Dissertations / Theses on the topic 'Tracey Criticism and interpretation'
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Kazi, Ania. "Parcours de la mémoire : l'Islam et ses traces dans l'imaginaire d'Abdelwahab Meddeb." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26284.
Full textBauer, Jacob Aaron. "Tracey Emin's Tent." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492631305710945.
Full textPycroft, Hayley. "Beyond Afrocentricism and Orientalism contemporary representations of transnational identities in the works of Nontsikelelo "Lolo" Veleko and Tracy Payne." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002216.
Full textRoberts, D. "Physical conclusions? : an exploration of [dis]continuities in Thomas Vaughan's [al]chemical tracts." Thesis, University of Wales Trinity Saint David, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683187.
Full textLa, Taille Jean de 1533?-1611 or 12, E. C. (Elliott Christopher) 1924 Forsyth, and des textes francais modernes (Paris France) Societe. "Tragedies, Saul le furieux ; La Famine, ou les Gabeonites : Edition critique / par Elliott Forsyth." Paris: Societe des textes francais modernes, 1998. http://hdl.handle.net/2440/38643.
Full textAlso submitted by the editor as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006.
Includes bibliographical references (p. 169-174) and index.
lxxix, [183] p.:
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
La, Taille Jean de 1533?-1611 or 12, Elliott Christopher Forsyth, and des textes francais modernes (Paris France) Societe. "Tragedies, Saul le furieux ; La Famine, ou les Gabeonites : Edition critique / par Elliott Forsyth." Thesis, Paris: Societe des textes francais modernes, 1998. http://hdl.handle.net/2440/38643.
Full textAlso submitted by the editor as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006.
Includes bibliographical references (p. 169-174) and index.
lxxix, [183] p.:
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Kruger, Marieke, and Marieke Malan. "Reflecting self : an exploration of drawing trace as reciprocity between self and life-world, with reference to my own drawing and selected works of Diane Victor." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96943.
Full textENGLISH ABSTRACT: The study postulates that drawing functions as a valuable vehicle that facilitates reciprocity between the drafter and her life-world. This relationship of exchange can bring about transformation of the self. The study is a qualitative study that aims to establish an understanding of how drawing functions as a vehicle facilitating reciprocity between the drafter and her life-world. In order to effectively research the transformative potential of reciprocity between artist, drawing, and life-world, theoretically and practically, the study is divided into two main parts. Firstly, it constitutes a theoretical section, which forms the foundation for further exploration in the second part of the study. Secondly, the study focuses on the practical manifestation of the theories as manifest in my drawings and in selected drawings of Diane Victor, whose work primarily functions as ‘a third person perspective’ in relation to my own work. The study is rooted in a psycho-analytical framework, focusing on Self psychology and Intersubjective Psychoanalysis of personality psychologists such as Jung, Miller, Goldberg and McAdams, amongst others, as well as the writings of philosophers, art historians and drawing theorists such as Jacques Derrida, Catherine de Zegher, and Suzi Gablik. Valuable links are forged between the transformative potential of drawing, the psychological and the spiritual. Parallels are drawn between notions derived from self-psychology and theology, based on the premise that human beings constitute body (physical aspect), soul (mind and emotion) and spirit, three components that are hardly divisible and that work together in drawing, effecting the transformation of the self. I argue that a failure to acknowledge the significance of the interactivity between these facets limits and inhibits the transformative potential of the drawing process. Through interactivity between the self and her life-world through drawing, moments of ‘recognition’ and ‘knowing’ occur - concerning hidden ‘truths’ of the self, which could affect personal transformation. In this study, life-world comprises inner and outer world, a visible and invisible world. The visible world focuses on the interaction of the self with nature and culture, and the invisible world focuses on the interaction of the self with a psychic world, which includes the workings of the conscious and unconscious mind in drawing and their connection with a spiritual dimension. The spiritual aspect in drawing is researched through the notions of transformative “presence” and the “transcendent function” of drawing. The study explores the psychological and spiritual value of drawings as transformative selfobjects to address the general neglect of the spiritual. I affirm that there exists a mutually conducive potential and influence that the interplay between the spiritual and the psychological in the drawing process bring about. As a “selfobject”, a drawing attains its own ‘silent visual language’ replacing or assisting the role of the therapist, becoming pivotal in a transformative ‘interpersonal dialogue’. Lastly, Jung (Miller, 2004:4) claims that the unification of the conscious and unconscious eventually results in “a living birth that leads to a new level of being, a new situation” (Miller, 2004:4).
