitchell (Lewis Grassic Gibbon). I demonstrate how they share an interest in aesthetic primitivism. All three writers adopt radical political positions based on the rejection of ‘whiteness’ and modernity. The last chapter examines Gunn from the perspective of current landscape theory, and analyses how his use of what Denis E, Cosgrove calls ‘inside’ and ‘outside’ positions is figured in his novels, and in his contribution to the Highland Hydro-Electric debates of the 1930s and 1940s. I conclude that Gunn is a profoundly political writer and urge a reassessment of his oeuvre in this light.
13
Elsmore, Cheryl Laverne. "Contemporary American Indian storyteller, N. Scott Momaday: Rhetorical tradition and renewal." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/629.
Full text
14
Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
Full textAbstract:
Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
15
Hoyer, Steven. "Intention and interpretation." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68104.
Full textAbstract:
This thesis is in two chapters. Chapter one is about intentions. Literary theorists have, by and large, dismissed their relevance to interpretation, so it will be useful to consider what exactly is being ignored. Therefore, I devote chapter one to a clarification of the nature and role(s) of intention within the interlocking network of basic propositional attitudes. I argue that intentions incorporate both a functional and a representational dimension, triggering actional mechanisms and structuring the process of practical reasoning.Chapter two is about interpretation. I open the chapter with an examination of extreme conventionalist theses, arguing that their success depends on an unjustifiably strict demarcation between intentionality and textuality. Appropriating aspects of Donald Davidson's work in the philosophy of language, I argue for the recognition of linguistic communication as a form of intentional action. I then defend this thesis against more moderate conventionalist theories to offer a viable approach to the interpretation of literary works.
16
Buckholz, Lana Lee. "Peer Conversations about Inter-racial and Inter-ethnic Friendships." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1542.
Full textAbstract:
The purpose of this study was to understand how early adolescents talk about cross-racial and cross-ethnic friendships. Gordon Allport's intergroup contact theory provided the framework for studying the elements needed for inter-racial and inter-ethnic friendship formation. Qualitative data were drawn from four separately recorded peer group conversations. Participants (n=18) were recruited from Parrish Middle School in Salem, Oregon. Patterns that emerged from the data were sorted, categorized and identified according to the tenets of intergroup contact theory or extensions of intergroup contact theory. Analysis also looked at the use of metaphors and storytelling among adolescents. Results showed that while intergroup contact theory tenets of interdependence and common goals can foster cross-ethnic and cross-racial friendships, most students form these friendships through friendship chaining and common interests. Dual racial identity and peer group influence can also be positive factors in cross-racial and cross-ethnic friendship development. Further, storytelling examples by adolescents showed similar techniques to those used by adults. Overall the results from this study support intergroup contact theory as continuing to be a useful conceptual framework for encouraging cross-group relations.
17
Phiri, Aretha Myrah Muterakuvanthu. "Toni Morrison and the literary canon whiteness, blackness, and the construction of racial identity." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002255.
Full textAbstract:
Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African-American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race. In Chapter Four I focus on Tar Baby and argue that this novel reveals Morrison’s somewhat essentialist position on blackness and racial, cultural, and gendered identity, particularly as this pertains to responsibilities she places on the black woman as culture-bearer. In Chapter Five I argue that Paradise, while taking a particularly challenging position on blackness, reveals Morrison’s evolving position on race, particularly her concern with the destructive nature of internalized racism. This thesis concludes that while racial identities have very real material consequences, whiteness and blackness are ideological and social constructs which, because of their constructedness, are fallible and perpetually under revision.
18
Anger, Suzy. "Victorian hermeneutics and literary interpretation /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9374.
Full text
19
Grobler, Lizette. "Verby Komatipoort? Rasseproblematiek in die Portugees-Afrikaanse reisverhale van Elsa Joubert." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21212.
Full text
20
Silva, Regina Helena Ribeiro. "Escritas entrecruzadas: leitura das crÃnicas e contos de Rachel de Queiroz (1928-1952)." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19807.
Full textAbstract:
nÃo hÃEsta pesquisa se debruÃa sobre a atividade jornalÃstico-literÃria de Rachel de Queiroz (1910-2003), publicada na imprensa cearense, no perÃodo de 1928-1952 que ganha contorno num cenÃrio no qual os limites mÃveis do exercÃcio da escrita desempenham papel fundamental na sua formaÃÃo de escritora. Com acesso Ãs fontes primÃrias que se compÃem de arquivos digitalizados dos textos originais, torna-se possÃvel analisar a produÃÃo cronÃstica de Rachel de Queiroz, no contexto da sua escrita em diÃlogo com o desenvolvimento da imprensa brasileira ao longo da primeira metade do sÃculo XX. O aporte teÃrico desta pesquisa tem como base crÃticos e teÃricos da Literatura como Antonio Candido, Massaud MoisÃs, Roland Barthes, Davi Arrigucci Jr., Haroldo de Campos, Henry James, Julio CortÃzar; assim como os historiadores Eric Hobsbawn, Durval Muniz Jr, Maria Helena Capelato, Nicolau Sevcenko e historiadores sociais da ComunicaÃÃo tais como Asa Briggs, Peter Burke, Cristiane Costa, Geraldo Nobre, e teÃricos do Jornalismo com destaque para Alceu Amoroso Lima, Nilson Lage e Josà Marques de Melo. Desta forma, os objetivos desta pesquisa constam da anÃlise e interpretaÃÃo de um conjunto de textos, no qual à possÃvel identificar elementos lÃtero-jornalÃsticos que se destacam desse entrecruzar de escritas e que se realizam num campo de constantes deslocamentos dos limites dos gÃneros literÃrio e jornalÃstico. Dividida em trÃs partes, esta pesquisa apresenta, no primeiro capÃtulo, o contexto histÃrico do desenvolvimento do gÃnero crÃnica no Brasil como atividade literÃria que marca o comeÃo da escrita de Rachel de Queiroz. No segundo, ganha destaque a reflexÃo sobre o gÃnero crÃnica, cujas fronteiras se deslocam entre a Literatura e o Jornalismo e analisamos os elementos que distinguem a escrita de Rachel de Queiroz na composiÃÃo da linguagem com a qual constrÃi os textos publicados em jornal. O terceiro capÃtulo consta de anÃlise e interpretaÃÃo de uma antologia de contos da escritora selecionados entre o conjunto de 168 crÃnicas que compuseram o corpus desta pesquisa.
