Dissertations / Theses on the topic 'Tim Criticism and interpretation'
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1
Macdonald, Shawn E. (Shawn Earl). "Wordsworth's spots of time : a psychoanalytic study of revision." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60663.
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In the introductory definition of spots of time, Wordsworth claims that these important childhood episodes are virtuous and worthy of celebration. This definition is incongruous with the episodes considered independently, because they reveal themselves as essentially disturbing memories. As he revised the spots of time, Wordsworth attempted to mitigate the disturbing nature of the episodes, betraying his need to repress certain undesireable aspects of the early texts.The following study is a Freudian reading of Wordsworth's spots of time in their various stages of revision. The Introduction to this study addresses some of the problems of interpretation. Chapter One places a Freudian reading of Wordsworth within the context of previous scholarship. Chapter Two is a close reading of the earliest spots of time as informed by Oedipal memories. Chapter Three examines Wordsworth's attempt, through revision, to repress these Oedipal memories.
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Gislason, Neil B. "Wordsworth's reflective vision : time, imagination and community in "The prelude"." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21212.
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This thesis examines the role of imagination in "The Prelude," within the context of recent criticism. In accordance with the impact of new historicism on contemporary Wordsworth studies, considerable attention is given to new historicist readings. It is argued that new history's methodological approach generally undervalues the complex texture of subjectivity in "The Prelude." New historical critiques tend to interpret the Wordsworthian imagination merely as a narrative strategy that enables the poet to displace or elide socio-historical realities. However, "The Prelude" does not entirely support such a reading. On the basis of Wordsworth's autobiography and related prose works, it is asserted that the poet's consciousness of creative decline and mortality potently informs his sense of imagination, and eventuates in a mode of self-perception that precludes subjective autonomy and socio-historical displacement.
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Shively, Kay M. "Annie Dillard, it's about time : an analysis of Annie Dillard's concept of the relationship of time and eternity in her nonfiction prose." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1164837.
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Although Annie Dillard has frequently written about the subject of time, no serious study of her treatment of this subject has been published. The purpose of this study was to open the conversation, particularly in the light of her recent book, For the Time Being.Dillard's strongest interest in time is in the relationship between the temporal, time here and now, and the eternal, generally located sometime in the future, somewhere other than here. Since Dillard has repeatedly alluded to this subject in her previous nonfiction books, one may trace the development of her concept of time and eternity from earlier works such as Pilgrim at Tinker Creek, Teaching a Stone To Talk, and Holy the Firm, to its current expression in For the Time Being. She places her questions about time and eternity in a distinctly down-to-earth spirituality informed by modern science and sharpened by pungent humor.Beginning with an analysis of the influence on Dillard's writing of Romantics such as Wordsworth and Transcendentalists such as Thoreau but more particularly Emerson, as well as ancient Judaic thought, this study focuses on how Dillard blends with these theinfluence of twentieth century Christian theologian-philosophers such as Alfred North Whitehead and Teilhard de Chardin to form an eclectic spirituality that is distinctly her own.Though Dillard has often been called a mystic, her spiritual quest is intensely practical and purposeful: by cracking open the mystery of time she intends to discover nothing less than the secrets of God. This study concludes that Dillard is calling readers to recognize that the spiritually alive person can transcend the barriers of the temporal, experience the eternal in the present, and participate with God in the redemption of the universe.Department of English
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Reed, Marthe. "The poem as liminal place-moment : John Kinsella, Mei-mei Berssenbrugge, Christopher Dewdney and Eavan Boland." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0136.
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Places are deeply specific, and often richly resonant for us in terms of memory, emotion, and association, yet we nevertheless frequently move through them insensible of their constitution and diversity, or the shaping influences they have upon our lives. As such, place affords a vital window into the creation and experience of poetry where the poet is herself attuned to the presence and effect of places; the challenge for the scholar is to articulate place's nature and role with respect that poetry. In
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McSorley, Tom. "Modern times : time and the modern in the fiction films of William D. MacGillivray." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33477.
