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Dissertations / Theses on the topic 'Silence in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Studniarek, Amanda. "De silence en silence : auscultation interdisciplinaire du silence pour une auscultation du silence en cinéma." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20090.

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Le silence est au cœur de tous les tissages musicaux, littéraires, cinématographiques. Son importance constitue l’objet de cette étude. En commençant par mettre en perspective la complexité qui lui est inhérente, il est question d’interroger sa place et ses manifestations dans le champ littéraire, puis dans le champ musical pour en arriver au champ cinématographique qui est toujours resté le moteur de cette recherche. Dans un approfondissement portant sur l’un des films de David Lynch, Wim Wenders, John Huston et Milos Forman, le silence est étudié dans son rapport à la voix, aux dialogues, à la musique, au corps, au mouvement, au montage, autour des questions de mémoire et d’oubli, d’imaginaire, d’errance, d’incommunicabilité ou de fracture, d’intimité, d’introversion ou d’extraversion, de protection ou de communion, de masque, d’enfermement, de mort, d’oppression ou de liberté… Ces cas d’étude permettent d’observer le silence dans sa polymorphie, l’évolution des ses valeurs, ses dualités ou la stratification de ses formes
Silence is at the heart of all the musical, literary, movie weaves. This study is based on its importance. Putting first its inherent complexity into perspective enables us to search for its place and expression in the literary field, and then in the musical field to finally reach the movie field that has always been the driving force behind this research. By studying one of the movies by David Lynch, Wim Wenders, John Huston and Milos Forman in much greater depth, silence is to be explored in its connection with voice, dialogues, music, body, movement, film editing, around issues of memory and oblivion, imagination, wandering, incommunicability, break, privacy, introversion or extraversion, protection or communion , mask, imprisonment, death, oppression or freedom ... These case studies allow us to observe silence in its polymorphism, its changing values, dualities or the stratification of its forms

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2

Church, Farrell Mary Joanne. "The rhetoric of silence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0021/NQ55328.pdf.

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3

Maggel, Avgi-Anna. "Silence in Sophocles' tragedies." Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267075.

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4

Giannachi, Gabriella. "Silence in modern European drama." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388413.

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5

Coley, Sarah. "Composing darkness : writing out of silence." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321159.

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6

Zachariah, Tirzah. "Silence and representation in selected postcolonial texts." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24136.

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This thesis discusses female silence, voice and representation as portrayed in four postcolonial novels written by Asian female writers or those from the Asian diaspora. The novels included in the corpus are The God of Small Things by Arundhati Roy, Cereus Blooms at Night by Shani Mootoo, Brick Lane by Monica Ali and Brixton Beach by Roma Tearne. This thesis aims to explore the different strategies adopted by the authors to represent different forms of silence of the type highlighted in theoretical work by Spivak, Olsen and Showalter. The novels analysed open up new contexts in which issues of silence, migration, displacement and multiculturalism, which are central in postcolonial literature, are explored. In its examination of these issues in detail, the thesis has been influenced by postcolonial and diasporic studies, with a focus on women’s issues and feminist thought. Instead of focusing on the role of silence solely in relation to specific characters, the thesis attempts to engage with the complex ways in which these narratives represent various forms, moments and scenes of silence. From the analysis, we can exemplify that the novels can also be used to suggest the ambivalences of speaking/not-speaking via the narrative representations of silence. Authorial silence involves the author’s deliberate refusal to speak directly in the text ; instead, the author utilises several literary devices to convey something indirectly to the reader. Silence is also linked to concepts such as shame, secrets and gossip. One is likely to refrain from speaking if he or she is ashamed, secretive or is the topic of gossip in one’s community. There are also some female characters who are portrayed as not-speaking, or choosing to remain silent so as not to cause problems for the family. A few other characters have been portrayed as refusing to speak out as they have been traumatised into silence. Lastly, women can also be complicit in holding on to patriarchal structures and in the process, attempt to speak out in order to to silence or to cause problems to other women.

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7

Michael, Andreas James Ado. "Paul Celan : a rhetoric of silence." Thesis, Queen Mary, University of London, 1987. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1623.

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The thesis focusses on the suspension of Celan's poetry between speech and silence, in particular on the way in which this suspension functions and on the interrelations between its thematic, formal, metaphorical, tonal and structural manifestations. As is emphasized in a fusion like "das erschwiegene Wort" in the early programmatic poem "Argumentum e silentio, " silence in Celan is not opposed to, but is inherent in, poetic speech. The fundamental mediality of his poetry engenders numerous devices of suspension, which, according to the rhetorical modes in which they silence reference, may be divided into three distinct but not mutually exclusive categories: unfinality, disjunction and displacement. The first category is defined by the avoidance of closure. Whatever the technique employed, be it the elision of a final full stop or an explicit self-revocation, this type of poem not only negates its own finality, but consists of this very invalidation. The speech of the poem is the silencing of speech. This primal suspension infuses Celan's work with a host of correlative disjunctions. Metaphors are often radically suspended between mutually exclusive extremes of connotation, mutually exclusive denotations sometimes starkly juxtaposed. The opposing terms at once define and negate each other: the essence lies in the interstice they delimit. The third category investigated is that of displacement, which, exemplified by the use of irony and anagrams, involves suspension by a deviation from, rather than a negation of, literal meaning: an element of deflection and play is to the fore. All three categories share the basic mechanism of exploiting an interstice between reference and rhetoric. And, the thesis ventures finally to suggest, it is this interstice, reflected thematically in many metaphors of mediality and constituted by a fusion, a synchronization, of multiple grids of signification, that structures the poem; it is silence that speaks.

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8

Wong, Yuk-yin Bobo, and 黃育賢. "The silent eye: approaches to aporia in modern literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48521656.

