Dissertations / Theses: 'Y and criticism'

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Keene, Nicholas. "'Critici Sacri' : biblical criticism in England c.1650-1710." Thesis, Royal Holloway, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409523.

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Grant, James. "Criticism and imagination." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539958.

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Kerr, Robert Anthony. "Criticism in Quintilian." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/5575/.

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The Institutio Oratoria of Quintilian (Marcus Fabius Quintilianus) is a work that follows in a tradition of writing on rhetoric, a tradition that dates back to the fifth century B.C. My thesis establishes Quintilian and his work within this tradition, and encourages the reader both to consider one aspect of the convention of technical instruction in rhetoric, namely criticism, and to reflect on the originality of criticism in Quintilian's work. Accordingly, I have two main aims. Firstly, I intend to give full detail of examples of criticism in the Institutio Oratoria, and this will include identifying, where possible, people who are targeted by Quintilian for criticism. Thus, in detailing examples - which I do by paraphrase and translation - and assigning them to chapters in this thesis, I follow the structure that Quintilian provides for his work in the preface to his first book. Targets of criticism include groups, such as parents, pupils, teachers, philosophers, actors, dancers, and specific individuals. My second aim is to assess the originality of Quintilian's criticism. Thus, I examine the works of predecessors, notably, but not exclusively, other writers on rhetoric, whose works are extant or partly extant. My feelings indicate that there is much criticism that can serve as precedent for criticism in the Institutio Oratoria. However, it is evident that Quintilian has not indulged in mere repetition. He has changed and adapted criticisms in a way that reflects his educational and forensic background. He also implies that many of these still relate to his own time. I have also found that much criticism lacks apparent precedent - apparent, because other works on rhetoric that precede the Institutio Oratoria and have not survived could feasibly have provided precedents for criticisms in Quintilian's work that appear novel - and I suggest that the underlying intention of this is to relate practice more closely to theory, and theory more closely to practice.

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Porter, Robert. "Deleuze, geophilosophy, criticism." Thesis, Queen's University Belfast, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326283.

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Behr, Daniel E. "Perspective criticism : an extension of epistemic rhetorical theory to rhetorical criticism /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487949836205364.

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Muehlhauser, Carlyn. "Perceived Criticism, Self-Criticism, and Disordered Eating Patterns in College Students." Thesis, Southern Illinois University at Edwardsville, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10268085.

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Previous research has shown that individuals with disordered eating patterns who come from a family that is high in Expressed Emotion tend to have more disordered eating behaviors and over a longer period of time. There is less research on how a person’s perception of their family’s expressed emotion, specifically the criticism directed at them by a parental figure, affects their disordered eating patterns. The purpose of this research was to examine whether there is a relationship between perceived criticism and disordered eating patterns, as well as whether this relationship is influenced by self-criticism. One hundred and five undergraduate college students participated in an online survey that measured perceived criticism, their self-criticism, and their disordered eating behaviors and thoughts. The results suggest that levels of perceived criticism and disordered eating behaviors and thoughts were not related to each other. However, an individual’s perception of parental self-criticism was related to their level of self-criticism. Their level of self-criticism in turn was related to their disordered eating behaviors and thoughts, demonstrating an indirect relationship between perceived criticism and disordered eating patterns. These findings offer some potential areas of consideration for clinicians treating clients with disordered eating behaviors.

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Zhang, Lena L. "The impact of critic's latent outgroup memberships on responses to group-directed criticism /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19760.pdf.

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Buck, Ron M. "Narrative criticism, authorial intention, and historicity modern literary criticism and the Gospels /." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.

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Schappelle, Laura Scott. "Art criticism through storytelling." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3587.

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Thesis (M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Dept. of Curriculum and Instruction. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Cameron-Caluori, George. "Philosophy and musical criticism." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5314.

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Mimpriss, Robert Charles. "Reasoning : stories and criticism." Thesis, University of Portsmouth, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416158.