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The work of contemporary Atlantic Canadian filmmaker William O. MacGillivray is a set of confrontations. His five fiction feature films investigate, perhaps even recalibrate, conventionally understood ideas of centre and margin, time and space, and most pointedly, traditional and modern. What MacGillivray presents in his work is not, in the manner of George Grant, a lament for a traditional or old and noble world locked inexorably in the processes of technological erasure. Instead, echoing the actively ambivalent response to technology-induced change advanced by Harold Innis and others, what the films reveal is a range of possible alternative critical positions within the experience of modern lite in contemporary Atlantic Canada. As Carlos Fuentes reminds us, this does not necessarily entail 'sacrificing the past in favour of the new,' as much of the rhetoric surrounding notions of the modern insists, but rather the 'maintaining, comparing, and remembering values we have created, making them modern so as not lose the value of the modern.' ln a sense, this process is about remembering time. Fundamentally, in creating rich, complex narratives about a part of Canada facing considerable and rapid change, MacGillivray is making his own cinematic 'plea for time' in his confrontations with notions of what constitutes a modern existence. It is also a plea for space, to remember that as there are 'different modern times' there are also 'different modern spaces.'
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Kharpertian, Theodore D. ""A hand to turn the time"; : Menippean satire and the postmodernist American fiction of Thomas Pynchon." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72750.
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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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Lussier, Etienne. "Anachronisme, rebuts et survivances dans Les escaliers de Chambord et le Dernier Royaume de Pascal Quignard." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3037.
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This thesis investigates the particular conception of time developed by Pascal Quignard in his series Dernier Royaume and his novel Les escaliers de Chambord. We argue that this conception of time, which Quignard refers to as Le Jadis, operates through an anachronistic method based on a semiotic apparatus of waste, or rejects. The argument is presented in three different chapters. The first chapter uses the work of Jacques Rancière and Georges Didi-Huberman to show the way in which the concept of anachronism embraces a temporality that blurs the lines between past, present, and future and creates openings to summon and redeem forgotten relics of the past. The second chapter analyzes this open relation to time in Dernier Royaume and Les escaliers de Chambord. In these works, Quignard's notion of Le Jadis seeks specifically to awaken a vertiginously distant conception of past that is incomplete, non-linear, and perpetually becoming. The last chapter analyzes the manner in which Le Jadis can reappear as an active force through the mediation of waste, which constitutes a specific class of signs. The work of Quignard is one of montage and remontage--fragment by fragment, scrap by scrap--of the pieces of memory, which he strives to reopen and release from the linear entrapment of chronological time to which they have been relegated.
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Wulf, Catharina. "Desire in Beckett : a Lacanian approach to Samuel Beckett's plays Krapp's last tape, Not I, That time, Footfalls and Rockaby." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59554.
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This thesis argues that desire is a major theme in Samuel Beckett's dramatic works. Central to our analysis is Jacques Lacan's concept of the Desire for the Other, as the outcome of the human subject's division. We will investigate how desire is expressed at the level of Beckett's characters' utterance. The characters' attempts at and inability to achieve a reconciliation with their speech correlate with the impossibility of reunifying Lacan's split subject. The first part of our discussion focuses upon desire-as-paradox--the lack of will to desire and the continuation of desire--in Not I, Footfalls and Krapp's Last Tape, whereas Rockaby and That Time are indicative of the regression of desire leading toward the characters' death. The second part emphasizes the dramatic presentation of these plays, except for Footfalls. It will become clear that desire affects the performance and the audience, thus preventing them from attaining a unified perception of self and other.
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Stueve, Heather Halm. "A Study of the Meaning Found in the References to Space in Selected Plays of Athol Fugard." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4778.
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The south African playwright Athol Fugard of ten explores the problems which apartheid has created within his society -problems ranging from the racial and societal to the spiritual. He seems to communicate his thoughts about these issues through many direct references to space. This study investigates the meanings these spaces communicate. Four plays were chosen as representative of Fugard's subject matter (covering both white and non-white society) and career: Blood Knot (1963), People are Living There (1970), The Road to Mecca (1985), and My Children, My Africa (1990). Then three steps were carefully followed. First, each reference to space was identified and categorized using Keir Elam's and Susanne Langer's definition of "virtual space" as guide to the establishment of categories. Three categories were established: virtual space (that which is immediately visible to the audience), extended-virtual space (the off stage world which is real to the characters but unseen by the audience), and imaginary space (that which the characters project on or into the world around them). second, patterns and relationships among the spaces were identified (using Kenneth Burke's and Mary McCarthy's methodology of image clusters and dramatic alignments). Third and finally, the meaning of these patterns was explored, often using Edward Hall's science of proxemics to facilitate understanding. There is considerable similarity and continuity from play to play in the use of space. Fugard often employs references to extended-virtual space to communicate the many ills which have arisen in South African society. He also typically includes a virtual space or spaces which provide a safe haven from those ills. In addition, be almost always uses reference to imaginary space or spaces to communicate the hope for the future of freedom for all of South Africa's people. Ideally, the recognition of the spaces in Fugard's work should be actively, and knowingly, articulated in any production of his plays. This study provides a methodology for exploring these spaces and an indication of what many of the spaces mean.