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This thesis considers silence as a problem that is felt particularly acutely in the modern period. The focus is on the silence caused by a general distrust of the representational ability of language, which has manifold manifestations in modern writings. From the existential turn that implies self-cancellation to the symbolist project to create new symbols, modernist writers display an anxiety to speak the unspeakable. This paper’s approach is to offer a metaphoric reading of the role of the Muse as the giver of knowledge and voice in writing practices, and to identify the cause of silence in the confusion over the two distinctive ideas about the goddess. The roots of such confusion are traced to Plato’s epistemological treatises and his exposition of love, as encapsulated in Phaedrus, in which the superimposition of metaphysical knowledge over physical love introduces the aporia into poetry, or literary writing. Subsequent developments of literature, including that of the modernists’, are subject to this aporetic silence. By tracing the trajectories of epistemology and the representation of love up to the eighteenth century, the work shows how the modern problem of silence is triggered by the duality in Kantian epistemology, which is itself a legacy of Platonic metaphysics. Modern silence, therefore, is studied within the critical framework of such metaphysical background, against the metaphoric representation of transcendental imagination as Mother Wit, and its application to the matter of love. The second half of the paper discusses the various responses to this duality found in the ‘transcendental power of imagination’. In the existential writings that defy analytical reason, and the symbolist writings that react against Romanticism, writers struggle to overcome the gap between subjective and objective realities. They therefore fail to give voice to things and feelings without falling back to obscurity or self-erasure – both producing silence on a semantic level. The paper studies works of Hermann Broch and Samuel Beckett to demonstrate the arrival at this great silence, which, though reached via different paths, is the same aporetic silence contained in Platonic epistemology. By examining two works of J.M. Coetzee, this paper also aims to explore the possibility of breaking this silence by going beyond knowledge, and reengaging the service of another Muse her power of love, physicality, and presence.
published_or_final_version
English
Doctoral
Doctor of Philosophy

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9

Nishimura, Amy Natsue. "Talking in Pidgin and silence : Local writers of Hawaiʻi /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102182.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 223-239). Also available for download via the World Wide Web; free to University of Oregon users.

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10

Grimmett, Roxanne. "Staging silence : the adulteress in Jacobean drama and morality literature." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445445.

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11

Sedlak, Dominika. "Attuning storytelling with silence: «The Silent Woman», «The English Patient», and «In the Skin of a Lion»." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97201.

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This thesis examines how silent mediums of expression in The Silent Woman, The English Patient and In the Skin of Lion widen the breadth of knowledge accessible to readers through storytelling. This study scrutinizes Michael Ondaatje's and Janet Malcolm's self-conscious employment of silent forms of communication in the production of narrative. The texts rely on silent characters and narrators who use nonverbal means of communication to construct stories and histories within the narrative. Furthermore, the texts self-reflexively comment on how readers comprehend silences of and in the text in order to instruct readers on reception strategies for silent narrative devices. Ondaatje and Malcolm point to fallibilities of verbal language that obscure stories and histories. Silent forms of expression transcend fallibilities of verbal language and narrate stories and histories outside of language, thereby shifting the boundaries of the histories and stories that can be told through writing.
Ce mémoire s'intéresse à la manière dont les différents moyens silencieux d'expression utilisés dans The Silent Woman, The English Patient et In the Skin of a Lion élargissent l'étendue des connaissances accessibles aux lecteurs par l'intermédiaire de la narration. Cette étude examine l'emploi volontaire de formes silencieuses de communication dans la production du récit chez Michael Ondaatje et Janet Malcolm. Les textes étudiés reposent sur des personnages et des narrateurs silencieux qui utilisent des moyens de communication non verbaux pour construire des histoires–individuelles comme collectives–au sein du récit. En outre, ces textes autoréférentiels livrent des commentaires sur la manière dont les lecteurs comprennent les silences que contient mais aussi qu'exprime le texte, afin de les instruire des différentes stratégies de réception associées aux techniques narratives du silence. Ondaatje et Malcolm révèlent les lacunes du langage verbal qui obscurcissent les histoires racontées. Les formes silencieuses d'expression dépassent ces mêmes lacunes, inscrivant le récit en dehors du langage et déplaçant ainsi les limites des histoires écrites.

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12

Brunetaux, Audrey. "Charlotte Delbo une ecriture du silence /." Diss., Connect to online resource - MSU authorized users, 2008.

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Thesis (Ph. D.)--Michigan State University. Dept. of French, Classics and Italian, 2008.
Title from PDF t.p. (viewed on Apr. 1, 2009) Includes bibliographical references (p. 256-262). Also issued in print.

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13

Colford, Chris. "Music and silence in the poetry of Wallace Stevens." Thesis, University of Liverpool, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316118.

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14

Miller, Colin M. "The voice of silence : Edwin Muir and the postmodernists." Thesis, University of Aberdeen, 1993. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU060124.

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Despite being trapped within an outdated mode of biographical criticism, the poetry of Edwin Muir contains a symbolic language which is deeply significant for the twentieth century. Such a language, evidently in the process of being formulated within The Structure of the Novel, deserves to be examined in its own right, not merely in the context of Muir's own biography but within a theoretical model of reading, which takes into consideration the relationship of the poetic voice to the reader. Such a relationship is analogous to the psychoanalytic discourse, which---according to Lacan---is the paradigm communication model. Lacan's theory of child development corresponds very well with Muir's own theme of the Fall from Eden, in that the mirror stage initiates a fall out of the childhood imaginary state into society's symbolic state, which event occurs in all persons. Such a Lacanian imaginary state can be seen to correspond to the non-temporal mode of perception which Muir experienced in Orkney, and the symbolic state to the social order of language, exemplified for Muir by his conversion experiences in Kirkwall. The poetic voice often attempts to regain such a non-temporal mode. Muir's themes of conflict and the journey can be seen to correspond to the two ways in which Derrida's differance can be translated into English, that is, as difference and deferment, respectively. Such an analysis of Muir's thematic symbolism allows a reading of poems such as 'The Labyrinth' to stress the Derridean 'play' which is inherent in the opposition of faith and doubt in Muir's ontology. Finally, Muir's eschatological themes can be analysed using a Jungian model. The reader's unconscious takes part in an archetypal projection upon the text, which thus mirrors his or her own unconscious functions. Furthermore, the individuation process, governed by alchemical principles of opposition and conjunction of elements, is necessitated by Muir's poetic voice.