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Sweet, David. "Michael Fried's art criticism." Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397731.

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Delaney, Gregory Lee. "Architecture [Criticism] or Revolution." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268188206.

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Gurd, Sean Alexander. "Aeschylus' Oresteia, silence, criticism, tragedy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ63608.pdf.

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Botting, David Charles. "Making monstrous : Frankenstein, criticism, theory." Thesis, Cardiff University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238150.

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Stewart, Janet Caroline. "Excavating Adolf Loos's cultural criticism." Thesis, University of Glasgow, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297518.

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Dalton, Liam. "Euphony in Hellenistic literary criticism." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416836.

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Summers, Mark Robert. "A Christian criticism of Nietzche." Thesis, University of Southampton, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238896.

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Allsobrook, Christopher John. "'On genealogy and ideology criticism'." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6319/.

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This thesis identifies and explains a fundamental philosophical problem of self-implication in Marxian ideology criticism that has led to its misuse and rejection in social theory and political philosophy. I argue that Friedrich Nietzsche's development of genealogy as a method of social criticism complements ideology criticism in a way that overcomes this problem, by addressing it explicitly, rather than trying to avoid it. In making this argument, I hope to bridge a widely perceived gap between Nietzsche's and Michel Foucault's genealogical approaches to social criticism, on the one hand, and Marxian ideology criticism on the other. The conflict between these approaches has been exaggerated in contemporary academic literature, to the loss of invaluable contributions Nietzsche and Foucault make to the theory and practice of ideology criticism. I begin by defining ideology in way that, I demonstrate, takes into account the use of the notion by Karl Marx and the early Frankfurt School Critical Theorists, Max Horkheimer and Theodor Adorno. I identify two central components of ideology, namely, an epistemic aspect, regarding illusion, and a functional aspect, which links ideology to its role in maintaining oppression. I also defend the notion of ideology against major objections to each of these aspects. In Chapter 4, I introduce the problem of self-implication that, I take it, poses the greatest challenge to the coherence of ideology criticism. The remainder of the thesis examines two alternative ways of dealing with this problem, namely immanent and transcendent criticism. I explain the weaknesses with each approach and, in doing so, show why Marx and Adorno each succumb to the problem of ideological self-implication. In the final chapter I argue that Nietzsche's method of genealogy is compatible with ideology criticism and can complement such criticism, to overcome the problems that have been examined.

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Hull, G. T. B. "Moral realism and social criticism." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1369567/.

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In many contexts, including multicultural societies and various international settings, ethical disputes arise between parties who do not share an ethical outlook. It can seem impossible for such disputes to be resolved rationally, as the parties in question will generally not take the same sorts of consideration to bear on the matter under dispute. If, however, it could be shown that there are ways of assessing an ethical outlook for correctness, neither merely by checking it for internal coherence, nor simply by assessing it by the standards of a different ethical outlook, this would mean there exist resources allowing at least some such disputes to be resolved rationally. In order to establish whether such resources exist it is necessary to consider what it is to have one ethical outlook rather than another. The existence and applicability of “thick ethical concepts” can form the basis for a defence of moral realism: a realist conception of ethical properties and moral reasons for action, and a cognitivist conception of the mental states which allow an individual (in good cases) to track ethical facts. A fresh understanding of the nature of intentional action which remedies difficulties with orthodox action theory provides additional support for this view. This realist view allows the critical force of two forms of social criticism from the German philosophical tradition to be reassessed. Nietzschean criticism by genealogy can undermine ethical views if their acceptance is shown to have come about in a way which renders continued acceptance irrational. Criticism of reification, pioneered by Lukács, can ground rejection of aspects of an ethical outlook if it is shown to involve systematic misapprehension of intentional actions as mere natural happenings. In both cases, the most faithful interpretation provides a rational resource for neutral arbitration between ethical outlooks in a context of pluralism.

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Ma, Tianyi. "Criticism Towards Chinese Contemporary Architecture." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/596958.