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Giffone, Benjamin D. "From time-bound to timeless : the rhetoric of lamentations and its appropriation." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20205.
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Thesis (MTh)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This study postulates a unifying rhetorical function for the book of Lamentations during the Persian period. After the destruction of the temple in 587 BCE, the people of Judah were geographically scattered and religiously and culturally fragmented. Lamentations, with its ahistorical, timeless character, its acrostic form, its posture of protest, and its totalizing references to all the different classes and groups of Judahites, became a rallying point for Jews seeking restoration after the exile, as well as a perpetual reflection on YHWH’s role in human suffering for oppressed Jews in many places and at many times through history. The historical component of this study seeks to establish the fragmentation of Judah and the goals of the various Judahite groups during the Persian period. The literary component attempts to demonstrate Lamentations’ suitability as a portable, timeless expression of suffering before YHWH, and as a source of imagery and motivation for Jewish restoration hopes. This study contributes to the understanding of the formation of Jewish identity, which since the destruction of the first temple has been shaped by minority status in nearly every cultural context, and by the evolution of a portable, textual religion. This study concludes that the preservation of the book of Lamentations was both a reflection of and a contribution to these two aspects of Jewish identity. This study also contributes to the interpretation of Lamentations—and the genre of communal lament—as literature and liturgy. It also explores the possibility of literary connections between Lamentations, Isaiah 40-55, and the genre of penitential prayers.
AFRIKAANSE OPSOMMING: Hierdie studie postuleer ‘n verenigende retoriese funksie vir die boek Klaagliedere gedurende die Persiese periode. Na die vernietiging van die tempel in 587 vC was die inwoners van Juda geografies versprei en godsdienstig en kultureel gefragmenteer. Klaagliedere se ahistoriese en tydlose karakter, die akrostiese vorm, die geneentheid tot protes, en die totaliserende verwysings na al die verskillende klasse en groepe van Judeërs, het ‘n aanhakpunt geword vir Jode wat heropbou na die ballingskap nagestreef het, asook vir die voortgaande nadenke by onderdrukte Jode in baie plekke en tye deur die geskiedenis, oor Jahwe se rol in menslike lyding. Die historiese komponent van hierdie studie probeer die fragmentering van Juda gedurende die Persiese periode vasstel, asook die doelwitte van die verskillende groepe in Juda. Die literêre komponent poog om te illustreer dat Klaagliedere uitermate geskik was as oordraagbare, tydlose uitdrukking van lyding voor Jahwe, en dat dit ‘n bron van verbeelding en motivering vir die Joodse heropbou-hoop was. Die studie dra by tot die verstaan van die vorming van Joodse identiteit wat sedert die vernietiging van die eerste tempel sterk beïnvloed is deur hul minderheidstatus in byna elke kulturele konteks, maar ook deur die ontwikkeling van ‘n oordraagbare, tekstuele godsdiens. Hierdie studie kom tot die gevolgtrekking dat die bewaring van die boek Klaagliedere beide ‘n nadenke oor en ‘n bydrae tot hierdie twee aspekte van Joodse identiteit was. Die studie maak ook ‘n bydrae tot die interpretasie van Klaagliedere—asook die genre van gemeenskaplike klag—as literatuur en liturgie. Dit ondersoek ook die moontlike literêre verhoudings tussen Klaagliedere, Jesaja 40-55 en die genre van boetepsalms.
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Hoyer, Steven. "Intention and interpretation." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68104.
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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.
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Marinho, Danielle 1991. "O sobrevivente insalvável : tempo e imagem em "A quarta cruz" de Weydson Barros Leal." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269948.