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15

Tallmyren, Ronja. "Silent Lure : A study of how Mīkhāʾīl Nuʿayma relates to and uses silence in his poems." Thesis, Uppsala universitet, Institutionen för lingvistik och filologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-447379.

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In this study I investigate how a mystic relates to and uses silence in poetry, as silence is a very important part of mysticism overall. I have focused on the Eastern Orthodox Christian mystic branch, which, in this thesis, is represented by the poet Mīkhāʾīl Nuʿayma from Lebanon. In the Eastern Orthodox Christian mysticism, silent contemplation, inner visions and apophatic silence and theology is important. I study Nuʿayma’s poems ʾAghmiḍ Jufūnak Tubṣir, 1924, Yā Rafīqī, 1922, and ʾIlā Dūda, 1923, that are part of his poem collection Hams al-Jufūn that was originally published in 1945. I operationalize silence through several features: ellipsis, elliptic imagery and metaphors, punctuation, rhythm, gaps and breaths, repeating of words or concepts, tone and choice of words. I conduct this study partly through a deconstructive method and an extension of Shirley Näslund’s method in her article Skiljetecken som stilmedel – Om bruket av komma, tankstreck och tre punkter i tio dikter av Nils Ferlin. I show that Mīkhāʾīl Nuʿayma, by linguistic means, succeeds in mediating the content of his poems also in the language, grammar and text; that he skillfully focuses and accentuates certain messages by his rare and sometimes odd placements of punctuation marks and enjambments; that he has a comparably simple language, and uses ellipsis and metaphors a great deal; that he has special choices of words and constellations and uses contradictory reasonings and repeating of words and concepts; that he engages the reader by creating a reaching and lure in the text; that he has a special tone, rhythm and atmosphere that opposes the panegyric norm that has prevailed in Arabic poetry. The analysis is based on my translations and my interpretation.

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16

Cliche, Élaine. "Signe, silence, voix parcours des anagrammes de Ferdinand de Saussure." Thesis, University of Ottawa (Canada), 1985. http://hdl.handle.net/10393/5046.

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17

Burlinson, Kathryn Jane. "Speaking silence : indeterminate identities in the writings of Christina Rossetti." Thesis, Birkbeck (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309372.

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This thesis examines representations of feminine identity in Christina Rossetti's poetry and prose. "Speaking Silence" indicates the centrality of paradox in Rossetti's work: her contradictory identity as a poet and a bourgeois Victorian woman produces tensions which are never resolved, but are continually figured and re-figured. Rossetti's ceaseless attempts to find adequate models for feminine subjectivity are shown to engender ideological manoeuvres which render her texts equivocal and indeterminate. Her constant oscillation between complicity with and critique of dominant cultural ideologies results in the destabilizing of conventional epistemologies and interpretive paradigms. A play of possibilities replaces gendered or discursive fixture. The dynamic interplay of speaking and silence appears in different guises. At times Rossetti speaks directly about silence. She also silences herself, as manuscript revisions show. Strategic exploitations of silence occur, but Rossetti also speaks for the silent, marking her objection to Victorian treatment of the powerless. Interpreting silent worlds--be they phenomenal or immaterial--is a further, fundamental concern. Indeterminate identities are considered in the first three chapters of the thesis in relation to discourses of the feminine self. Chapters Four to Six then examine indeterminacy with reference to Rossetti's readings of material and transcendent worlds. Chapter One considers the poet's familial/literary context, highlighting her early efforts to find satisfactory existential/textual models. Chapter Two focuses on Rossetti's major fantasy writings and the grotesque bodies there portrayed. Chapter Three advances the discussion of fantasy, exploring the poet's games with indeterminate poetic language. The fourth chapter expands the spatial frame of reference and reads Rossetti's attitude towards sub-human nature in relation to contemporary scientific discourses. Chapter Five considers the symbolic and analogical paradigms adopted for reading nature, while the final chapter focuses on Rossetti's devotional poetry and the paradigms of feminine identity there figured

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18

Millim, Anne-Marie. "Preaching silence : the disciplined self in the Victorian diary." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1532/.

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This thesis examines the representations of the self as a cultural agent, both reacting to and actively shaping codes of social and artistic respectability, as displayed in the diaries of the canonical Victorian writers Lady Elizabeth Eastlake, Henry Crabb Robinson, George Eliot, George Gissing, John Ruskin and Gerard Manley Hopkins. It analyses the impact of wider ideological and social imperatives on the diarists’ subjective experience and reads their tendency to silence the self as a symptom of the cultural pressure to merge their private and public persona. These diaries represented a forum in which the diarists perpetually negotiated their own value within the Victorian ideology of productivity and thus not only reflect their inner world but also the cultural climate of the nineteenth century. Chapter One traces the selected diarists’ reluctance to reveal private information, as well as their tendency to foreground professional productivity, to the social pressure to efface emotions relating to the self and to only cultivate those that nurtured the community. It identifies the similarities between the compulsive self-discipline advocated in the psychological discourse of the period, particularly Alexander Bain’s The Emotions and the Will (1859), and the willingness to both live up to and actively shape the cultural codes of respectability that Elizabeth Eastlake and Henry Crabb Robinson display in their diaries. Chapter Two compares and contrasts the desire for maximal professional productivity as exhibited in George Eliot’s and George Gissing’s diaries. Both worked obstinately in order to increase their own value: whereas Eliot sought to redeem her ‘guilt of the privileged,’ Gissing desperately needed to increase his financial solvency through literary output. Chapter Three discusses the ways in which John Ruskin’s diary helped him block out unrespectable and painful private experiences through transforming his obsessive desire to appropriate and “feel” visual experience into a professional task. Chapter Four shows that Gerard Manley Hopkins—because he was acutely concerned by his cultural otherness caused by his homosexuality—not only sought refuge and validation by joining the Jesuits, but by narrowing his realm of experience to nature, merged the private and the public self into the figure of the professional, asexual, dutiful and disinterested observer.