AFRIKAANSE OPSOMMING: Die studie veronderstel dat teken funksioneer as 'n waardevolle voertuig wat wisselwerking fasiliteer tussen die tekenaar en haar omwêreld, ‘n wisselwerking wat kan lei tot transformasie van die self. Die studie is 'n kwalitatiewe studie wat daarop gemik is om 'n begrip te kweek van hoe teken funksioneer as voertuig wat wisselwerking fasiliteer tussen die self en haar omwêreld. Ten einde die transformatiewe potensiaal van sodanige wisselwerking deur middel van teken effektief te bestudeer op ʼn teoretiese asook ʼn praktiese vlak, word die studie verdeel in twee hoofdele. Eerstens bied die studie 'n teoretiese gedeelte wat die grondslag vorm vir verdere ondersoek in die tweede deel. Tweedens fokus die studie op die praktiese manifestasie en toeligting van die teorieë in my tekeninge en in geselekteerde tekeninge van Diane Victor, wie se werk hoofsaaklik funksioneer as ‘ʼn derde persoon perspektief’ in verhouding tot my eie werk. Die studie is gewortel in 'n psigo-analitiese raamwerk, met die fokus op Selfsielkunde en Intersubjektiewe Psigo-analise van persoonlikheidsielkundiges soos Jung, Miller, Goldberg en McAdams, onder andere, sowel as die geskrifte van filosowe, kunsgeskiedkundiges en tekenteoretici soos Jacques Derrida, Catherine de Zegher en Suzi Gablik. Die studie het dus ten doel om betekenisvolle bande te smee tussen die transformerende potensiaal van teken, die sielkundige asook geestelike werking wat dit teweegbring. Parallelle word getrek tussen begrippe in selfsielkunde en teologie, gebaseer op die veronderstelling dat die mens bestaan uit liggaam (fisiese aspek), siel (verstand en emosies) en gees. Hierdie onderskeie aspekte (liggaam, siel en gees), is moeilik deelbaar en werk onlosmaaklik saam in die tekenproses ten einde die transformasie van die self te bevorder en te bewerkstellig. Ek argumenteer dat indien ‘n mens versuim om die betekenis en waarde van die interaktiwiteit tussen hierdie fasette te herken, word die transformatiewe potensiaal van die tekenproses misken. Teken kan derhalwe beskou word as ʼn effektiewe voertuig wat wisselwerkende prosesse tussen die self en haar leefwêreld fasiliteer, waartydens daar oomblike van ‘erkenning’ en ‘weet’ voorkom met betrekking tot verborge ‘waarhede’ van die self wat persoonlike transformasie kan beïnvloed. In hierdie studie word daar na omwêreld verwys as 'n interne asook ʼn eksterne wêreld, 'n sigbare en onsigbare wêreld. Wisselwerking dui op die interaksie van die self met die natuur asook kultuur as die sigbare. Wisselwerking dui ook op interaksie van die self met 'n psigiese, onsigbare wêreld. Hierdie psigiese wêreld van die self omvat die bewuste en onderbewussyn deur middel van teken, asook die verband met' n geestelike dimensie. Die geestelike aspek in teken word bestudeer deur die konsepte van transformatiewe "teenwoordigheid" en die "transedentale funksie" van teken. Die studie ondersoek die sielkundige en geestelike waarde van tekeninge wat as transformatiewe ‘selfobjekte’ die potensiaal besit om die algemene verwaarlosing van die geestelike aan te spreek. Ek bevestig dat daar 'n wedersydse bevorderlike wisselwerking en invloed bestaan tussen die geestelike en die psigologiese wat deur wederkerige prosesse binne die tekenproses gefasiliteer word. As 'n ‘selfobjek’ kommunikeer tekeninge deur hul eie ‘stille visuele taal’ en toon die potentiaal om die rol van ʼn terapeut te vervang, of alternatiewelik, te ondersteun, deur middel van visuele ‘interpersoonlike dialoog’. Laastens, beweer Jung dat die eenwording van die bewuste en onbewuste eventueel kulmineer in "ʼn lewende geboorte wat lei tot 'n nuwe vlak van bestaan, 'n nuwe situasie" (Miller, 2004:4).