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Orientador: Eduardo Sterzi de Carvalho JúniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Se a questão que se impõe na atualidade é a da sobrevivência do homem em uma terra devastada ¿ numa dimensão ambiental e civilizacional ¿ e se há ainda um esforço de criação em meio a essa dispersão, como o é a tentativa poética, o mundo que então se revela não é feito de presença e inteireza, é um mundo cuja imagem encontra-se também arruinada. O poeta que, hoje, opta por lidar com essa destruição, cria no poema um campo de ressurgências de imagens e palavras, no qual vibra, como potência daquilo que é resto, o fato de elas terem resistido, apesar de tudo. Nesse contexto a obra "A quarta cruz", de Weydson Barros Leal, adquire ainda mais densidade, pois suas figurações são visões da crise, da ruína, da perda de imagem, ou da imagem que se dá apesar da destruição. A cruz de Weydson Leal é talhada no tempo, na memória, na desesperança; é cinza que sobrevive ao incêndio, à catástrofe da palavra, ao grito do silêncio; é visão do escuro, forma do excesso, presença do vazio. Suas imagens poéticas lampejam em desaparecimentos e reaparições, dando corpo ao que denominamos, com base em Georges Didi-Huberman, uma poética da sobrevivência. Se essa marca inventiva puder ser considerada não só em sua dimensão de crise, mas também como análise dessa crise, então, de algum modo, os resquícios e ruínas da imagem do mundo que constituem sua poética organizam nossa consciência de sermos sobreviventes, isto é, organizam nosso pessimismo, pois estabelecem a sobrevivência das palavras e das imagens quando a nossa própria sobrevivência encontra-se comprometida. Voltando-se para o futuro, o poeta não pode redimir sua obra, pois sua condição é a vida que lhe resta, tardia, irreparável, insalvável, como a define Giorgio Agamben. Cabe-lhe, por fim, afirmar que o homem é destrutível e indestrutível, e a partir desse paradoxo disseminar sobrevivências
Abstract: If the question to be answered today is the survival of mankind in a wasteland ¿ in a environmental and civilizational meaning ¿, and if there is an effort to create in the midst of this dispersion, as it is the poetic attempt, then the world that is revealed is not made of the presence and integrity, is a world whose image is also ruined. The poet who deals with this destruction creates in the poem a field of resurgence of images and words, where vibrates, as a potencial of the rest, the fact that they have endured, though. In this context, the book "A quarta cruz" ("The fourth cross"), written by Weydson Barros Leal, becomes denser, since their poetic images are visions of the crisis, the ruin, the loss of image, or the image that remains despite the destruction. The cross of Weydson Leal is carved in time, in memory, in despair; it is ashes surviving the fire, the catastrophe of the word, the cry of silence; it is vision of the darkness, form of excess, presence of emptiness. His poetic images are disappearances and reappearances, forming what we call, based on Georges Didi-Huberman, a poetics of survival. If this inventive peculiarity can be considered not only in its dimension of crisis, but also as analysis of this crisis, then, somehow, the ruins of the world image that make up his poetic organize our awareness of being survivors, that is, it organizes our pessimism, because it establishes the survival of words and images when our very survival is compromised. Turning to the future, the poet cannot redeem his work because his condition is life he have left, late, irreparable, unsaveable, as Giorgio Agamben defines. The poet must, finally, affirm that we are destructible and indestructible, and from that paradox disseminate survivals
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
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Anger, Suzy. "Victorian hermeneutics and literary interpretation /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9374.
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Kuronen, Suzanne. "Figuring space : considering the figure in the construction of space as materialist film." University of Western Australia. School of Architecture, Landscape and Visual Arts, 2004. http://theses.library.uwa.edu.au/adt-WU2005.0015.
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Figuring Space; considering the figure in the construction of space in materialist film is an analysis of film space that uses either the image of a figure or the actual figure of the viewer in its construction. The thesis focuses on particular screen works of William Raban, Guy Sherwin, Malcolm Le Grice, Chris Welsby, Nicky Hamlyn, Peter Gidal (all members of the London Filmmakers’ Cooperative) and the Canadian artist Michael Snow. It discusses the works in relation to the basic materials of time, light and sound found in film and video. The thesis looks at the way the film frame was implemented in the work of these artists to challenge preconceived notions of film space. It also highlights the uncertainty of spatial relativity within the screen image once the techniques imposed by the artist undermine previous determinations of positions in space. The frame provides necessary elements with which a reading of a pictorial space can be made. In addition, with some of the works discussed, the frame defines an exterior screen space that at times questions the boundaries between on-screen and off-screen, and fictive space and real space. While in other works that are addressed, binaries exist within which the boundaries of a picture plane are utilized to determine an object’s spatial relativity, which in turn questions the relativity of those boundaries that determine it. The frame that previously confirmed the illusions of space within the pictorial plane could no longer be prescribed as definitive. Calculations of the film space would become dependent upon a point of origin that is situated within actual time and space at the position of the viewer. The figure of paramount importance, when considering the constructs of space within materialist film, is that of the viewer
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Fontana, André. "Identidades gaúchas : serranos, pampeanos, missioneiros e outras variações em O Tempo e o Vento." reponame:Repositório Institucional da UCS, 2007. https://repositorio.ucs.br/handle/11338/1014.