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Bell, Matthew Timothy. "Ruled reading and biblical criticism." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11012/.

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While recent decades have shown interest in early Christian hermeneutics for scripture, application – and even understanding of – those hermeneutics has been complicated by a pattern of suspicion characterizing the modern world when it considers its ancient counterpart, notably the prejudice that ancient Christian interpretation is relatively unconcerned for history and the (putative) literal sense. This dissertation proposes that that modern legacy deserves to be revised for a postmodern environment both out of concern for properly historical concerns and as a theolegoumenon for the postmodern scene. Specifically, once the ethos and theology of reading in the early Church is explored as the backdrop against which ancient interpretations were regarded as plausible and compelling, its interpretive priorities turn out to be less implausible to the modern world than they have seemed to be. Related to this, once the emerging, postmodern world is, also, explored, it seems possible and productive to translate or recontextualize into our setting the pre-understandings of early Christians regarding books generally and holy writ specifically, particularly their ontology of scripture that related it dialectically to the Church's consciousness of its Rule of Faith and discernment of God's ongoing epic of salvation. A conclusion suggests ways in which this “translation” might be pursued.

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Herrig, Robert Arthur. "Opera reviews as theatrical criticism /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260531955269.

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al-Marzūqī, Abd al-Qādir K. "Structuralism in modern Arabic criticism." Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/20931.

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Russo, Johanna, and Sara Pierre. "Banks' Counteractions against Customers' Online Criticism." Thesis, Mälardalens högskola, Akademin för hållbar samhälls- och teknikutveckling, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-14774.

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Abstract Title: Banks’ Counteractions against Customers’ Online Criticism Date: June 5, 2012 Institution: School of sustainable development of society and technology, Mälardalen University Level: Bachelor thesis in business administration, 15 ECTS Authors: Sara Pierre and Johanna Russo Tutor: Carl G. Thunman Keywords: Banks, social media, dissatisfaction, complaints, customer behavior, sCRM, and e-WOM Purpose: The purpose of this thesis is to describe and analyze how, where and why customers criticize the banking sector through online platforms, how the banks choose to defend themselves and counter this criticism, and to what extent these complaints may proliferate if not dealt with. The thesis will result in recommendations and suggestions for complaint management. Method: In order for the thesis to capture the entire environment of online complaints, it has been conducted both from the banks’ and the customers’ perspective. Gathered information and cases as well as two interviews have been used for fulfilling the purpose of the thesis. Once studied, these sources have been analyzed and finally, conclusions and recommendations have been made based on the analysis. Conclusions: Customer electronic word-of-mouth is publicly displayed on the most commonly used social platforms. In order to avoid unnecessary proliferation of customer complaints, companies ought to implement social customer relationship management strategies aimed towards fulfilling customer needs as well as company objectives. Complaints spread through social media can easily spiral out of hand as a result of the enormous amount of worldwide Internet users that can access the information, and for this reason, banks need to counter these complaints before they become unmanageable.

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Taylor, Mark A. "Edward W. Said : resistance, knowledge, criticism." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/23149.