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19

Howard, Leigh. "Stain Upon the Silence: Samuel Beckett’s Deconstructive Inventions." TopSCHOLAR®, 1991. http://digitalcommons.wku.edu/theses/1427.

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In recent years, deconstruction theory has emerged as a key method for exploring public address, organizational culture, and literary discourse. Deconstruction theory encourages tearing apart hierarchy and established order to gain insights about the artifact being studied. Furthermore, the theory questions surface or superficial messages and encourages the reader to explore signals hidden below the surface. Deconstruction discounts context and places faith in experience. Using the early plays of Samuel Beckett, this research explores deconstruction as a method to create messages. This new perspective transports deconstruction from a set of theoretical concepts into basic assumptions that enhance communication. This study suggests that deconstructive inventors use processes previously associated with deconstructive criticism to reveal their own beliefs. Furthermore, this study correlates deconstructive invention with rhetorical tropes – metonomy, synecdoche, metaphor, and irony – to create depiction-based persuasion, which asks the rhetor to suspend logic and evoke emotional response.

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20

Axiotou, Georgia. "Breaking the silence : West African authors and the Transatlantic slave trade." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3270.

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This thesis explores how Syl Cheney Coker’s The Last Harmattan of Alusine Dunbar (1990), Ama Ata Aidoo’s The Dilemma of a Ghost (1964), Ayi Kwei Armah’s Fragments (1970), and Buchi Emecheta’s The Slave Girl (1979) respond to the need to revisit and re-think the history of transatlantic slavery. The texts of these four contemporary West African authors provide symptomatic instantiations of the problematic of writing silence, and narrating a history whose archives are impossible to fully retrieve. By attending to the violence and silencing committed on the history of slavery, as well as the difficulty of writing, and narrating, history from the perspective of silence all the texts considered in this study perform acts of resistance against the forgetting enacted in and among their communities, and the silencing of colonial modernity, which has turned the history of transatlantic trade into a footnote. Although, all four authors come from different historical specificities and localities, and, thus, the ways they stage slavery in their narratives are informed by the local/historical urgencies they encounter in each contemporary political context, each, within their respective domain, provides powerful and influential examples of undoing historical silences and absences, not by imposing voices or presences, but by tracing the voids/gaps in the historical representation of slavery. The silent, but not silenced stories of the slave trade that these authors narrate in their attempts to speak to the history of slavery bring dis/order to the national and communal milieu, by unsettling a number of myths such as this of ethnic purity (Coker); of ideal “homes” for the diaspora (Aidoo); of national revolutions that putatively disrupt the colonial past (Armah); and of communal/national discourses that include the gendered racialised subaltern (Emecheta). These authors reveal the exclusionary practices of these myths, bearing witness to the fact that they proliferate at the expense of what they exclude. By bringing forth the excluded, the marginal, the “the othered” in place of the dominant, the central and “the same” they raise the impossible, and yet imperative, question of justice towards the “others”. The study intends to introduce the work of these authors to the current resurgence of interest on the literary trajectories of the Black Atlantic that tend to focus on the narratives of diasporic writers dwarfing the voices that speak form within the African continent. As I argue, close, symptomatic, readings of their texts through the lens of slavery attest to the fact that its spectral presence is intertwined in the cultural and communal fabric, and is used to comment and rethink issues such as questions of belonging and ethnicity, the quandaries associated with the neo-colonial condition, the role of the intellectual, violence and gender issues. Following the complexities raised by each text, my chapters explore a number of concepts such as “diaspora”, “ethnicity”, “trauma”, “memory”, “violence”, “the city”, “subaltern agency” and “the body” that invite cross-disciplinary links between post-colonial studies and a number of fields such as history, geography, feminism, psychoanalysis, philosophy and political theory. One of the ambitions of this study is that these initial forays into a largely unexplored field will lead to further research in African representations of the history of slavery; at the same time, its larger goal is to provide the stepping stone for trans-Atlantic dialogues between African and diasporic writers, who will re-think the history of the Atlantic from the perspective of its spectres, from the perspective of the footnoted.

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21

Vilanova, Nuria. "Emerging from silence : the impact of social change on Peruvian literature (1970-1990)." Thesis, University of Liverpool, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385418.

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22

Fay, Jessica. "'The most affecting eloquence' : Wordsworth and silence." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:cccb2bd6-ac9d-4f71-8a8b-e3cd58fd2280.