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O trabalho aborda as identidades gaúchas representadas por personagens de O Tempo e o Vento na perspectiva de suas variações, focando a diversidade inerente a constituição do tipo humano sul-brasileiro e a pluralidade da formação social rio-grandense, terra fronteiriça e marcada pela mistura de diferentes culturas. Esse traço é marcante no romance histórico de Erico. Está na proposta estética da narrativa: na constituição, arquitetura e desenvolvimento do clã Terra-Cambará. Através da figura do gaúcho serrano busca-se pensar de que maneira as várias etnias interagiram ao longo do tempo, no processo de ocupação, conquista e delimitação do espaço. Pela contraposição das diferenças, as identidades regionais poderão “resplandecer com maior fulgor”, revelando algumas peculiaridades locais; sinais distintivos, atributos identitários que podem delimitar e cofundir diferentes territórios sulinos.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-09-30T14:06:15Z No. of bitstreams: 1 Dissertacao Andre Fontana.pdf: 1461979 bytes, checksum: f36be6216c4aa3e1ca3d074160c122f5 (MD5)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES
The present paper approaches the “gaúchas” identities represented by characters in O Tempo e o Vento in the perspective of their variations, emphasizing the diversity inherent to the constitution of the South-Brazilian human kind. It also highligths the plurality of the rio-grandense social formation, bordering upon land and characterized by the mixture of different cultures. This trait is remarkable in Erico’s historical novel. It is in the esthetic proposal of the narrative: in the constituition, architecture and development of the Terra-Camabrá clan. Through the figure of the mountain region “gaucho”, it is possible to think of which ways several ethnic groups have interacted along time, in the process of occupation, conquer and delimitation of space. Through the counter position of the differences, the several regional identities will be able to “shine with greater splendor”, revealing some local peculiarities; distinctive signs, identity attributes that may delimit and co fuse different southern territor ies.
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Chabbouh, Junior Marco Antonio. "As disputas em torno da tese kantiana da irrealidade do tempo: análise e avaliação da doutrina do tempo na Dissertação de 1770 e na Crítica da razão pura a partir das objeções de Lambert, de Mendelssohn e de Trendelenburg." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21189.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In the dissertation On the form and principles of the sensible and the intelligible world, Immanuel Kant formulates for the first time the thesis that was considered the mark of his critical turn: the thesis that time (and space) is ideal. In the same year, two of his most influential contemporaries objected to one of the central points of the newly formulated theory: Johann Heinrich Lambert and Moses Mendelssohn could not accept that time was unreal. Almost a century later, Adolf Trendelenburg formulated an important critique that shaped the way that the "Transcendental Aesthetics" would be read by the interpreters of Kant's philosophy. The purpose of this work is to discuss Kant's philosophy of time in the light of these objections and to evaluate if Kant’s main thesis concerning the nature of time is sustainable. For this, three points need to be discussed: (i) the thesis of the unreality of time in 1770 and the objections presented that year; (ii) Kant's reception of these objections and possible changes in the doctrine presented in the mature text of the Critique of Pure Reason and; (iii) the degree of sustainability of the Kantian philosophy of time in confrontation with Trendelenburg’s objection. Through this discussion and through an analysis of the development of a certain English-speaking interpretative tradition, it will be seen that the debate between Kant, Lambert, Mendelssohn and Trendelenburg can be reduced to the debate between the philosopher of Königsberg and his main opponents in the "Transcendental Aesthetics”, namely, Newton and Leibniz. It will also be shown by this reduction that Kant’s mature philosophy of time is coherent and sustainable even in the face of the renowned critics and even adopting the interpretative structure used by Trendelenburg