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The prodigious output of the controversial Palestinian-American public intellectual, academic, and political activist Edward W. Said (1935-2003), continues to polarize the academic, intellectual, and political worlds, not least because of the inflammatory nature of his relationship to the vexed issue of Israel/Palestine. It is a contention of this thesis that this polarization has resulted in what are often less than critical examinations of Said's work. In short, because Said and his work remain relevant and influential, a new method of reading is required, one which not only takes account of Said's secular, 'worldly' approach to the issue of knowledge and its production, but applies the same rigour and method to the Palestinian's work in all its literary-critical, political, and personal varieties. This thesis attempts to meet that aim by testing Said's oeuvre within the rubric of his stated ambition to create a critical location from which the production of 'non-coercive' knowledge was attainable. In the context of his opposition to political Zionism and wider Western imperialism, whether Said produced, or even intended to produce knowledge that was 'non-coercive' is an extremely important question, and one that will be answered in this thesis. Formed by an introduction and three main chapters, the scope of this thesis is broad. Following an exposition of the biographical 'facts' of Said's life, Chapter One engages his late work, Out of Place. Ostensibly a memoir, Out of Place is subjected to the discipline of Said's own critical concept of 'worldliness' and placed within the much broader context of the author's oeuvre. From this location it is possible to see the memoir as one of a number of narratives competing in the political sphere. Chapter Two deals with the issue of Said's relationship to some of the key thinkers and schools of thought that seemed to inform his work, questioning whether Said resisted inculcation in powerful concepts like humanism, structuralism, post-structuralism, and Marxism or, in fact, permitted these influences to disrupt his desired critical location of homelessness. The final part of the thesis engages with Said's secular, provisional approach to knowledge. First, weaving through the tautly balanced concepts of beginnings and origins in Beginnings: Intention and Method, much of the chapter addresses Said's attack on Western knowledge production in Orientalism, where perversely he produces his own counter-monument to Western colonialism. The chapter ends with a Saidian reading of Said's three principal modes of criticism: secular, contrapuntal, and democratic. The conclusion that emerges from a Saidian,'worldly' reading of Said is perhaps both surprising and, yet, exactly as one might expect. Said was a human being, and human beings are flawed. The first intellectual line out of Said creates a restless critical and philosophical framework with the potential to undermine the second intellectual line out of Said, the political pragmatist always ready to produce coercive knowledge.

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au, hflavell@central murdoch edu, and Helen Flavell. "Writing-Between:Australian and Canadian Ficto-criticism." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.114143.

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The current cultural climate, theoretical developments, the changing state of the tertiary institution, and the increasing presence of voices from the margin have contributed to the critical re-evaluation of academic writing as a way of knowing and representing the world. At the same time, hybrid forms of writing, those that exist in the interstices of established generic codes, are experiencing increased critical attention. Yet, despite the fact that genre has become an inadequate notion to describe boundary-crossing writing, little appears to have shifted in the way these forms are understood. Dominant methodologies tend to render what is between less visible or valid, and they define this space only in terms of its relation to set borders. Located at the boundaries of what is familiar and unfamiliar, writing-between is a contentious space where elements are combined without clear rules to aid identification. In this thesis the term ficto-criticism is used broadly to describe generically transgressive writing that blurs the defining lines between creative and critical texts. The thesis explores the political and theoretical implications of writing-between through a discussion of Australian and Canadian work in English (or English translation), which display the characteristics of the ficto-critical form. This thesis argues for a critical understanding of ficto-criticism that conceptualises it as a highly political strategy of literary intervention, rather than as a mere trend toward cross-genre writing. Indeed, rather than understanding it as surface play, the thesis argues that ficto-critical practice is deeply troubled by the oppressive role of academic writing and that, significantly, its emergence was highly influenced by postcolonial and feminist theory. Thus, ficto-critical practice interrogates the violence of representation and explores what is left out and or misrepresented through that process. The thesis applies Deleuze and Guattaris concept-tools to articulate a methodology by virtue of which desire and ficto-criticism are understood as productive forms that are liberated from an equation of lack. The tension between ficto-criticism as an open practice and the tradition of scholarly writing, which requires a clear fixed proposition and outcomes, mirrors the project of ficto-criticism, which seeks to unlearn ones authority and privilege as the beginning of a process towards developing an ethical relationship with the other.

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Matthews, Richard Stewart. "Heidegger and the fate of criticism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0003/NQ35975.pdf.

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Murley, Susan. "Coleridge, collaboration, and the higher criticism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/NQ41254.pdf.

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Östman, Hans. "Gustavian non-academic criticism 1772-1809." Stockholms universitet, Humanistiska fakulteten, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-91377.

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Powers, Theodore A. "Self-criticism : antecedents and interpersonal consequences." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72761.