This research focuses on the literary-journalistic activity of Rachel de Queiroz (1910-2003), published in Cearà and Rio de Janeiro press, within the period of 1928 to 1952, which it is shaped into a scenario where a mobile writing exercise plays a key role in her writing skills development. With the access to primary sources that are composed of files scanned from original texts, it becomes possible to analyze Rachel de Queiroz chronicle production in the context of her writing connected with the development of the Brazilian press throughout the first half of the twentieth century. This research is based on critics and theorists of literature as Antonio Candido, Massaud MoisÃs, Roland Barthes, Davi Arrigucci Jr., Haroldo de Campos, Henry James, Julio CortÃzar, as well as historians Eric Hobsbawm, Durval Muniz Jr, Maria Helena Capelato, Nicolau Sevcenko and social historians of Communication such as Asa Briggs, Peter Burke, Cristiane Costa, Gerald Nobre, and theorists of Journalism highlighting Alceu Amoroso Lima, Nilson Lage and Josà Marques de Melo. Thus, the objectives of this research contains the analysis and interpretation of a set of texts in which it is possible to identify literary-journalistic elements that stand out among this crossing of written materials and take place in a field of constant boundaries shifts of literary and journalistic genres. Divided into three parts, this research presents in the first chapter, the historical development of the chronicle genre in Brazil as literary activity that marks the beginning of the writing of Rachel de Queiroz. In the second section, it is highlighted the reflection on the chronicle genre, which boundaries move between Literature and Journalism. Moreover, the research analyzes the elements that distinguish the writing of Rachel de Queiroz in the composition of the language with which the author builds the texts published in newspapers. The third chapter consists of the analysis and interpretation of an anthology of short stories from the writer selected among the group of 168 chronicles that composed the corpus of this research.
21
Schlecht, Cristiane de V. "Olhares divergentes = Rachel de Queiroz e Graciliano Ramos." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269872.
Full textAbstract:
Orientador: Adélia Bezerra de MenesesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-16T09:55:25Z (GMT). No. of bitstreams: 1 Schlecht_CristianedeV_M.pdf: 831227 bytes, checksum: f046f422b379ac0c65e83c0a3a412b8a (MD5) Previous issue date: 2010
Resumo: Rachel de Queiroz e Graciliano Ramos são escritores que apresentam muitas semelhanças entre si: ambos são provenientes da região nordeste brasileira e iniciam sua produção ficcional na década de 1930, além de terem sido adeptos de ideologias de esquerda, em particular o comunismo, assim como boa parte da intelectualidade brasileira dessa época. A partir dessas semelhanças, este trabalho propõe um cotejo entre algumas das obras desses escritores: respectivamente O Quinze (1930) e Vidas Secas (1938), de um lado, e João Miguel (1932) e Angústia (1936), de outro. Para tanto, situam-se os dois escritores em face da crítica literária, além de se investigar a importância de cada um deles para o estudo da literatura brasileira até a atualidade. A partir da análise minuciosa de passagens e temas similares nas obras dos dois escritores, pode-se perceber que, apesar das inúmeras semelhanças entre essas obras e seus autores, eles se distanciaram em termos de eficácia estética em seus romances. Essa constatação é feita por meio da análise sobretudo de um elemento ficcional: o foco narrativo. Assim, ao se analisarem os narradores de cada um dos romances, fica explícita a diferença entre Rachel de Queiroz e Graciliano Ramos, chegando-se à conclusão de que este último foi capaz de alcançar, em suas obras, partindo de realidades e temas muito similares ao da escritora, qualidade literária bastante superior
Abstract: Rachel de Queiroz and Graciliano Ramos are writers who have many similarities between them: both are from the Northeast of Brazil and begin their fictional production in the 1930s, and were supporters of leftist ideologies, particularly communism, as well as good part of the intellectual community of that time. From these similarities, this paper proposes a comparison between some of the works of these writers, which are, respectively, O Quinze (1930) and Vidas Secas (1938), on the one hand, and João Miguel (1932) and Angústia (1936), on the other. Therefore, the two writers are situated in the face of literary criticism, and the importance of each to the study of Brazilian literature to the present is focalized. Upon careful examination of passages and similar themes in the works of the two writers, one can see that despite the many similarities between these works and their authors, they drifted apart in terms of effectiveness aesthetics in their novels. This observation is made by analyzing a particular element of fiction: the narrative focus. Thus, when analyzing the narrators of each of the novels, is the explicit difference between Rachel de Queiroz and Graciliano Ramos, and one came to the conclusion that Graciliano was able to achieve in his works, starting from the realities and issues that are very similar to Rachel, higher literary quality
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
22
Chaves, Ramon Silva. "A paratopia do estigma: identidade e relato de si no discurso Recordações do escrivão Isaías Caminha, de Lima Barreto." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21512.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-10-22T12:31:17Z