Oliveira, Maria Rita Aguilar Nepomuceno de. "Pier Paolo Pasolini, l'uomo arrabbiato = um percurso para o trágico." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283969.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa tem como objetivo levantar e analisar os aspectos trágicos do drama cinematográfico de Pier Paolo Pasolini, através da análise da sua produção artística (documentários, ficções, teatro) e também da sua vida. O primeiro capítulo apresenta a biografia do poeta, da sua formação até o início da sua atividade cinematográfica. O segundo capítulo apresenta os aspectos trágicos dos seus primeiros filmes (Accattone, Mamma Roma, Il Vangelo secondo Matteo, os filmes cômicos com os atores Ninetto e Totó). O terceiro capítulo expõe a sua ideia de um "teatro da palavra" e a presença dos mitos trágicos nas peças Orgia, Affabulazione e Pilade. O quarto capítulo expõe a sua ideia de documentário como "filme sobre um filme por fazer" e os aspectos trágicos dos filmes documentários La Rabbia e Appunti per un'Orestiade africana. O quinto capítulo desenvolve a concepção semiológica de cinema de Pasolini (o cinema como língua escrita da realidade); e também estilística ( roteiro, uso do plano/contraplano, sua visão de "cinema de poesia"). O sexto capítulo articula os possíveis desdobramentos cinematográficos da tragédia como forma artística e como "estrutura de sentimento", alinhando a concepção de cinema moderno àquela de tragédia moderna. O sétimo capítulo analisa as tragédias gregas filmadas por Pasolini como ficção (Edipo Re e Medea) e a tragédia moderna filmada Teorema, através do levantamento de informações críticas e das evidências do trágico no cinema deste autor. Este trabalho verificou que a possibilidade de um trágico como instrumento de expressão e estrutura de sentimento se resolve em Pasolini pela poesia (a poesia media a representação do mito trágico, no teatro e no cinema). Pasolini encontra o trágico na diversidade de poeta, no escândalo da sinceridade e da autenticidade impossíveis ao homem e ao mundo "irreais" da "normalidade" "burguesa". Assim é que o trabalho apresenta e analisa a apropriação do autor dos mitos trágicos articulando-os às necessidades da estrutura de sentimento (trágica) do autor de cinema moderno de que Pasolini faz parte
Abstract: This research rises and analyses aspects of the tragedy in Pier Paolo Pasolini's work, through analysis of his artistic production (documentaries, fiction, drama) and also of his life. The first chapter presents biographic aspects of his personal trajectory until the beginning of his film activity. The second chapter presents tragic aspects of his first films (Accattone, Mamma Roma, Il Vangelo secondo Matteo, the comic films with the actors Ninetto and Totó). The third chapter exposes Pasolini's idea of a "theater of the word" and how the tragic myth appears on it. The fourth chapter lays out his idea of documentary as "a film about a film to be make" and analyse the tragic aspects of his documentaries La Rabbia and Appunti per un'Orestiade Africa. The fifth chapter develops Pasolini's idea of cinema; his semiological approach (the cinema as the written language of reality), as well as his personal film style ( script, use of the "shot reverse shot" and his vision of the "cinema of poetry"). The sixth chapter articulates the possible consequences of the tragedy as an artistic form and a "feeling's structure" adapted to the cinematic instruments, aligning the concept of "modern cinema" with that of "modern tragedy". The seventh chapter analyses the tragedies filmed by Pasolini as fiction (Edipo Re and Medea) and the filmed "modern tragedy" Teorema, gathering critical information and evidences of the tragic vision in Pier Paolo Pasolini's films. We noticed that the possibility of the tragedy as an instrument of expression and a structure of feeling for the cinema is solved in Pasolini's work by the poetry (is the poetry that mediates the author's representation of the tragic myth in his dramas and films). Pasolini finds the tragedy in his poet's condition of diversity, in the scandal of sincerity and in the authenticity inside the "unrealistic" situation of the bourgeois world and its "normality". Thus the present Research analyses the author's ownership of the tragic myths articulating it to the feeling's structure (the tragic vision) of the authorisme in the "modern cinema" which Pasolini's work belongs
Mestrado
Multimeios
Mestre em Multimeios
Hoyer, Steven. "Intention and interpretation." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68104.
Full textChapter 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.
Anger, Suzy. "Victorian hermeneutics and literary interpretation /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9374.