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Segal, A. P. M. "Deconstruction and the logic of criticism." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234922.

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The dissertation seeks to take account of the implications of Jacques Derrida's deconstructive philosophy for literary theory and criticism through analysis of the work of non-deconstructionists theorists and critics. In particular, the dissertation deals with the attempt by much traditional Anglo-American literary theory to articulate what might be called a lq'logic of criticism' - an attempt evident in the use made by this theory of oppositions such as intrinsic/extrinsic, structural/genetic, essential/contingent, and so on. The attempt is considered with respect to three concerns of modern literary theory: organic form, authorial intention and the question of value. On the first issue, it is argued that the organicist's construal of the relation of form and content in poetry is analogous to Husserl's construal of the relation of signifier and signified in speech, and that Derrida's deconstruction of Husserl's privileging of voice provides the model for the deconstruction of organicism. In the case of intention, it is argued that modern criticism and theory has characteristically relied on a notion of the literary work as saturated by a fully conscious intention, a reliance which marks a succumbing to what Derrida calls 'the structural lure of consciousness'. Concerning the question of value, the target is the attempt to defend value by locating it as the ground, the centre, the telos or origin of the phenomenon to be accounted for. The dissertation concludes by broaching the question of the nature of a properly deconstructive literary criticism. It is argued that so-called deconstructionist criticism involves a neutralization of deconstruction, a defect which Derrida avoids in his own literary criticism.

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Garrett, Roberta. "Postmodernist cinema and feminist film criticism." Thesis, Staffordshire University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272823.

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Shellard, Dominic. "The theatre criticism of Harold Hobson." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334274.

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Rose, Sharon L. "Isaac Asimov's Profession : a Burkeian criticism." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/722234.

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This is a rhetorical criticism of the science fiction short story, "Profession," by Isaac Asimov. Primary focus is on Asimov's persuasive use of this message to influence potentially creative young people to consider technological careers. A brief synopsis of the story is given, along with a statement of the functional role of science fiction in accustoming individuals to societal changes resulting from technological advancements.Methodology is based upon Kenneth Burke's dramatism which views human action in terms of a drama. Burke's concepts of identification and occupational psychosis are used in discovering the rhetor's use of persuasive strategies. Burke's pentad is used for analysis of significant ratios. The dominance of the act-scene ratio is demonstrated by the supremacy of action over motion.Asimov's work shows the influence of a philosophy of realism, identifiable by the featuring of the pentadic term "act." Asimov's primary motives are identified as a desire to share his belief in the benefits of technology and his own need for creative self-expression.
Department of Speech Communication

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Lee, Kyung-Ook. "Wholeness in fragments : Coleridge's Shakespearean criticism." Thesis, University of Glasgow, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340810.

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Pestell, Alex. "Geoffrey Hill : poetry, criticism and philosophy." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39686/.

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This thesis examines the role played by philosophy in the poetry and criticism of Geoffrey Hill. Despite countless references to philosophy throughout Hill's critical authorship, there exists no study of any length on this vital aspect of his thought. Through close readings of his poetry, criticism, and archival material, I attempt to demonstrate that philosophy has played a more crucial role in Hill's work than has hitherto been assumed. Hill's sceptical attitude to philosophy is intimately connected with his understanding of poetry as a sensate form of cognition. My thesis examines the ways Hill's poetry and criticism responds to the challenges imposed upon this scepticism by a tradition of philosophy that emphasises the importance of the aesthetic to its analyses of modernity's contradictions. I argue that a tradition of Anglophone Idealist thinkers, from S.T. Coleridge, via T.H. Green and F.H. Bradley, to Gillian Rose, is of sustained relevance to Hill's work, shaping the way he thinks about politics, ethics and literature. In particular, German Idealism's attempts to negotiate universality and particularity via an emphasis on the aesthetic bases of critical thought lay the groundwork for an understanding of poetry as a mode of cognition. Reading Hill's poetry from For the Unfallen to Oraclau/Oracles, I try to show the ways in which problems traditionally conceived of as philosophical can be cognised in prosody and syntax. In part a vindication of Hill's elevation of poetry over philosophy, these readings also show the degree to which Hill's ‘craft of vision' is indebted to conceptual and aesthetic models supplied by philosophy.