Na dissertação Forma e princípios do mundo sensível e do mundo inteligível, Immanuel Kant formula pela primeira vez a tese que foi considerada como o marco de sua virada crítica: a tese de que o tempo (e o espaço) é ideal. No mesmo ano de publicação daquele trabalho, dois de seus mais influentes contemporâneos formularam objeções a um dos pontos centrais da recém-formulada teoria: Johann Heinrich Lambert e Moses Mendelssohn não podiam aceitar que o tempo era irreal. Quase um século depois, Adolf Trendelenburg formulou uma célebre crítica que moldou o modo como o texto da “Estética Transcendental” foi lido pelos intérpretes da filosofia de Kant. O presente trabalho tem como objetivo discutir a filosofia do tempo de Kant à luz dessas objeções e avaliar a capacidade de sustentação dela frente às críticas. Para isso, três pontos precisam ser discutidos: (i) a tese da irrealidade do tempo em 1770 e as objeções apresentadas naquele ano; (ii) a recepção que Kant faz dessas objeções e eventuais alterações na doutrina apresentada no texto maduro da Crítica da Razão Pura e; (iii) o grau de sustentabilidade da filosofia kantiana do tempo na confrontação com a objeção de Trendelenburg. Por meio dessa discussão e de uma análise do desenvolvimento de certa tradição interpretativa de língua inglesa, constatar-se-á que o debate entre Kant, Lambert, Mendelssohn e Trendelenburg pode ser reduzido ao debate entre o filósofo de Königsberg e seus principais interlocutores na “Estética Transcendental”, a saber, Newton e Leibniz. Mostrar-se-á, ainda, por meio dessa redução, que a filosofia madura do tempo de Kant é coerente e sustentável mesmo frente às célebres críticas e mesmo adotando-se a estrutura interpretativa utilizada por Trendelenburg
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
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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.
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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.
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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.
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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
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Murray, Jessica. ""Notes for the Manual Assembly"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157616/.
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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.
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Roque, Maura Voltarelli 1989. "O diálogo com o invisível na poética do entrelugar de Dora Ferreira da Silva." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270072.
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Orientador: Marcos Aparecido LopesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-26T03:34:58Z (GMT). No. of bitstreams: 1 Roque_MauraVoltarelli_M.pdf: 1840200 bytes, checksum: 6b7c506e1fe78869236b908ac33c4565 (MD5) Previous issue date: 2014
Resumo: Esta dissertação de mestrado realiza um estudo da obra da poeta contemporânea brasileira Dora Ferreira da Silva, buscando compreender alguns de seus procedimentos poéticos fundamentais a partir da análise crítica de sua obra. Dentre esses procedimentos está a realização de um "diálogo com o invisível" por meio do qual a poeta chama e afirma imagens míticas, de um tempo outro, afirmando-as no presente contra a sua desaparição. Neste sentido, sua poética realiza a sobrevivência dessas imagens que voltam e se fazem novamente possíveis no presente, esse tempo de carência, ausente de deuses. Na realização de tal diálogo com o invisível, buscamos também mostrar a constituição do que pensamos ser um lugar fundamental na construção de sua poética: o espaço do entrelugar, essa zona de indefinição, situada em um intervalo, onde a poeta, em um duplo movimento, se situa entre potências opostas, como mito e logos, sombra e luz, morte e vida, que coexistem em sua obra poética, deixando que ela se mostre em sua materialidade, na artesanal operação sobre as palavras, e não se deixe ver, ou não se deixe dizer totalmente, em sua proximidade com o mito. Nesse entrelugar que faz dela, antes de tudo, moderna, a poesia de Dora Ferreira da Silva confunde e indetermina e, como diria Vilém Flusser, fascina, como tudo que ainda não foi descoberto
Abstract: This dissertation realizes a study of the work of contemporary Brazilian poet Dora Ferreira da Silva, trying to understand some of their basic poetic procedures from critical analysis of her work. Among these procedures is the realization of a "dialogue with the invisible" through which the poet calls and affirms the mythical images of another time, stating them at the present against their disappearance. In this sense, her poetic realizes the survival of these images, they come back and become again possible in our time, this time of poverty and penury, absent from the gods. In the realization of the dialogue with the invisible, we also try to show the constitution of what we think is a fundamental place in the construction of her poetry: the space of the between-place, this area of uncertainty, situated in a interlude, where the poet, in a double movement, is between opposing powers such as myth and logos, shadow and light, death and life, that coexist in her poetic work, letting it show in its materiality, artisan operation on the words, and do not get to see, or do not be mean totally, in its proximity to the myth . In this between-place, that makes it, above all, modern, the Dora Ferreira da Silva's poetry confounds and indeterminate and, like say Vilém Flusser, fascinates, as all that has not yet been discovered
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
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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.