Full textMacedo, Isabela Carvalho 1985. "O sorriso e as lágrimas de Dioniso : ensaio sobre a figura de Dioniso a partir da leitura de As bacantes de Eurípides." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270009.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A principal questão deste estudo é pensar Dioniso como o sucessor de Zeus. A reflexão proposta sugere que no século V a.C. é Dioniso o soberano que irá ditar os nomoi, leis, que irão reger a vidas dos imortais e dos mortais. Para tal empreitada é proposta uma leitura sobre o dionisismo desde o século VII a.C., que é quando Dioniso retorna das suas viagens exterior para a Grécia trazendo o vinho, até V a.C. quando o deus se torna a divindade mais cultuada da pólis. A principal fonte para tal leitura é a tragédia As bacantes de Eurípides, pois ela narra o retorno de Dioniso e a sua afirmação como uma divindade poderosa e foi escrita no século V a.C. Os principais interlocutores teóricos para o estudo de As bacantes são René Girard e Friedrich Nietzsche ¿ em específico os livros A violência e o sagrado e O nascimento da tragédia. A metodologia apresentada é a seguinte: primeiro serão discutidas as particularidades divinas que convém a Dioniso. O deus foi gestado por uma mortal, devido a isso ele tem mais afinidade com os mortais que as demais potestades. Além disso, é um deus que passa por vários sacrifícios. A partir de tais argumentos é desenvolvida a relação entre o deus e os mortais tendo como ponto de partida os heróis da epopeia. Será defendida a hipótese de que Dioniso apropria-se do logos, um discurso que mede o tempo a partir dos homens e não dos deuses, para fortalecer-se como divindade. Uma vez esclarecido o vínculo de Dioniso com os mortais, será proposta uma interpretação de As bacantes tendo tal obra como o marco da soberania de Dioniso ¿ é ele quem sucederá Zeus. A elaboração de tal leitura levou à contestação da perspectiva teórica de Nietzsche sobre o confronto e a conciliação entre apolíneo e o dionisíaco, impulsos artísticos que Nietzsche usa para definir a religião grega, e também sobre a figura de Sócrates. Desse modo, na última parte será feito um debate teórico sobre a leitura de Nietzsche, será relativizada a perspectiva do filósofo de que entre o apolíneo e o dionisíaco houve uma conciliação. Além disso, será proposta uma imagem de Sócrates não como o principal inimigo de Dioniso, mas como uma das máscara do deus
Abstract: The main question our study poses is whether one can interpret Dionysus as being the successor to Zeus. Our project proposes that in the fifth century BC, Dionysus determined nomoi, the laws that governed the lives of both mortals and immortals. In this dissertation we explore different references to Dionysus that circulated from the seventh century BC, when Dionysus returned to Greece from his travels abroad bringing with him wine, to the fifth century BC,the point when he became the most worshiped God in polis. Our main literary source is Euripedes¿s The Bacchae, writen in the fifth century BC, this work discusses Dionysus¿s ascent to become one of the powerful gods in Greece following his return to the empire. The principal theorists we engage with in this work are René Girard and Friedrich Nietzsche ¿ specifically, Violence and the Sacred and The Birth of Tragedy.The fist part of the dissertation explores particular traits ascribed to Dionyusus as a result of having been gestated by a mortal. Due to this, Dionysus has more affinity with mortals than the other gods have. Moreover, Dionysus makes a number of sacrifices. It is from these interpretations that the relationship between God and mortals originates and it is this point that marks the creation of heroes.Our hypothesis is that Dionysus appropriates logos, which we can understand as a form of discourse that measures time from mortals, not for gods, which in turn is used by Dionysus to strengthen himself as a god. After describing the relationship between mortals and gods, we propose an interpretation of The Bacchaethat show how this text can be interpreted showing Dionysus status as a powerful god -it is he who succeeds Zeus. From here we dispute Nietzsche's interpretation on confrontation andreconciliation between Apollonian and Dionysian, artistic impulses that Nietzsche uses to define ancient Greek religion, not to mention Nietzche¿s treatment of Socrates. In the final section we engage with the theoretical debate through a close readin of Nietzsche. In it we relativize Nietzsche¿s understanding that a compromise existed between the Apollonian and Dionysian. Furthermore, we propose that Socrates was not an enemy of Dionysus, but rather he was a mask of Dionysus
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.
Full textThe 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.
Turner, Seth. "Revelation 11:1-13 : history of interpretation." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:57efe3b3-7c61-412f-9001-5269860a896d.
Full textNicol, George Grey. "Studies in the interpretation of Genesis 26.1-33." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:8fff7ce7-9a50-4011-9f54-5776c84aa36a.
Full textBennett, Richard. "Variations : influence intertextuality, and Milan Kundera, Jean Rhys, and Tom Stoppard." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26254.
Full textChapter 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.
Kilian, Monica. "The exile's experience : an examination of the poetry of Hilde Domin and Waclaw Iwaniuk." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26855.