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McWhirter, Andrew Christopher. "Film criticism in the digital age." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5165/.

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In a period of proposed crisis and disruptive transformation to media, journalism and criticism, this thesis provides a comprehensive analysis of English-language film criticism by offering an empirically-grounded study of observations and interviews with some of the world’s foremost film critics and editors from influential publications such as Cineaste, CinemaScope, IndieWIRE, The Guardian, Reverse Shot, Sight & Sound and Variety. These expert opinions are not only situated in the wider context of historical perspectives on criticism from ancient and modern origins, but also positioned against on-going debates into journalism and digital media which often denote a landscape characterised by both continuity and contestation. The findings are drawn from extensive fieldwork in the UK and North America taking place at two major international film festivals in Edinburgh and Toronto, supplemented with additional interviews with film critics from each of these regions. This thesis relies upon a great deal of published literature, from text books and media coverage to film criticism. These materials detail a crisis in criticism and in the culture at large, a prehistory of existing media, concepts around literary and arts criticism in general, and provide the means for a detailed model on Six Schools of Contemporary Film Criticism to be posited. A combination of desk research with participant observation and in-depth interviews has led to and strengthened the overall findings which conclude that film criticism in the contemporary digital age is defined by more continuity than disruptive transformation. While this prosaic – but not myopic – approach to film criticism highlights the habits and norms of film critics it also notes the significant changes taking place through the interactions of individuals and institutions with technologies. However, while transformations are acknowledged and new events specified – indeed the theme of change gives shape to the findings chapters in terms of a chronology of the new, newer and newest – in print, then online and subsequently towards convergent media forms – it is argued that the long view best serves to counteract hyperbolic discourses on film criticism as dead or inhabiting a new golden age. These empirical findings, in the face of transformative digital idealism, redress the balance and argue the case for evolution rather than the often mooted digital revolution.

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Law, Hoi Lun. "Reasonable doubt : ambiguity and film criticism." Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.752726.

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Wisch, Stephen H. "Teaching Literary Criticism Through Independent Reading." Ohio Dominican University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1556705309193909.

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Needham, Donna Dorr. "Margaret Fuller's lost legacy literary criticism /." Connect to this title online, 2009. http://etd.lib.clemson.edu/documents/1263396777/.

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Barger, Wendy Noel. "Toward a theory of press criticism /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3113000.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 302-311). Also available for download via the World Wide Web; free to University of Oregon users.

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Finch, James. "The art criticism of David Sylvester." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/60419/.

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The English art critic and curator David Sylvester (1924-2001) played a significant role in the formation of taste in Britain during the second half of the twentieth century. Through his writing, curating and other work Sylvester did much to shape the reputations of, and discourse around, important twentieth century artists including Francis Bacon, Alberto Giacometti, Henry Moore and René Magritte. At the same time his career is of significant sociohistorical interest. On a personal level it shows how a schoolboy expelled at the age of fifteen with no qualifications went on to become a CBE, a Commandeur dans l'Ordre des Arts et des Lettres and the first critic to receive a Leone d'Oro at the Venice Biennale, assembling a personal collection of artworks worth millions of pounds in the process. In terms of the history of post-war art more broadly, meanwhile, Sylvester's criticism provides a way of understanding developments in British art and its relation to those in Paris and New York during the 1950s and 1960s. This thesis provides the first survey of Sylvester's entire output as an art critic across different media and genres, and makes a case for him as a commentator of comparable significance to Roger Fry, Herbert Read, and other British critics who have already received significant scholarly attention. I take a twofold approach, analysing both the quality of Sylvester's writing and criticism, and its function as a catalyst for furthering the careers of artists and instigating significant exhibitions. Common to all of these strands is Sylvester's distinctive critical sensibility, which placed an emphasis on his own aesthetic experiences and how they could be articulated through criticism.