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Pryor, Caitlin. "Vanishing Act." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801936/.
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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.
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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.
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Lanthier, Lalita Bharvani. "Two outsiders in Indo-English literature : Ruth Prawer Jhabvala and Salman Rushdie." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56664.
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This thesis shows the condition of outsidedness in the fiction of two Indo-English authors: Ruth Prawer Jhabvala and Salman Rushdie. Ruth Prawer Jhabvala focuses on the intercultural encounter from the European perspective. Salman Rushdie writes from the expatriate's point of view. Astride the cultural frameworks of India and the West at once they examine the ironic similarities of prejudice and intolerance in both societies. These authors' novels are examined through concepts elaborated by the Russian literary theoretician, Mikhail Bakhtin, such as exotopy or outsidedness, heteroglossia, dialogism, etc. They confirm Bakhtin's contention that cultural confrontation is a potentially enriching source of literary and artistic creation. Jhabvala treats the intercultural encounter within the colonial and post-colonial frameworks and shows the fragile dialogue that does occur between her European characters and India. Rushdie on the other hand centres mainly on contemporary India although he does satirize certain aspects of colonial India. He uses a plethora of historical, literary, cultural and linguistic referents from both eastern and western traditions to subvert the hegemonic discourse of either and to celebrate cultural hybridity.
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Miller, Dane Eric. "Micah and its literary environment: Rhetorical critical case studies." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185441.
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I began this investigation with the presupposition that the MT of Micah offered us a valid object upon which to apply the methodology of rhetorical criticism. The examination of the text proceeded along the lines of two emphases: (1) a structural analysis which studied the various blocks of material in order to describe a unity or cohesiveness in Micah, and (2) a thematic approach which identified underlying images which tend to enhance the coherence of the work. I used these two methodologies to address both pericopes and also larger units and even to discuss the book itself. Two other methodological strategies have also guided my analysis of Micah. In Chapter 1, I described two foci of the ellipse that is rhetorical criticism: first, those who emphasize the task of "listening" to the text, which I understand as more of an empathic approach, and second, those who utilize a quantifying style of investigation. Both these focal points are reflected in my structural and thematic analyses. Although no readily recognizable patterns such as A:B:A appears in describing the three parts of the book, there does seem to be a thematic development in Micah 1-7. Thus Part I (Micah 1-3) resounds with the words of witness followed by judgment and concludes with the destruction of Jerusalem. That scene of destruction gives way, however, to the restoration and encouragement of Part II (4:1-5:8), although the threats in 4:9-5:8 remind us that the restoration is not an accomplished fact. Part III (Mic 5:9-7:20) begins with what seems to be an assertion that the judgment will take place, especially with the appearance again of the witness/judgment model in 6:9-7:6. However, the final picture of restoration and covenant fidelity on the part of YHWH affirms that the judgment will be overturned. I have further suggested that echoes from the literary tradition of Israel enhance the movement from judgment to renewal in Micah. The conclusion to the judgment in Part I (Mic 3:1-12) has particular impact, because it is presented in the language of the judgment scene from the garden of Eden (Genesis 3). In fact, we see here again that theme and structure intermix in Micah. I suggest that the book begins with material which mimics and recalls older traditions (the theophany, David, and even Anat) and ends with similarly old recollections (David and Moses). Thus I posit that Micah comes to us wrapped in an envelope of ancient echoes.
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Suzuki-Martinez, Sharon S. 1963. "Tribal Selves: Subversive Identity in Asian American and Native American Literature." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/565575.
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Walton, Jennifer Lee. "POLITICAL REELISM: A RHETORICAL CRITICISM OF REFLECTION AND INTERPRETATION IN POLITICAL FILMS." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143492027.
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Levitan, Linda. "The sense of place in Sophocles : a study in the landscape of experience." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63835.
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