No. of bitstreams: 1
Ramon Silva Chaves.pdf: 1284894 bytes, checksum: 1ac63025fa80746c4b2dd18e342dae2a (MD5)Made available in DSpace on 2018-10-22T12:31:17Z (GMT). No. of bitstreams: 1 Ramon Silva Chaves.pdf: 1284894 bytes, checksum: 1ac63025fa80746c4b2dd18e342dae2a (MD5) Previous issue date: 2018-09-05
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This thesis looks at paratopia of stigma and black identity in the literary discourse Recordações do Escrivão Isaías Caminha written by Lima Barreto in Brazil in 1909. Our research is based on French Discourse Analysis and predominantly on the theoretical-methodological assumptions of Dominique Maingueneau (1997;2015) about the constitutional literary discourse and literary paratopia. The main concern of this research is how the identity of the black Brazilian, an identity built under a violent system of social, economic and historical exploitation, behaves in the literary discourse Recordações do Escrivão Isaías Caminha? Our research hypothesis is that paratopia engender through stigma, a concept developed by Goffman (2012) to remodel the black identity through a historical reassessment and thus, promoting the effect of giving an account of oneself, a concept developed by Butler (2017). Our main goal is to study paratopia and use it to evaluate the construction of a black identity shaped early in the 20th century so as to become stigmatized. Our specific objective is to verify the scenographic organization and the constitution of the discursive ethos in the composition of literary paratopia in Recordações do Escrivão Isaías Caminha. Our thesis innovate when evaluating a corpus that is usually analyzed in Literature. Furthermore, it broadens the paratopia category by proposing the paratopia of stigma and associating it to ethnic-racial issues
Esta tese examina a paratopia do estigma e a identidade do negro no discurso literário Recordações do Escrivão Isaías Caminha, de Lima Barreto, produzido em 1909, no Brasil. Nossa pesquisa está fundamentada na Análise do Discurso de inspiração francesa, sobretudo, nos pressupostos teórico-metodológicos de Dominique Maingueneau (1997;2015) sobre o discurso constituinte literário e a paratopia literária. A questão central que essa pesquisa busca resolver é: como a identidade do negro brasileiro, construída sob um violento esquema de exploração social, econômico e histórico se comporta na construção do discurso literário Recordações do Escrivão Isaías Caminha? Como hipótese de pesquisa, entendemos que a paratopia se engendra por meio do estigma, noção apresentada por Goffman (2012), para remodelar a identidade do negro por meio de uma revisão histórica, promovendo, deste modo, o efeito de relato de si, noção apresentada por Butler (2017). Nosso objetivo geral é o de examinar a paratopia e por meio disso a avaliar a construção da identidade do negro que, no início do século XX, foi modelada de maneira a se tornar estigmatizada. Como objetivo específico queremos verificar a organização da cenografia e a constituição do ethos discursivo na composição da paratopia literária em Recordações do escrivão Isaías Caminha. Nossa tese inova ao avaliar um corpus tradicionalmente analisado pela Literatura. Além disso, busca ampliar a categoria de paratopia, pela proposição da paratopia do estigma, associando-a às questões étnico-raciais
23
Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.
Full textAbstract:
This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
24
Turner, Seth. "Revelation 11:1-13 : history of interpretation." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:57efe3b3-7c61-412f-9001-5269860a896d.
Full textAbstract:
The thesis provides a descriptive survey of the history of interpretation of Revelation 11:1-13. Prior to 1000 AD it aims to be comprehensive, but after this date concentrates on Western interpretation. Ch. 1 - Prior to 1000 AD. Rev 11:1-13 is examined in relation to the wider complex of traditions concerning Antichrist and the return of Enoch and Elijah. The commentary tradition on Revelation is examined, including an extensive reconstruction of Tyconius. The passage is applied in two ways: 1. to two eschatological figures, usually Enoch and Elijah. 2. to the Church from the time of Christ's first advent until his return. Ch. 2 -1000-1516 Exegesis similar to that of chapter 1 is found. There is new exegesis from Joachim of Fiore, who believes that the two witnesses will be two religious orders, and Alexander Minorita, who reads the entirety of the Apocalypse as a sequential narrative of Church history, arriving at the sixth century for 11:1-13. Ch. 3 -1516-1700 Protestants interpret the beast as the papacy/Roman Church, and the two witnesses as proto-Protestants prior to the Reformation, often interpreting their 1260 day ministry as 1260 years. Catholics respond by applying the passage either to the eschatological future or the distant past. Ch. 4 -1701-2004 Protestants continue to see the 1260 days as 1260 years, although this interpretation declines markedly in the nineteenth century. Both Catholics and Protestants apply the passage to the distant past of the early Church. Historical critical exegesis introduces a new exegesis, where John is regarded as having incorrectly predicted the return of two individuals shortly after his time of writing. Applications to the entirety of the time of the time of the Church increase in popularity in the twentieth century.
25
Nicol, George Grey. "Studies in the interpretation of Genesis 26.1-33." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:8fff7ce7-9a50-4011-9f54-5776c84aa36a.