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Quin, A. C. "Kant's criticism of the cosmological argument." Thesis, Open University, 1985. http://oro.open.ac.uk/56907/.

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This thesis sets out to examine Kant's criticism of the cosmological argument. Kant's general philosophical views are expounded and his reasons for the rejection of metaphysics are explained. In the course of the argument Kant's own analysis of the cosmological proof is discussed. He laid great stress on the fact that there are two stages involved in the cosmological proof. His principal criticism concerns its second stage. There the proponent of the proof seeks to move from the necessary being, whose existence is said to have been established in the first stage of the argument, to God. Kant's claim that the second stage of the proof involves the principle of the ontological argument is discussed as is his criticism of the ontological argument itself. There are two principal forms of the cosmological argument. These are the argument from contingency and the first cause argument. Kant discusses both in the Critique of Pure Reason, the one in his critique of rational theology, the other in his chapter on the Antinomies. The thesis discusses the Kantian criticisms of both forms of the argument and considers how these criticisms may be answered. Kant's criticism of the second stage of the cosmological proof is also discussed and it is argued that his principle that this must be a pure a priori argument is unduly restrictive. Finally the possibility of founding a criticism of the cosmological argument on the central doctrines of the Critique of Pure Reason is discussed.

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Pozzi, Monica. "Wilson Harris's "Worshop criticism", 1949-1997." Doctoral thesis, Università Ca' Foscari Venezia, 1998. http://hdl.handle.net/10579/788.

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Graves, Barbara. "On literary expertise : the description of a fictional narrative by experts and novices." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59243.

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The objective of this research is to provide an account of literary expertise by examining literary experts and students in English Literature as they describe a fictional narrative. The experimental text is a complex narrative conveyed by means of character dialogue.
To investigate expert performance this study developed a model of text description that identified semantic units in the description protocols as a set of possible "discursive patterns." A discursive pattern identifies the text unit being described along with the point of reference of the description, that is, from the point of view of the reader, the author, or simply the text.
The results indicate that students' descriptions closely paraphrased the text, repeating either the narrative events or the characters' speech, while experts' descriptions reflected higher-level references to narrative structure or the function of the dialogue which were derived either from the text or from prior knowledge. Experts relied on specific information in the text as a support for more inferential statements. In addition, experts commented more extensively on the language of the text. Experts also included references to the author, the reader and the relationship between the two. It seems that experts view the text as the result of deliberate linguistic and conceptual choices made by an author and awareness of these choices appears to guide their descriptions.

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Weiss, Asher. "21st Century Film Criticism: The Evolution of Film Criticism from Professional Intellectual Analysis to a Democratic Phenomenon." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1910.

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Film criticism has changed since its inception and will continue to change moving forward. The evolution of film criticism has largely been a story of the shift from an elite field of intellectual exploration by a few knowledgeable experts to a democratic phenomenon where expert analysis is aggregated and averaged, and the lines are blurred between true expertise and the random opinions of the masses. This paper will address the transition from the birth of film criticism to its popularization through the 90s, to what it has become today. By exploring the nature of film criticism historically and reviewing the key elements of its growth from Victorian times through its emergence as an established field in the 1930s, 40s and 50s and its heyday in the 60s and 70s, we can understand the context of its evolution. This will provide a perspective to view today’s approach to film criticism with a clearer eye and a thorough analysis of film criticism in the digital age. It will demonstrate that more is not always a good thing, and the democratization of film criticism has not necessarily been all good.

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Moors, Amkiram. "“O Brave New World, That Has Such Critics In’t”: An Argumentative Essay on Criticism of The Tempest." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-99794.