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This thesis is the first close study of Wordsworth and silence. It uncovers the comprehensive investigation into monastic history and hagiography (with special emphasis on St Basil) that Wordsworth engaged in between 1807 and 1810, showing that the type of silence he valued came from the monastic tradition. I trace Wordsworth’s material commitment to the power of silence through his use of hermit figures and his habit of visiting ruined monasteries. I concentrate on the poetry he composed from 1807 onwards and mark his eight-month residence in 1806-7 at the home of Sir George and Lady Beaumont as the locus at which his intensive interest in monasticism germinated. I thus reveal a new dimension to this important patronal relationship, while additionally offering an analysis of a previously unstudied manuscript pamphlet ('An account of an English Hermit' by Thomas Barnard) which Lady Beaumont sent to the Wordsworths in 1809. I show how Wordsworth’s fascination with monastic sites and silence influenced his understanding of linguistic and political representation, inheritance, community, and pastoral retreat. At the same time, this critical attention to silence aids a revaluation of the religious vision of his work. The thesis uses this historical and biographical information as a means of closely reassessing formal, linguistic, and generic features of Wordsworth's poetry. At its root, my work is about the natures of language, poetic representation, and readerly experience. How does Wordsworth communicate via silence? How does he use silence to 'create the taste' for his poetry? Where does silence impact on his renovation of genre and conceptions of form? I conclude that, for Wordsworth, silence is a positive gathering of stillness from within that is nourished by patterns of repeated activity and community. It is one of his most profound heuristic tools.

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23

Baker, Sharon. "From satire to silence : Hans Sachs's commentary on civic decline." Thesis, School of Advanced Study, University of London, 2018. http://sas-space.sas.ac.uk/9209/.

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In this year devoted to celebrating Luther's invitation to debate Indulgences in 1517, which led to the establishment of the Lutheran faith, it is timely to reassess the Fastnachtspiele of Hans Sachs, whose reputation varies from unskilled cobbler poet to 'Verfechter der Reformation'. Previous research devoted to Hans Sachs and satire concentrates on his ability to produce amusing moral tales for the Carnival season, whereas this thesis searches for critical satire of contemporary political, religious and social issues within the chosen Fastnachtspiele. This is achieved by analysing the plays in the context of contemporary events, personalities and circumstances in Nuremberg during a turbulent period in the city's history, when it faced internal religious conflict, invasion, declining influence as an imperial city and loss of wealth as an early industrial society. The results of the analysis suggest that Sachs's Fastnachtspiele, which are celebrated for their didactic nature along with his religious Meistergesang and Reformation dialogues, contribute to a corpus of pro-Lutheran works which helped to shape Nuremberg's Lutheran cultural memories and a cultural identity for its citizens. Scrutiny of Sachs's personal library also informs us, contrary to his previous reputation, that Sachs was an educated and sophisticated author, who used classical literature and early German works on various subjects - history, politics and religion amongst others - not only as a basis for some of his plots, but also as a source for his desired type of critical satire, in order to write plays intended to reverse the decline he saw in Nuremberg. This thesis concludes that Sachs stopped writing Fastnachtspiele in December 1560 because of his personal quandary about his role as an author and because it had become dangerous to express his views on what he perceived as Nuremberg's social, moral, political, economic and religious decline.

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Tanguay, Johanne. "Là-bas, suivi de, Espaces et temps du silence durassien." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79979.

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Part one of the thesis. She's leaving. She's running away. Everything goes too fast. If she doesn't, the emptiness in her life will destroy her. There, in Africa, nothing happens. Nothing but sight, silence, space and time. There, she finds another way of living. There, everything happens. Everything that has anything to do with essence. Only then can Gisella, 30, come back.
Part two. How can one tell of silence with words? How can silence be what makes not only the style and themes of a fiction, but the whole fiction, resonate, vibrate? In the fiction of Marguerite Duras, more specifically in Aurelia Steiner (Melbourne) and L'amour, the obsession of silence is what modulates the representation of time and space, be it corporal, geographical or domestic, and what transforms reality in an attempt to open the heart of things, beings and time on the infinite, the invisible, the sacred.

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Borges, Mara Pereira. "Confesiones íntimas, opresión universal: Los nudos del silencio, de Renée Ferrer." Ohio University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1163638154.

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Walsh, Vincent. "Writing Into Silence| Junot Diaz, Human Rights, and the Imperial Curse." Thesis, Lehigh University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638706.

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Junot Diaz employs a variety of postmodernist literary strategies in The Brief Wondrous Life of Oscar Wao, such as conflating (and confusing) the role (and identity) of author and narrator, creating a parallel fictional (and semi-fictional) subtext in the form of numerous, often detailed footnotes, and incorporating a hybrid mixture of discourses throughout a self-referential, apparently self-undermining narrative. Yet by means of his persistent satirical tone, pervasive irony, occasional explicit commentary, and thematic inferences, Diaz simultaneously challenges the core tenets of postmodernist-poststructuralist theory. Diaz's creative concerns interrogate the notion of constructed histories, reestablish distinctions within binaries, and defy the poststructuralist prohibition against grand narratives, while contesting the postmodernist tendency toward moral and cultural relativism. Diaz appears to be consciously inviting a poststructuralist reading, even as he simultaneously undermines any possibility for such a theoretical analysis ever succeeding in fully coming to terms with his work. In effect, Diaz redirects the lens of the postmodernist-poststructuralist perspective back on itself, questioning its basic assumptions. Diaz creates a unique, innovative literary language in The Brief Wondrous Life of Oscar Wao, borrowing tropes from Dominican folklore and popular superstition, mixing in idioms and memes from sci-fi, horror, fantasy, Japanese animes and North American movies, television serials, comic books, hip-hop, and urban diction, in order to tell a story that reawakens repressed memories of historical trauma, and enhances awareness of egregious contemporary injustice. Diaz focuses on the devastating trajectory of the imperialist enterprise in the Western hemisphere since 1492, highlighting the rapacious ideology that ruthlessly engenders this ongoing project of exploitation, domination, and oppression. In setting private aggrandizement above collective wellbeing, the imperial mentality causes incalculable, completely unnecessary suffering, beginning with genocide against the native population, and extending into the extreme social disparities of the neoliberal present; the predatory practices of this avaricious agenda have become so destructive that they now threaten the very survival of the human species. Ruthless greed is the curse that afflicts us; the only possible counter spell that can save us will be a courageous return to instinctive solidarity, with timely recourse to the healing power of human love.