Full textAbstract:
These Studies in the interpretation of Genesis 26.1-33 are concerned with a relatively brief and well defined section of biblical Hebrew narrative, and following an Introduction are divided into two parts reflecting literary and historical interests respectively. The Introduction takes note of the current interest among Old Testament scholars in the literary interpretation of the biblical materials and, after opting for an approach which will take account of both literary and historical-critical enquiry, outlines the procedure which will be followed. No logical priority is claimed for literary analysis, although it is considered appropriate that it should be pursued prior to any historical enquiry. In this way, it has been possible to avoid any suspicion that literary analysis of the type pursued here is a further development of the historical-critical method. Part One (Chapters One - Four) is concerned to construct a literary interpretation of the text of Gen 26.1-33. The interpretation consists of three main studies of the Isaac narrative which are followed by a brief discussion of certain aspects of the method involved. This interpretation has developed in the main from a reflection upon the relationship which appears to exist between the promise made to the patriarch by the deity and the surrounding narrative material. Beginning from a literary-structural analysis of the Isaac narrative, it has been possible to observe that a number of relationships of a literary and structural nature exist between the promise and the surrounding narrative materials. The exploration of these relationships discloses a series of tensions between the promise and the narrated events which in one way or another seem designed to bring the fulfilment of different aspects of the promise under threat, and each of these tensions are resolved in turn in the narrative. Thus, even even if the events narrated appear to run counter to the direction of the promise, it is in the exploration of this dialectic which is set up between promise and those narrative events which tend to threaten the fulfilment of the promise that the beginnings of a satisfactory literary interpretation of Gen 26.1-33 is to be found. The literary interpretation of the Isaac narrative is carried out in three stages. In the first stage (Chapter One), the extent of the material under consideration is narrowed down to Gen 26.1-33, and other material (notably Gen 25.19-26) is excluded. Once the narrative structure has been analyzed in terms of divine promise, threat, and (partial) resolution, a further brief examination of the narrative context of the other divine promise sections in Genesis 12-36 shows that the literary technique of juxtaposing these same three elements has in fact been applied more widely, even if it is most clearly evident in Gen 26.1-33. An analysis of the role Rebekah plays in the wife-sister episode shows that she is clearly a subsidiary character, and that in the narrative Abimelech the Philistine king of Gerar and Isaac's antagonist throughout is the character closest in importance to Isaac. Indeed, in many respects the narrative appears to explore the relationship which exists between Isaac and the Philistine king. A number of literary features which enhance the impression of unity which has already been gained from the structural analysis are examined. In particular, a number of narrative transformations are seen to take place between the beginning and the end of the narrative. These are largely concerned with the situation of Isaac in relation to Abimelech. At the beginning of the narrative Isaac comes to Abimelech at Gerar and is dependent on the latter's good will for his wellbeing. But at the end of the narrative, Abimelech comes to Isaac at Beersheba, in order to participate in the blessing enjoyed by the Patriarch. In the second stage (Chapter Two), the structure of each of the episodes which combine to form the Isaac narrative is examined, using a form of structural analysis used by Bremond in relation to the fairy tale, but which is also appropriate to the analysis of other simple forms of narrative. This examination, which I have used to determine whether the individual episodes maintain a comic or tragic function within the Isaac narrative, is carried out without prejudice to the assumption that the narrative is a unity at some level. One of the impressive features of the Isaac narrative is that the Patriarch does not achieve his good fortune at the expense of Abimelech and his people, but the Philistines also prosper, and it is seen that this effect has been achieved by means of paradox. The discussion of the individual episodes leads to the conclusion that the ability of the narrative as a whole to generate meaning is greater than the sum of its parts. In the third stage (Chapter Three), I have attempted to construct an appropriate 'narrative background' against which the text may be understood. This exercise involves the careful observation of such signals as are raised in the text and appear to direct one's attention to materials elsewhere in the tradition, and particularly among the narratives of Genesis 12-25, which may combine to serve as a background against which the Isaac narrative may be understood, and which might properly enrich one's understanding of the text. This undertaking begins from the point that no text may be properly understood from within a vacuum, and that while it is proper to begin such a literary-structural investigation as has been undertaken in this Thesis from a detailed study of the text itself, it has been considered necessary to go on from there and to provide a richer understanding of the text. The formation of a 'narrative background' is to be distinguished from the method of 'narrative analogy' (Miscall, Alter) so far as it takes the canonical ordering of the narratives more seriously. Part One is concluded with the discussion of a number of methodological issues in Chapter Four which forms an attempt to say something about the aims and validity of the analyses set out in Chapters One-Three. There is no concern, however, to resume systematically issues which have already been raised in the earlier chapters. In Part Two, I have addressed some of the more usual historical concerns of biblical studies. The first main part of Chapter Five is concerned with the form-critical discussion of the Isaac narrative. An examination of the form-critical studies of Lutz. and Coats is followed by an analysis of the structure and content of Gen 26.1-33. The analysis is then filled out by a broad discussion which is informed to some extent by the earlier discussion of Chapter One, particularly by the degree to which the various episodes were there seen to be related to each other. The fact that, apart from vv 1-6, the episodes all required assumption of information provided by one or another of the preceding episodes in order to appear coherent suggests that the unity of Gen 26.1-33 is perhaps more than the result of a collector stringing them together in terms of the common theme "Isaac and the people of Gerar". This observation sets an obvious limit against the usual formcritical criterion which holds that the most original units were concered to narrate only single episodes. Throughout this discussion the results of current studies in folklore which have led to much uncertainty concerning the stability of oral transmission so that it is no longer possible to be so confident in the antiquity of the pentateuchal tradition were taken for granted. The traditio-historical question of priority is examined, and it is concluded that Abraham is in fact prior to Isaac.
26
Bennett, Richard. "Variations : influence intertextuality, and Milan Kundera, Jean Rhys, and Tom Stoppard." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26254.
Full textAbstract:
This thesis is in three chapters. Chapter one is about Harold Bloom's theory of the Anxiety of Influence. Bloom's argument is that literary history is shaped by the anxiety of "strong" poets at their belatedness. I show that he depends upon a subjective interpretation of literary production in order to defend a rigidly traditional canon.Chapter two deals with theories of intertextuality, principally those of Julia Kristeva and Michael Riffaterre. As alternatives to theories of influence, neither proves satisfactory. Both founder on the contradictory goal to explain all literature, at the expense of recognizing literary diversity.
Chapter three concerns literary variations. These are texts which are deliberately premised on pre-existing texts. I focus on three examples from this class of literary texts which is not satisfactorily dealt with by any of the theories I consider. I pursue a less wide-ranging approach in order to unearth important features of literary variations.
27
Silva, Regina Helena Ribeiro. "Escritas entrecruzadas: leitura das crônicas e contos de Rachel de Queiroz (1928-1952)." reponame:Repositório Institucional da UFC, 2012. http://www.repositorio.ufc.br/handle/riufc/24850.