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Shakespeare criticism has been a rapidly evolving field of literary studies. Scholars such as Francis Barker and Peter Hulme, Meredith Anne Skura, Stanley Wells, Harold Bloom and Sidney Shanker have continuously developed new theories and dismissed previous theories. In this essay, I discuss the negative results of such attitudes and the problems of “over-reading”, in the critiques which are based on the following theories: the post-colonial, psychoanalytical, biographical and ideological. I elaborate on the relevant arguments and issues within literary critique mentioned by Michael Taylor in his book Shakespeare Criticism in the Twentieth Century. To create a common ground for the theories, I have used critical texts concerning William Shakespeare’s The Tempest. I find that while all forms of literary critique have flaws, the theories also contribute valuable insights for further readings. I maintain that combining several forms of literary critique when analysing a text will create a more complex and in-depth reading, impossible to achieve through a singular critical theory.

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Alloway, Ross Geoffrey. "The material Leavis : criticism and the marketplace." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24509.

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As well as being the most outspoken opponent of the twentieth-century British literary market, F.R. Leavis was, contradictorily, one of its best-selling literary critics. This thesis traces the development of Leavis’s complex symbolic and material relationship with the literary market. By locating this relationship within its historical conditions of possibility (which include social and institutional factors, among others), this thesis demonstrates how these factors influenced the strategies that Leavis employed in order to ‘make a name for himself’ and the eventual exchange of this reputation for economic profit. Chapter One contextualises the positive assessment of the literary market made by Leavis’s Ph.D. thesis - and the subsequent reversal of this outlook - within the class structured subject of English Studies. Chapter Two situates Leavis’s disavowal of the literary market within the new field of academic literary criticism and focuses on the ways in which Leavis integrated the structures of British publishing into his critical position in order to generate an audience. Chapters Three, Four and Five illustrate how the dissemination, reception, practices, and critical positions of Scrutiny - the primary vehicle by which Leavis’s reputation was secured - were influenced by the field of British literary magazines; in Chapter Three, particular attention is paid to the uses of the Leavisite cultural argument within schools. Chapter Six examines how the publication of Leavis’s Scrutiny essays in formats that encouraged wider consumption aided both the spread of Leavisism within the universities and the transformation of his reputation into financial gain. Chapter Seven considers the appropriation of Leavis’s reputation by biographical, bibliographical, and literary critical approaches.

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Stack, Allyson G. "Edith Wharton and the question of criticism." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/29379.

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In 1925, Edith Wharton’s The Writing of Fiction appeared in print. It was a project that she’d found ‘more terrifying than any novel’ and which had taken her five years to complete. Wharton’s first biographer, R. W. B. Lewis, describes it as ‘a modest little book’, while other scholars have judged it ‘confused and repetitious’ or simply a pale copy of James’s The Art of Fiction. This thesis suggests otherwise. Adopting Jean Laplanche’s theory of the subject as a framework through which to examine Wharton’s critical writings, Edith Wharton and the Question of Criticism argues that not only was Wharton a subtle and incisive critical thinker, but that The Writing of Fiction advocates and employs an alternative interpretive procedure that yields fresh insights into the practice of fiction and the act of criticism—endeavours which, for Wharton, are inextricably linked. This thesis also undertakes an in-depth exploration of Wharton’s shorter critical writings, such as her 1914 essay, ‘The Criticism of Fiction’, in order to paint a comprehensive and accurate portrait of Wharton-the-critic to supplement the one-sided image of Wharton as a shrill, anti-modernist, which has emerged from scholarly treatments of her work over the past thirty years. Towards this end, ‘Edith Wharton and the Question of Criticism’ also examines Wharton-the-critic at work in extra-literary settings, tracing the patterns of her critical thinking through A Motor Flight Through France and Italian Gardens and their Villas. Finally, this thesis studies how Wharton’s notions of the extricably entwined processes of literary creation and critical interpretation are dramatized in her novel, Hudson River Bracketed.

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Dissertations / Theses on the topic 'Y and criticism'

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