Full textArts, Faculty of
English, Department of
Graduate
Graham, Catherine (Catherine Elizabeth). "Standpoints : the dramaturgy of Margaretta D'Arcy and John Arden." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60621.
Full textPetersen, Jeffrey J. 1981. "Playful Conversations: A Study of Shared Dynamics Between the Plays of Paula Vogel and Sarah Ruhl." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10155.
Full textPulitzer 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
Murray, Jessica. ""Notes for the Manual Assembly"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157616/.
Full textBailey, Catherine Diana Alison. "Mending the web : a thematic study of Xu Dishan’s fiction." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25343.
Full textArts, Faculty of
Asian Studies, Department of
Graduate
Loevlie, Elisabeth M. "Literary silences : saying the unsayable: an exploration of literary silence in the works of Pascal, Rousseau and Beckett." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365530.
Full textMarais, Susan Jacqueline. "(Re-)inventing our selves/ourselves : identity and community in contemporary South African short fiction cycles." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016357.
Full textKing, Noel. "Anxieties of commentary : interpretation in recent literary, film and cultural criticism /." Title page, table of contents and abstact only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09phk532.pdf.
Full textHSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.
Full textWetzel, Rebecca L. "ADAPTATION AND INTERPRETATION: A STUDY OF THEATRICAL BANDE DESSINEE." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1563987098560659.
Full textGreenlee, Christine Lund Koch. "The Constantian orations : a contextual analysis of self-presentation in Libanius' 'Orr.' 59, 11, 61 and 31." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/15923.
Full textPhillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
Full textPryor, Caitlin. "Vanishing Act." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801936/.
Full textIngham, David Keith. "Mediation and the indirect metafiction of Randolph Stow, M. K. Joseph, and Timothy Findley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25819.
Full textArts, Faculty of
English, Department of
Graduate
Scowcroft, Ann. "Escaping the hegemony of the written word : Canadian women writers and the dislocation of narrative." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61803.
Full textLéger, Ariane. "Le maître à écrire selon Valéry, Pessoa et Jaccottet /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115622.
Full textFor 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.
Davies-Browne, Bankole P. "The significance of parallels between the 'Testament of Solomon' and Jewish literature of late antiquity (between the closing centuries BCE and the Talmudic era) and the New Testament." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2685.
Full textHoedekie, Nelson G. U. (Nelson Gustaaf Urbain). "Naar analogie van schaduwen aan de wand : een wijsgerige interpretatie van 'de schaduw als kunstwerk' aan de hand van Plato's grotvergelijking." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53511.
Full textENGLISH 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.
Fisher, Susan Rosa. "A genre for our times: the Menippean satires of Russell Hoban and Murakami Haruki." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25047.pdf.
Full textVrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
Full textSelby, Don. "Bridging the gap? : a critical reading of Bhabha, Said and Spivak's postcolonial positions." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43947.pdf.
Full textOcaña, Karen Isabel. "Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix Guattari." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26748.
Full textBourgon, Julie. "Création, éthique et vérité : Broch et Blanchot ; suivi de, En trompe-l'oeil." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37193.pdf.
Full textLanthier, 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.
Full textMiller, Dane Eric. "Micah and its literary environment: Rhetorical critical case studies." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185441.
Full textSuzuki-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.
Full textWalton, 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.
Full textLevitan, 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.
Full textCohen, Andrew Benjamin. "Milton and superfluity." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:f5af5679-609a-4d12-b8cb-498e6735252f.
Full textLee-Perriard, Marta. "Border subjects : a textual dialogue between Assia Djebar and Helene Cixous." Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:f7c122f0-aade-453f-af1b-d4b7a10d0a93.
Full textMcKenna, Brian Martin. "Gender representation, sexuality and politics in the writings of Patrick Hamilton." Thesis, University of Oxford, 1991. http://ora.ox.ac.uk/objects/uuid:5d6338e3-f253-42d1-8cf6-4fd21d0514b5.
Full textTrott, Nicola. "Wordsworth's revisionary reading." Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:4244f68a-8026-4918-bb0b-cf2db3eb4940.
Full textGoodacre, Mark S. "Goulder and the Gospels : an examination of a new paradigm." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:c6d77093-7bac-4475-b0f4-105e75a79511.
Full textWhicker, Jules. "Fiction, deceit and morality in the plays of Juan Ruiz de Alarcón, 1580-1639." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:50276c64-555f-4584-9956-74a0ef3407b0.
Full textHarvey, David I. H. "The later music of Elliott Carter : a study in music theory and analysis." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:c47d92da-277e-4850-9e3b-e5e0cd93308f.
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