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Timonin, Ann Veronica. "The power of silence: The question of reserve in four Victorian novels." Thesis, University of Ottawa (Canada), 1999. http://hdl.handle.net/10393/8809.

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Victorian women's silence has been the subject of investigation by many feminist critics, and most have understood it as a function of repression. More recently, however, feminists have begun to recognise more productive levels of silence. This thesis examines four Victorian novels that show that silence is not a stable social sign with a clear meaning but an aspect of the Victorian convention of femininity that can mean different things and be used in different ways. Chapter One looks at silence and choice in Elizabeth Gaskell's North and South, tracing the implications of choosing reserve. Chapter Two turns to a consideration of self-silencing and sanity in Charlotte Bronte's Villette, while Chapter Three looks at secrecy and survival in Anne Bronte's The Tenant of Wildfell Hall. The thesis concludes with a reading of George Eliot's The Mill on the Floss in Chapter Four that concentrates on the risks of using silence as retreat into a fantasy space.

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Brook, Clodagh J. "The expression of the inexpressible in Montale's poetry : metaphor, negation and silence." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267600.

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Philipps, Lionel. "Trompe-l'oeil littéraires au XVIIe siècle d'une esthétique de la surprise à la tentation du silence /." Villeneuve-d'Ascq : Presses universitaires du Septentrion, 2002. http://books.google.com/books?id=up9ZAAAAMAAJ.

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Dawson, Melanie. "From Song to Silence: The Coding of Music in Kate Chopin's "The Awakening"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625602.

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Parsons, Elizabeth, and mikewood@deakin edu au. "Poetry and silence: a sequence of disappearances." Deakin University. School of Literary and Communication Studies, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.133358.

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Arigita, Cernuda Neira. "Can the Subaltern Be Silent? : Silence as Resistance to Colonialism in David Malouf’s Remembering Babylon and E.M. Forster’s A Passage to India." Thesis, Högskolan Dalarna, Engelska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30371.

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Signori, Lisa F. "The feminization of surrealism : the road to surrealism silence in selected works of Marguerite Duras /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901282.

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Jansson, Robin. "Silence in Adventure Games and Space." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5033.

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As video games have evolved, the focus on impressive graphics and surround-sound has become increasingly prominent. Stepping away from their roots, video games have toned down the interaction and put the cinematic parts of the experience on the forefront. However, some games stand outside the norm, taking down the sound-level to a minimum, even going as far as removing text entirely. In my essay, I explore the functions of silence, specifically in two works: the computer game Machinarium, and 2001: A Space Odyssey, the film, along with the novel. By analyzing these works, I highlight how silence can have widely different effects on how the users experience the work. Employing different techniques, the authors manipulate the experience, using visuals as well as audio to increase the sense of immersion and connectedness to the characters on screen. In my essay, the close ties between video games and film is central, and it discusses how the former has been influenced by the latter. Comparing the use of silence to techniques found in literature, I discover surprisingly many similarities to the narrative techniques used there. My research shows that video games employing silence can, even while being influenced by more cinematic media, still retain its core essentials and provide an experience that encourages exploration and imagination of the individual user.

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Smith, Annabel. "A new map of the universe : A novel and accompanying essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1057.

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This thesis comprises a novel entitled A New Map of the Universe and an accompanying essay. The novel tells the story of a young architect named Grace Darlowe, who is struggling with her very first project: the design of a house for her lover, Michael. Grace struggles partly because she is uncertain about the future of her relationship with Michael, but her insecurities are more deeply rooted in her troubled relationship with her mother, Madeleine. Embittered by grief, Madeleine blames Grace for her husband Peter's death and resents Grace's choice to follow her father in becoming an architect. Grace is debilitated by her mother's attitude and is unable to begin her career as an architect because she feels overshadowed by her father's unfulfilled potential.

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Free, Melissa M. "The grotesque as an objection to silence and oppression a queer reading of Carson McCullers's fiction /." Connect to this title online, 2002. http://www.lib.ncsu.edu/theses/available/etd-08022002-155049/.

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Pick, Peter Richard. "Interjections of silence : the poetics and politics of radical protestant writing 1642-1660." Thesis, University of Birmingham, 2000. http://etheses.bham.ac.uk//id/eprint/244/.

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In this thesis I have undertaken a close reading of texts by William Walwyn, Abiezer Coppe and James Nayler. In reading Nayler, I have also engaged with texts by Richard Farnsworth and Richard Baxter. My approach has been to consider these writings in their own terms and right, rather than merely as contextual sidelights on literary or social matters. I believe that all writing expresses aesthetic concerns and social attitudes. I hope my study will contribute to a necessary and continuing project of recovering such voices, so often marginalised and considered either as symptoms of mental disorder, or simply of no literary value. I have applied Bakhtinian perspectives and Discourse Analysis in my readings, although I hope not to the detriment of the writers' own understanding of their work, as I am reluctant to impose ahistorical interpretations on the writings of a previous era. I believe many misunderstandings arise from such procedures. I have not wished to apply a strategic reading to these texts, but rather to recover what they meant for their writers and readers at the extraordinary moment which produced them. I have attempted to integrate them in their own historical context, to explain difficulties arising in their interpretation, to explore their theology and social message, and as far as possible to relate them to the literary history from which they have been largely divorced. The thesis is not intended as a general review of pamphlet literature, of which there are several valuable examples, but as exploration and explanation of specific writings by representatives of the 'Radical Protestant' movements known as Levellers, Ranters and Quakers.

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Steele, George McIver. "Restoring Silence: Samuel Beckett's "Molly" Viewed as a Parody of James Joyce's "Ulysses"." W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625527.