Full textAbstract:
SILVA, Regina Helena Ribeiro. Escritas entrecruzadas: leitura das crônicas e contos de Rachel de Queiroz (1928-1952). 2012. 160f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2012.Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-08-18T13:22:08Z No. of bitstreams: 1 2012_dis_rhrsilva.pdf: 754359 bytes, checksum: c6efb180752a89190c461c4b130522a8 (MD5)
Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-08-18T23:44:31Z (GMT) No. of bitstreams: 1 2012_dis_rhrsilva.pdf: 754359 bytes, checksum: c6efb180752a89190c461c4b130522a8 (MD5)
Made available in DSpace on 2017-08-18T23:44:32Z (GMT). No. of bitstreams: 1 2012_dis_rhrsilva.pdf: 754359 bytes, checksum: c6efb180752a89190c461c4b130522a8 (MD5) Previous issue date: 2012
This research focuses on the literary-journalistic activity of Rachel de Queiroz (1910-2003), published in Ceará and Rio de Janeiro press, within the period of 1928 to 1952, which it is shaped into a scenario where a mobile writing exercise plays a key role in her writing skills development. With the access to primary sources that are composed of files scanned from original texts, it becomes possible to analyze Rachel de Queiroz chronicle production in the context of her writing connected with the development of the Brazilian press throughout the first half of the twentieth century. This research is based on critics and theorists of literature as Antonio Candido, Massaud Moisés, Roland Barthes, Davi Arrigucci Jr., Haroldo de Campos, Henry James, Julio Cortázar, as well as historians Eric Hobsbawm, Durval Muniz Jr, Maria Helena Capelato, Nicolau Sevcenko and social historians of Communication such as Asa Briggs, Peter Burke, Cristiane Costa, Gerald Nobre, and theorists of Journalism highlighting Alceu Amoroso Lima, Nilson Lage and José Marques de Melo. Thus, the objectives of this research contains the analysis and interpretation of a set of texts in which it is possible to identify literary-journalistic elements that stand out among this crossing of written materials and take place in a field of constant boundaries shifts of literary and journalistic genres. Divided into three parts, this research presents in the first chapter, the historical development of the chronicle genre in Brazil as literary activity that marks the beginning of the writing of Rachel de Queiroz. In the second section, it is highlighted the reflection on the chronicle genre, which boundaries move between Literature and Journalism. Moreover, the research analyzes the elements that distinguish the writing of Rachel de Queiroz in the composition of the language with which the author builds the texts published in newspapers. The third chapter consists of the analysis and interpretation of an anthology of short stories from the writer selected among the group of 168 chronicles that composed the corpus of this research.
Esta pesquisa se debruça sobre a atividade jornalístico-literária de Rachel de Queiroz (1910-2003), publicada na imprensa cearense, no período de 1928-1952 que ganha contorno num cenário no qual os limites móveis do exercício da escrita desempenham papel fundamental na sua formação de escritora. Com acesso às fontes primárias que se compõem de arquivos digitalizados dos textos originais, torna-se possível analisar a produção cronística de Rachel de Queiroz, no contexto da sua escrita em diálogo com o desenvolvimento da imprensa brasileira ao longo da primeira metade do século XX. O aporte teórico desta pesquisa tem como base críticos e teóricos da Literatura como Antonio Candido, Massaud Moisés, Roland Barthes, Davi Arrigucci Jr., Haroldo de Campos, Henry James, Julio Cortázar; assim como os historiadores Eric Hobsbawn, Durval Muniz Jr, Maria Helena Capelato, Nicolau Sevcenko e historiadores sociais da Comunicação tais como Asa Briggs, Peter Burke, Cristiane Costa, Geraldo Nobre, e teóricos do Jornalismo com destaque para Alceu Amoroso Lima, Nilson Lage e José Marques de Melo. Desta forma, os objetivos desta pesquisa constam da análise e interpretação de um conjunto de textos, no qual é possível identificar elementos lítero-jornalísticos que se destacam desse entrecruzar de escritas e que se realizam num campo de constantes deslocamentos dos limites dos gêneros literário e jornalístico. Dividida em três partes, esta pesquisa apresenta, no primeiro capítulo, o contexto histórico do desenvolvimento do gênero crônica no Brasil como atividade literária que marca o começo da escrita de Rachel de Queiroz. No segundo, ganha destaque a reflexão sobre o gênero crônica, cujas fronteiras se deslocam entre a Literatura e o Jornalismo e analisamos os elementos que distinguem a escrita de Rachel de Queiroz na composição da linguagem com a qual constrói os textos publicados em jornal. O terceiro capítulo consta de análise e interpretação de uma antologia de contos da escritora selecionados entre o conjunto de 168 crônicas que compuseram o corpus desta pesquisa.
28
Kilian, Monica. "The exile's experience : an examination of the poetry of Hilde Domin and Waclaw Iwaniuk." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26855.
Full textAbstract:
This thesis examines the effect of the experience of exile on the German poet Hilde Domin and the Polish poet Waclaw Iwaniuk. Their involuntary exile, their departure from their respective native cultures and languages has affected them profoundly, both as individuals and as poets. The exiled poet lives in the conflicting world of the exile: on the one hand, he attempts to maintain his close ties to his native language and culture, while on the other hand, he is constantly assailed by the demands of his new and alien environment. He is thus plunged into a crisis of identity. This thesis examines this crisis by concentrating on the aspect of language as a reference point of the poet's identity.
Through a close examination of a selection of the poetry of Domin and Iwaniuk, I have attempted to discover how they express their personal experiences of exile, which problems they are most concerned with, and, finally, how they attempt to solve these problems. Their poetry expresses similar concerns, such as feelings of insecurity, instability and loss, as well as a wish to recover a sense of security. Both Domin and Iwaniuk are aware of the danger of becoming poetic nonentities in their exile, because their link with their native language is threatened. Recognizing the poet's power to find security in his language (which in turn enables him to reassert his identity through his poetry), they both attempt, in different ways, to preserve their identities as poets by writing. Domin is on the whole more successful than Iwaniuk in defining herself through her language. She believes that language is an inseparable part of her, which naturally finds its expression through her writings. Iwaniuk, on the other hand, is more self-conscious about his language; the preservation of his native language as his poetic tool takes the form of struggle. This fact is not only reflected in the content of the two poets' poetry, but also in its form and style: Domin's language and poetry seem generally more spontaneous and harmonious, whereas Iwaniuk's language and poetry appear to be chiselled intellectually, as if it resisted the author's efforts.Arts, Faculty of
English, Department of
Graduate
29
Graham, Catherine (Catherine Elizabeth). "Standpoints : the dramaturgy of Margaretta D'Arcy and John Arden." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60621.
