Tesis: "1819-1880"

1

Law-Viljoen, Bronwyn. "A hermeneutical study of the Midrashic influences of biblical literature on the narrative modes, aesthetics, and ethical concerns in the novels of George Eliot". Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002279.

Texto completo

Resumen

The thesis will examine the influence of Biblical literature on some of the novels of George Eliot. In doing so it will consider the following aspects of Eliot criticism: current theoretical debate about the use of midrash; modes of discourse and narrative style; prophetic language and vision; the influence of Judaism and Jewish exegetical methods on Adam Bede, "The Lifted Veil", The Mill on the Floss, Felix Holt, and Daniel Deronda. Literary critics have, for a long time, been interested in the influence of the Bible and Biblical hermeneutics on literature and the extent to which Biblical narratives and themes are used typologically and allegorically in fiction has been well researched. In this regard, the concept of midrash is not a new one in literary theory. It refers both to a genre of writing and to an ancient Rabbinic method of exegesis. It has, however, been given new meaning by literary critics and theoriticians such as Frank Kermode, Harold Bloom, and Jacques Derrida. In The Genesis of Secrecy, Kermode gives a new nuance to the word and demonstrates how it may be used to read not only Biblical stories but secular literature as well. It is an innovative, self-reflexive, and intricate hermeneutic processs which has been used by scholars such as Geoffrey Hartman and Sanford Budick, editors of Midrash and Literature, a seminal work in this thesis. Eliot's interest in Judaism and her fascination with religion, religious writing, and religious characters are closely connected to her understanding of the novelist's role as an interpreter of stories. In this regard, the prophetic figure as poet, seer, and interpreter of the past, present, and future of society is of special significance. The thesis will investigate Eliot's reinterpretation of this important Biblical type as well as her retelling of Biblical stories. It will attempt to establish the extent to which Eliot's work may be called midrash, and enter the current debate on how and why literary works have been and can be interpreted. It will address the questions of why Eliot, who abjures normative religious faith, has such a profound interest in the Bible, how the Bible serves her creative purposes, why she is interested in Judaism, and to what extent the latter informs and permeates her novels.

Los estilos APA, Harvard, Vancouver, ISO, etc.

2

Fontes, Janaina Gomes. "George Eliot : a maternidade ressignificada". reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/15531.

Texto completo

Resumen

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas,Programa de Pós-Graduação em Literatura, 2014.
Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2014-04-30T14:08:57Z No. of bitstreams: 1 2014_JanainaGomesFontes.pdf: 1834313 bytes, checksum: 0629da2461016856df2d73659acaad1e (MD5)
Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-04-30T14:54:29Z (GMT) No. of bitstreams: 1 2014_JanainaGomesFontes.pdf: 1834313 bytes, checksum: 0629da2461016856df2d73659acaad1e (MD5)
Made available in DSpace on 2014-04-30T14:54:29Z (GMT). No. of bitstreams: 1 2014_JanainaGomesFontes.pdf: 1834313 bytes, checksum: 0629da2461016856df2d73659acaad1e (MD5)
O presente trabalho objetiva analisar o tema da maternidade nos romances da escritora inglesa do século XIX Mary Ann Evans, que publicou sua obra sob o pseudônimo de George Eliot. Embora a maternidade seja um tema constante em sua produção ficcional, ela não tem sido suficientemente explorada nos inúmeros estudos críticos que identifiquei sobre a obra da escritora. O foco desses estudos quase nunca se volta para suas personagens femininas, para suas experiências, apesar de os romances de Eliot nos apresentarem uma rica variedade de mulheres de diversas classes sociais da sociedade vitoriana, com diferentes e complexas experiências, inclusive a da maternidade. Eliot, que optou por não ter filhos, retrata mães em diversas situações, apresentando desde aquelas mulheres que exercem o papel de mães tradicionais, até mulheres que se tornam transgressoras dos valores da época e desafiam esse papel. Objetivo analisar a representação da maternidade em seus sete romances – Adam Bede (1859), Silas Marner (1860), The Mill on the Floss (1861), Romola (1863), Felix Holt, The Radical (1866), Middlemarch (1874) e Daniel Deronda (1876) – desenvolvendo novas leituras de sua produção ficcional, a partir da perspectiva dos estudos feministas e de gênero. Com esse estudo, espero contribuir para novas perspectivas sobre esse tema e para a problematização e desconstrução de valores e mitos patriarcais. ______________________________________________________________________________ ABSTRACT
The present work aims to analyze the theme of motherhood in the novels of the 19th century English writer Mary Ann Evans, who published her writings under the pseudonym George Eliot. Although motherhood is a recurrent theme in her fictional production, it has not been sufficiently explored in the innumerable critical studies I identified about her work. The focus almost never is on her female characters, on their experiences, though Eliot’s novels present a rich variety of women of diverse social classes of Victorian society, with different and complex experiences, including motherhood. Eliot, who opted against having children, portrays mothers in different situations, presenting those women who perform the role of traditional mothers and women who become transgressors of the values of the epoch and defy this role. I intend to analyze the representation of motherhood in her seven novels – Adam Bede (1859), Silas Marner (1860), The Mill on the Floss (1861), Romola (1863), Felix Holt, The Radical (1866), Middlemarch (1874) e Daniel Deronda (1876) – developing new readings of her fictional production, from the perspective of the feminist and gender studies. With this study I hope to contribute to new perspectives of this theme and to the problematization and deconstruction of patriarchal values and myths.