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Burrell, Nigel Robert. "The language of silence is no paradox : enervation & renewal in the poetry of J.H.Prynne." Thesis, Open University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240897.

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Brown, William Jarrod. "SPECTERS OF THE UNSPEAKABLE: THE RHETORIC OF TORTURE IN GUATEMALAN LITERATURE, 1975-1985." UKnowledge, 2012. http://uknowledge.uky.edu/hisp_etds/8.

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This dissertation examines the ways in which torture was imagined and narrated in Guatemalan literature during the Internal Armed Conflict. For nearly four decades, Guatemala suffered one of the longest and most violent wars in Latin America. During that time, it is estimated that more than 100,000 people were tortured at the hands of the Guatemalan military. Torture, as suggested by Ariel Dorman, is most fundamentally “a crime committed against the imagination” (8), disrupting and often dissolving the boundaries between fact and fiction, the real and the unreal. The Introduction and Chapter One of this study explore the destabilization of this boundary by examining the historical and theoretical context for torture in Guatemala. The ubiquity and normality of torture was so terrible that, for many, it became “unspeakable”—an atrocity that defied language. Chapters Two through Four study three different literary modes of countering the state’s rhetoric of torture, probing the possibility of narrating torture despite its seemingly unsayable nature. Examining works by Rigoberta Menchú (chapter two), Marco Antonio Flores and Arturo Arias (chapter three), and Rodrigo Rey Rosa (chapter four), and aided by current theories and studies of torture, this dissertation investigates the ways in which these Guatemalan authors have sought not only to re-present torture, but also to explore and sometimes question the possibility of bearing witness to that torture in literature.

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Ramos, Sefferino. "Silence, Power, and Mexicans in Willa Cather's The Song of the Lark." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/280.

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In The Song of the Lark (1915), Willa Cather does something extraordinary by presenting a well-rounded and likeable Mexican character. This is quite different from her contemporaries’ stereotypical depictions of minorities. To include immigrants in a modern novel was avant-garde and radical subject matter; and presenting a realistic, likeable Mexican character was unheard of because the colonized and immigrants were largely ignored in American literature, or deliberately overlooked. When they were included, persistent demeaning views and unflattering Mexican stereotypes were the norm. This paper seeks to explain how positively Cather depicts Mexican characters, decades before Civil Rights. Cather includes the plight of Mexicans in her novel and gives voice to those that were silenced and ignored. Even though she was a bestselling author and considered one of the best American writers of the era, she has not been properly credited for how progressive she was in her treatment of minorities. It is well documented that Cather used juxtaposition and absences in her writing to convey meaning; I build on these absences to add in rhetorical silence and connect her use of silence to the academic conversation about speech in post-colonial analyses. By contextualizing her writings within the period, I demonstrate how progressive her novels are. Even though most depictions of minorities at the turn of the century were stereotypical, Cather diverges from the racism, which makes her decades ahead of her contemporaries in including good immigrants and minorities in American literature.

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Lorenzi, Lucia Marie. "This page intentionally left blank : silence and sexual violence in contemporary Canadian literature and drama." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/56758.

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Spanning a variety of genres, including autobiography, fiction, and drama, “This Page Intentionally Left Blank: Silence and Sexual Violence in Canadian Literature and Drama” investigates the use of silence as an aesthetic and political strategy of resistance in depictions of sexualized and gendered violence. I argue that by using silence, selected authors and playwrights challenge expectations of how violence is to be articulated, particularly because speech about violence frequently risks being fetishized, appropriated, or even risks enacting representative violence itself. The introduction establishes a methodological framework for my analysis, tracing a history of silence and its relationship to sexual assault narratives. In Chapter 1, I discuss histories of censorship in order to set up a historical and political context for silence as a tool of oppression. In doing so, I also situate censorship and silencing as a nuanced phenomenon, discussing in particular the ways in which reluctant speech may be imagined as a politics of care for the reader. Chapter 2 investigates the genre of life writing in relation to the narrative expectations of legal testimony. I demonstrate how judicial expectations of speech affect autobiographical works, and how Maggie de Vries’ memoir of her sister’s life (and death) consciously operates outside of these discursive boundaries. In Chapter 3, I move towards a discussion of drama, with a particular focus on how playwrights Marie Clements and Colleen Wagner navigate embodied representations of sexual assault and their legacies within theatrical history. My final chapter examines works of fiction by Emma Donoghue and Anne Stone, articulating their relationship to and contravention of generic expectations of popular fiction. This chapter explores the fraught relationship between sexual assault and discourses of fiction and fact. This dissertation offers several important contributions to the fields of both trauma theory and Canadian literature: it dismantles the binary between speech and silence in order to form a more nuanced understanding of experience and representation; it theorizes how recuperative silences function across a number of genres; finally, it offers a unifying study of sexualized violence across the diverse field of Canadian literature.
Arts, Faculty of
English, Department of
Graduate

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Brennan, Bernadette M. "The wounds of possibility : reading absence and silence in some contemporary Australian writing." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/15855.

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McLauchlan, Richard. "Poems from Holy Saturday : encountering divine and human silence in the poems of R.S. Thomas." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707923.

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Epprecht, Elizabeth F. "The Roles of Silence in Virginia Woolf's Between the Acts." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1191.

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In this thesis I explore the roles of silence in Virginia Woolf’s last novel, Between the Acts (1941). I focus on three readings of silence in the text. First, I consider her portrayal of malicious silences as unsaid judgments and aggressions and their impact on interpersonal relationships and interactions. Second, I look at detached, empty silence and its relation to the critical passivity Woolf noted in her audience in the early years of WWII. Finally, I consider silence as feminist resistance to traditional narratives through the intertwined experiences of Isa and Miss La Trobe.