Full textAbstract:
The political popular theatre which has developed in the West since the 1960s challenges the current hegemony in Western cultures by attacking its basic models of knowledge, yet little critical attention has been paid to the dramaturgies particular to this form. An application of the Possible Worlds theory, the concept of ludic framing, and feminist "standpoint" theory to the Irish stage plays written by Margaretta D'Arcy and John Arden after they left the "legitimate" stage, shows how the dramaturgy of this theater is a critical part of its strategic challenge to the status quo. This analysis shows how D'Arcy and Arden foreground the encompassing Theatre Possible World, within which the performance takes place, in order to cast doubt on the natural character of generally accepted meanings, and to induce the audience to consciously choose the frames within which it makes sense of action.
30
Petersen, Jeffrey J. 1981. "Playful Conversations: A Study of Shared Dynamics Between the Plays of Paula Vogel and Sarah Ruhl." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10155.
Full textAbstract:
vii, 130 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Pulitzer Prize winning playwright Paula Vogel, playwright and educator, has blazed a trail in American theatre, opening new avenues for female playwrights. In 2005 Vogel's student Sarah Ruhl burst onto the scene with her play The Clean House. As one of the most produced playwrights of 2005, Ruhl has been celebrated as the new voice of American theatre. There are similarities, as might be expected between teacher and former student, but some of the similarities suggest something more: a dynamic shared between Vogel's and Ruhl's plays which suggests an ongoing theatrical conversation and may suggest directions for future American drama.
Committee in Charge: Dr. John Schmor, Chair; Dr. Jennifer Schlueter
31
Murray, Jessica. ""Notes for the Manual Assembly"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157616/.
Full textAbstract:
A collection of poems that seeks the balance between imagination and reality that Wallace Stevens calls for in art, with a preface exploring Elaine Scarry's On Beauty and Being Just through the work of two contemporary poets.
32
Bailey, Catherine Diana Alison. "Mending the web : a thematic study of Xu Dishan’s fiction." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25343.
Full textAbstract:
This thesis is a thematic study of the work of the early Twentieth Century Chinese writer Xu Dishan (Luo Huasheng) (1894-1941). The title, "Mending the Web," is at once a reference to a specific story by Xu and an indication of the importance he placed on spiritual values in a changing world. His work represents a modest search for a solution to the dislocation of his society - his own attempt to mend the broken web of modern China. In his work Xu promoted personal solutions and individual salvation rather than the whole scale transformation of society. He stressed the importance of working for change within a given framework - he was a reformer, not a revolutionary, a moderator searching for a synthesis based on universal values rooted in both the Chinese and Western traditions. The values upheld in his fiction are uncompromising - one must follow one' s conscience, accept duty and responsibility calmly, show charity and forgiveness
and, above all be true to oneself.
Xu1s stress on personal and spiritual solutions marks him out from the majority of his iconoclastic contemporaries who advocated wholesale social change. In Chapter One, I try to provide an historical and ideological context for Xu, a comparative background from which to examine him in relation to his contemporary writers and the times in which he lived.
The value Xu placed on a unifying framework, or a sense of order to replace chaos, is made apparent in Chapter Two, where I discuss his quest for values and the romance and mythopoeic modes which inform much of his work. In particular I look at the quest themes which influence the structure and message of his stories, concentrating primarily on an analysis of "Yuguan" and "A Daughter's Heart" based on an extrapolation of the "monomyths" of Joseph Campbell and Northrop Frye. I examine the influence of Christianity on Xu's work, his emphasis on a strongly moral vision and his search for an affirmation of life and the individual's potentiality for goodness.
In Chapter Three I analyse Xu's attitude to life and fate in relation to his use of the coincidence motif which acts in his stories as a catalyst and test for action. The coincidence makes the world small, and thus provides a testing ground for characters' actions. A vital element in this is the concept of baoying or requital, whereby an individual is responsible for his or her actions and is judged accordingly. Xu believed an individual has a responsibility to make the best of an unknown fate, but still to work within given limits to have an influence for the good. A strong moral grammar informs Xu's work, providing a framework for judging the acts of his characters.
In Chapter Four I look at Xu's use of female protagonists to embody his philosophy of life. Women like Yuguan and Chuntao represent Xu's ideals in their most specific form, embodying that sense of affirmation and hope so central to Xu' s work and offering models of human potentiality, an optomistic vision of life as it could be.
In the conclusion I touch on the role of morality in Xu's fiction. His work is deeply moral in orientation and offers an interesting contrast to that of his contemporaries equally engaged in writing fiction for a purpose. Xu's concern for spiritual values was almost unique among writers of that period. His fiction is primarily a fiction of ideas and his themes and messages dominate. He was searching for a solution to the dislocation of his society, as were his contemporaries,
but he did not suggest a radical social transformation
but rather to work within the existing framework. He looked for personal solutions, believing in the innate capacity of the human being to change for the better. He advocated change, but stressed that it must first come individually,
through the development of self-knowledge, on a modest scale, before the world can be transformed. His solution was modest yet profound, and filled with hope.Arts, Faculty of
Asian Studies, Department of
Graduate
33
Loevlie, Elisabeth M. "Literary silences : saying the unsayable: an exploration of literary silence in the works of Pascal, Rousseau and Beckett." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365530.
Full text
34
Marais, Susan Jacqueline. "(Re-)inventing our selves/ourselves : identity and community in contemporary South African short fiction cycles." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016357.
Full textAbstract:
In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.
35
King, Noel. "Anxieties of commentary : interpretation in recent literary, film and cultural criticism /." Title page, table of contents and abstact only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09phk532.pdf.
Full text
36
HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.
Full textAbstract:
To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
37
Wetzel, Rebecca L. "ADAPTATION AND INTERPRETATION: A STUDY OF THEATRICAL BANDE DESSINEE." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1563987098560659.
Full text
38
Greenlee, Christine Lund Koch. "The Constantian orations : a contextual analysis of self-presentation in Libanius' 'Orr.' 59, 11, 61 and 31." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/15923.
Full textAbstract:
A total of sixty-four orations survive from the hand of Libanius. Four of these speeches were delivered under the reign of Constantius II (AD 337-361) and thus form a distinct chronological cluster in the Libanian corpus. The Constantian orations include Or. 59 To Constantius II and Constans (AD 346-9), Or. 11 The Antiochikos (AD 356), Or. 61 Monody on Nicomedia (AD 358), and Or. 61 For the teachers (AD 360-1). This study adopts a diachronic approach and analyses the historical and literary context of each Constantian oration with a particular focus on Libanius' self- presentation. The study suggests that Libanius' self-presentation was characterised by adaptability and versatility; it shows Libanius exploring a range of different genres and communicating with attentiveness to context and audience. The thesis also argues that Libanius' attitude to and engagement with Constantius' court fluctuated significantly from the delivery of Libanius' panegyric in the mid- to late 340s where Libanius supported Constantius after his defeat in the battle of Singara, over Libanius' encomium to Antioch in 356 where Libanius emphasised the strong connection between the Emperor and the city following the devastating reign of Gallus Caesar, to the delivery of For the teachers in 360-361, where Libanius publically voiced his criticism of the Emperor's cultural and religious policies after Libanius himself had lost imperial funding. Furthermore, the study displays the continued importance of oratory in Late Antiquity and emphasises the central role of sophists both as commentators and mediators in society.
39
Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
Full textAbstract:
In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
40
Pryor, Caitlin. "Vanishing Act." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801936/.
Full textAbstract:
This dissertation is comprised of a collection of poems preceded by a critical preface. The preface reconsiders the value of discontinuous poetic forms and advocates a return to lyric as an antidote to the toxic aspects of what Tony Hoagland terms “the skittery poem of our moment.” I consider poems by Wendy Xu, Kevin Prufer, Sharon Olds, and Stephen Dunn in depth to facilitate a discussion about the value of a more centrist position between the poles of supreme discontinuity and totalizing continuity. Though poets working in discontinuous forms are rightly skeptical of the hierarchies that govern narrative and linear forms, as Czesław Miłosz notes in The Witness of Poetry, “a poet discovers a secret, namely that he can be faithful to real things only by arranging them hierarchically.” In my own poems, I make use of the hierarchies of ordered perception in lyric and narrative forms to faithfully illuminate the collapsed structures of my own family history in the shadow of Detroit. I practice the principles I advocate in the preface, using a continuous form to address fractured realities in a busy, disordered age when poets often seek forms as fragmented as their perceptions. These poems are distinctly American, but because there is no true royalty in America, our great cultural and economic institutions—television, music, film, magazines, and big business—take the place of the castle (the book’s emblem) while Michael Jackson ultimately rises as the commanding dead king whose passing prompts contemplation of the viability of popular culture, family, history, and geography. The fallen structures that litter the work are many: the twin towers, chess rooks, bounce castles, nuclear families, the auto industry. However, the sole structure cohering the whole is that of a lyric voice whose authority is derived through lived experience and presented in rich, continuous poetic forms.
41
Ingham, David Keith. "Mediation and the indirect metafiction of Randolph Stow, M. K. Joseph, and Timothy Findley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25819.
Full textAbstract:
In order to explore the range of indirect metafiction as presented in three exemplary novels, this dissertation begins by examining how the assumptions of "realism" on the one hand and "postmodernism" on the other relate to the paradigmatic triad of story-teller, story, and audience. From this context emerges the view that the range of metafiction is determined by how it reveals the processes and nature of fiction according to a spectrum of mediation: that of the writer between his "raw materials" and the text, that of the text between writer and reader, and that of the reader between the text and his interpretation.
Indirect metafiction (or "pretend realism") mediates between realism and postmodernism, revealing without breaking the illusions of realism.
Each of the next three chapters, after initially placing the key novel within the context of the author's work as a whole, discusses in detail a novel whose metafictional focus is on one of the three mediations. Accordingly, Chapter II focusses on Randolph Stow's The Girl Green as Elderflower (1980) and on the way it reveals the mediation of the author by presenting a writer's fiction as a synthesis of his personal and literary experiences. Chapter III notes how M. K. Joseph's A Soldier's Tale (1976) reflects the mediation of the reader by depicting a writer's interpretation and literary redaction of an oral tale. And Chapter IV shows how Timothy Findley's Famous Last Words (1981) demonstrates the mediation of the text by presenting a writer whose text "crystallizes" the illusions of fiction, then undercuts and exposes them. The analyses of the key texts employ both postmodern and traditional critical approaches, demonstrating them to be complementary; by noting the interpenetration of metafictional and traditional import and significance, the analyses also highlight the mediary nature of indirect metafiction.
The fifth chapter draws theoretical conclusions from ideas in the practical chapters: from metafictional revelations through the paradigm of mediation comes an "anatomy" of fiction, delineating its elements; from a sense of how the mind "structures" experience through "fictional" representations of both "reality" and fictional texts comes a "physiology," a sense of how fiction works through language. This discussion leads to definitions of realistic, unrealistic, and self-conscious fiction, and of metafiction, both direct and indirect; the dissertation concludes by remarking on the inter-relations of language, "fiction," and "reality."Arts, Faculty of
English, Department of
Graduate
42
Scowcroft, Ann. "Escaping the hegemony of the written word : Canadian women writers and the dislocation of narrative." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61803.
Full text
43
Léger, Ariane. "Le maître à écrire selon Valéry, Pessoa et Jaccottet /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115622.