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Wolfgang, Bonnie J. "The silence of the forest : a translation from French to English with analysis and literature review." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1033635.

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The Central African Republic is a small country located in the center of Africa. It is a very young nation in terms of political independence, but as the CAR emerges as a nation, it has begun to produce valuable authors who write for the French speaking world. This thesis is an attempt to bring part of the CAR's literature to the United States.Le Silence de la Foret was written by Etienne Goyemide and not only describes the culture of the mainstream population of the CAR, but also that of Pygmies. Although the book is a novel, the cultural aspects are not fictitious. This thesis is a translation of Goyemide's novel into English so that it can be made accessible to the English speaking world.The process of translating such a literary work required and increased knowledge and understanding of both French and English. In attempting to capture the style and tone of the author, careful attention was given to such aspects as tense, syntactic structures, register and vocabulary. A chapter of the thesis is devoted to describing the problems encountered during translation and the reasoning for the translations chosen.
Department of English

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Merrill, Yvonne Day. "In silence my tongue is broken: The social construction of women's rhetoric before 1750." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186758.

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"In Silence My Tongue is Broken": The Social Construction of Women's Rhetoric Before 1750 examines the rhetorical strategies that Sappho (c. 600 B.C.E.), Christine de Pizan (1364-1430?), Lady Elizabeth Cary (1585-1639), and Lady Mary Wortley Montagu (1689-1762) used to speak for the female experience. These women became autonomous subjects of discourse by adapting the language of the dominant Western tradition to speak from the position of women. In appropriating the masculine language that defined them, they were able to construct personal identities that could respond to and renegotiate male-defined reality to articulate female experiences and reconstruct feminine identities. The silencing of women's voices usually accompanied the strengthening of patriarchy through institutionalized misogyny and the domestication of women during periods of bourgeois ascendancy, which affected the latter two women more than the former. The introduction explains the epistemological reasons why social constructionism is the critical lens for this analysis. The four discussion chapters treat the rhetorical context in which each woman wrote, including a discussion of Aristotelian misogyny; the ways each woman justified her authorial voice to express peculiarly female experience; and the rhetorical choices each made at the register, genre, and discourse levels, which reveal their degree of authorial confidence. The conclusion illustrates how these authors spoke from the margins of male experience by becoming culturally multilingual.

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Labraña, Cortés Marcela Andrea. "Gestos, mapas y colores del silencio : estudio comparativo en literatura, arte y pensamiento, siglos XII-XX." Doctoral thesis, Universitat Pompeu Fabra, 2014. http://hdl.handle.net/10803/283322.

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Esta tesis propone un estudio comparado de la poética del silencio desde el siglo XII al XX en una serie de obras en las que se relacionan imagen y texto, ordenadas en tres series: gestos, mapas y colores. La primera considera la representación de la inefabilidad del lenguaje divino en Hildegard von Bingen, y las variaciones del gesto harpocrático en la emblemática barroca. La segunda reúne las descripciones excesivas de Georges Perec y Jorge Luis Borges con los saturados mapas portulanos del Renacimiento y los contrasta con un mapa vacío de Lewis Carroll y un plano inútil de Juan Luis Martínez. En la última serie, se estudian los monocromos de Yves Klein en diálogo con las páginas blancas, negras y marmoladas de Lawrence Sterne y el poema Blanco de Octavio Paz. El método comparatista pretende iluminar las coincidencias y marcar las modulaciones de esta poética del silencio en distintos contextos culturales.
This thesis proposes a comparative study of the poetics of silence from the twelfth to the twentieth century in a series of works that relate image and text, arranged in three series: gestures, maps and colors. The first considers the representation of the ineffability of the divine language in Hildegard von Bingen, and the variations of the harpocratic gesture in Baroque emblems. The second brings together the excessive descriptions of Georges Perec and Jorge Luis Borges with saturated Renaissance charts, and contrasts them with an empty map of Lewis Carroll and a useless plan of Juan Luis Martínez. In the last series, Yves Klein’s monochromes are studied in dialogue with Lawrence Sterne’s white, black and marbled pages, and Blanco by Octavio Paz. The comparative method aims to illuminate the similarities and mark the modulations of this poetics of silence in different cultural contexts.

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Leonte, Eva. "Enacting the Silence of Subaltern Women : Julie Otsuka and the Japanese Picture Brides." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144396.

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It is by now a truth universally acknowledged that the world’s subaltern women (in Gayatri Spivak’s understanding of the term) cannot make their voices heard, that what we think we know about them are mostly stereotypes of our own making. It is likewise acknowledged that literature has a privileged status when it comes to representing these women, given its unique prerogative to retrieve their traces and convey their subjectivity through imagining. Literary texts which embark on this task can be seen as symbolic speech acts and, as such, they depend upon their illocutionary force for success in the public sphere. In this thesis I have chosen to discuss The Buddha in the Attic by Julie Otsuka (2011) – a novel I perceive as a collective speech act – from the combined perspective of speech-act criticism (J. L. Austin, S. Petrey), subaltern studies (G. Spivak, G. Pandey) and feminist theory (M. P. Lara, S. Lanser). My analysis explores the interrelation between this little-known story of the first-generation Japanese women immigrants to the US and the sophisticated narrative strategy which sustains it, continually balancing between the women's heterogeneity and their shared experiences, especially their systematic silencing by the dominant population. Finally, the thesis discusses the novel’s larger illocutionary implications for the public sphere, in particular how the reclaiming of the past creates new understandings of the present as well as opens up onto the future. Keywords: Otsuka, The Buddha in the Attic, migrant literature, picture brides, subalternity, feminist theory, communal voice, speech-act criticism, illocutionary force.

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Dolich, Lindsey. "Cloaking the voice in silence Wilkie Collins's Hide and seek and the textual spectacle /." Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/636.

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