Full textAbstract:
The main objective of this study is to understand how Valery, Pessoa and Jaccottet created or recreated the figure of the master. This figure has truly made its entry into the literary scene in the second half of the nineteenth century, and it contributed to impose a profane and more egalitarian vision of writing. In the writing of the three authors studied, the master is still seen as a strategy to develop a concept of creation, since it allows the writers to define their poetic. It is therefore a matter of maitres a penser (literally "thinking masters") or, better yet, maitres a ecrire ("writing masters").For Valery, the desire to make Mallarme his master is best explained by his search for mastery. Even if he is eager to understand what makes Mallarme an exceptional creator, Valery's quest is hindered by Mallarme's refusal to explain his poetic. This resistance seems to encourage Valery to make the creative act a major concern of his work.
By coming up with a "non-existent coterie" made up of imaginary writers, and by recognizing one of them as his own master, Pessoa hopes to fill the gaps in his literary filiation. In the concert of voices that compose his work, it is yet the master himself which undermines the very legitimacy of the master, and that is why Pessoa finally gets rid of his invention.
Finally, Jaccottet creates his masters for the learning they could provide to him: in Jaccottet's unique story, the character of the master fails, allowing the poet to take his distance from assumptions related with the romantic vision of creation; then, a "good master" whose agony is described by poems becomes a model whose wisdom is inseparable from a kind of ignorance.
The presence of the master generates a story elaborated from the writings of these writers: the development of their poetic requires not only the creation of a master figure, but also its removal. Ultimately, the maitre a ecrire is not only one who induces writing in a unique way, but also the one which should be written in order to succeed.
44
Davies-Browne, Bankole P. "The significance of parallels between the 'Testament of Solomon' and Jewish literature of late antiquity (between the closing centuries BCE and the Talmudic era) and the New Testament." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2685.
Full textAbstract:
The TSol is a Christian composition of late antiquity which narrates the story about how King Solomon built the Temple of God with the aid of demons he subjugated. Comparative analysis between the TSol and Jewish literature of late antiquity (between the closing centuries BCE and the Talmudic era), and the New Testament is primarily to establish any literary dependence and explore the nature of contact between the TSol and these materials; and also to isolate Jewish elements in the TSol. The Jewish materials discussed are the Hebrew Bible, the LXX, Tobit, Wisdom of Solomon, Pseudo-Philo, certain Qumran documents (11 PsApa and the Copper scroll), Josephus' Jewish Antiquities, Ecclesiastes, Proverbs, Song of Songs, rabbinic literature, and certain Aramaic incantation texts. My research has shown that parallels do exist between the TSol, the Jewish literature discussed and the New Testament. The parallels between the TSol and the aforementioned literature are twofold: verbal and conceptual. Verbal parallels occur in the form of technical terminology; quotations, allusions and echoes. The second type of parallels appears in the form of motifs, themes, structural elements and ideas. These parallels seem to dominate in my analysis. There is no need to explain the parallels between the TSol and the literature discussed in terms of literary dependence. I have attempted to demonstrate that these parallels in most of the literature are indicative of indirect influence through shared use of the biblical tradition: motifs, stories and themes regarding King Solomon; a common fund of oral tradition(s) regarding Solomon's magical power over demonic world; shared literary language, milieu, and cultural conventions. Moreover, the author of the TSol seems to have recycled Jewish materials pertaining to Solomon and related motifs in his work. Apart from the New Testament, the best case for a direct influence of a Jewish work on the TSol is Tobit.
45
Hoedekie, Nelson G. U. (Nelson Gustaaf Urbain). "Naar analogie van schaduwen aan de wand : een wijsgerige interpretatie van 'de schaduw als kunstwerk' aan de hand van Plato's grotvergelijking." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53511.
Full textAbstract:
Thesis (MPhil)--University of Stellenbosch, 2003.ENGLISH ABSTRACT: In this thesis, 'shadow' is investigated as an object of thought and (analogically connected to this) of perception. This dialectical process is structured through means of a series of experiments and Plato's allegory of the cave, which is interpreted as a process directed towards selfconciousness. This process is further explained through thinkers such as, Blumenberg, Heidegger, Levinas en Voegelin. The purpose of this study is to break with the self-evident way in which 'shadow' is 'normally' treated and to bring back about a sense of astonishment for it.
AFRIKAANSE OPSOMMING: In hierdie tesis word die 'skaduwee' as waarnemingsobjek en (analogies verwant daaraan) as denkobjek ondersoek. Hierdie dialektiese proses word gestruktureerd met behulp van 'n aantal eksperimente en Plato se grotgelykenis, wat geinterpreteer word as programmaties van die proses van selfbewuswording. Hierdie proses word verder toegelig aan die hand van denkers soos Blumenberg, Heidegger, Levinas en Voegelin. Die doel van die ondersoek is om die vanselfsprekendheid waarmee daar met die fenomeen van die skaduwee omgegaan word te deurbreek en weer verwondering daarvoor op te roep.
NEDERLANDSTALIGE SAMENVATTING: In deze thesis wordt de 'schaduw' als waarnemingsobject en (analogisch verwant daaraan) als denkobject onderzocht. Dit dialectische proces wordt gestructureerd met behulp van een aantal experimenten en Plato's grotvergelijking, die geïnterpreteerd worden als een proces gericht op zeltbewustwording. Dit proces wordt verder toegelicht aan de hand van denkers zoals, Blumenberg, Heidegger, Levinas en Voegelin. Het doel van het onderzoek is om de vanzelfsprekendheid waarmee met het fenomeen van de 'schaduw' omgegaan wordt, te doorbreken en er opnieuw verwondering voor op te roepen.
46
Fisher, Susan Rosa. "A genre for our times: the Menippean satires of Russell Hoban and Murakami Haruki." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25047.pdf.
Full text
47
Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
Full textAbstract:
This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.
48
Selby, Don. "Bridging the gap? : a critical reading of Bhabha, Said and Spivak's postcolonial positions." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43947.pdf.
Full text
49
Ocaña, Karen Isabel. "Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix Guattari." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26748.
Full textAbstract:
This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.
50
Bourgon, Julie. "Création, éthique et vérité : Broch et Blanchot ; suivi de, En trompe-l'oeil." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37193.pdf.
Full text