Los estilos APA, Harvard, Vancouver, ISO, etc.

3

Koo, Seung-Pon. "The Politics of Sympathy: Secularity, Alterity, and Subjectivity in George Eliot's Novels". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12145/.

Texto completo

Resumen

This study examines the practical and political implications of sympathy as a mode of achieving the intercommunicative relationship between the self and the other, emphasizing the significance of subjective agency not simply guided by the imperative category of morality but mainly enacted by a hybrid of discourses through the interaction between the two entities. Scenes of Clerical Life, Eliot's first fictional narrative on illuminating the intertwining relation of religion to secular conditions of life, reveals that the essence of religion is the practice of love between the self and the other derived from sympathy and invoked by their dialogic discourses of confession which enable them to foster the communality, on the grounds that the alterity implicated in the narrative of the other summons and re-historicizes the narrative of the subject's traumatic event in the past. Romola, Eliot's historical novel, highlights the performativity of subject which, on the one hand, locates Romola outside the social frame of domination and appropriation as a way of challenging the universalizing discourses of morality and duty sanctioned by the patriarchal ideology of norms, religion, and marriage. On the other hand, the heroine re-engages herself inside the social structure as a response to other's need for help by substantiating her compassion for others in action. Felix Holt, the Radical, Eliot's political and industrial novel, investigates the limits of moral discourse and instrumental reason. Esther employs her strategy of hybridizing her aesthetic and moral tastes in order to debilitate masculine desires for moral inculcation and material calculation. Esther reinvigorates her subjectivity by simultaneously internalizing and externalizing a hybrid of tastes. In effect, the empowerment of her subjectivity is designed not only to provide others with substantial help from the promptings of her sympathy for them, but also to fulfill her romantic plot of marriage.

Los estilos APA, Harvard, Vancouver, ISO, etc.

4

Henri-Lepage, Savoyane. "Traduire les voix dans The mill on the Floss de George Eliot". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81495.

Texto completo

Resumen

The Mill on the Floss, by Victorian novelist George Eliot, is a polylinguistic novel in Bakhtine's sense of the word in that it integrates the linguistic diversity of the society which it depicts. This novel published in 1860 was translated six times into French but never enjoyed a great reception in France. We examine three translations in this thesis: the first is by Francois D'Albert-Durade (1863), the second is by Lucienne Molitor (1957) and the last is by Alain Jumeau (2003).
D'Albert-Durade's translation evacuates the linguistic diversity in order to shape the novel to the requirements of the target literary polysystem. Molitor, by homogenising the eliotian prose, turns the canonised English novel into a French popular novel. Jumeau, for his part, by rehabilitating the peasant sociolect in his translation, marks the beginning of a rehabilitation movement of George Eliot in France. This study, through the analysis of the voice of a few key characters, attempts to follow the French "translative journey" of The Mill on the Floss.

Los estilos APA, Harvard, Vancouver, ISO, etc.

5

Tang, Maria. "Les fils du texte : trame et dechirure dans les romans de george eliot". Paris 3, 1996. http://www.theses.fr/1997PA030004.

Texto completo

Resumen

Dans une de ses metaphores recurrentes, celle du tissage, george eliot associe l'activite symbolique de l'ecrivain au travail du tissage. Dans l'oeuvre de la romanciere victorienne, un fil est tendu non seulement vers l'analogie traditionnelle entre tissage et ecriture, mais aussi vers ce qui transforme et remet en cause la validite de cette metaphore de la creation artistique. Cette etude developpe la metaphore etymologique du texte comme tissage sous les trois aspects d'une thematique, d'une ideologique et d'une poetique. La recherche suit les differentes lignes inspirees par les dimensions multiples du "fil". La premiere partie, "trames de vie, trames de mots", etudie la fonction heuristique du fil en tant qu'instrument d'exploration de la fiction eliotienne. La deuxieme partie, "au fil de l'eau : derives du sens", s'interesse a quelques variantes structurelles du fil dans l'imaginaire eliotien, comme le fleuve, la foule et la sympathie. L'etude de la sympathie debouche sur la valorisation de l'affiliation par rapport a la filiation, et cette remise en cause de la filiation fait l'objet de la troisieme partie, "filiations, transmissions, representations". La derniere partie, "du corps plein a l'entre-deux", est centree sur le corps, comme l'expression d'une dechirure, de la negativite constitutive de la representation et de l'ecriture
In a recurrent metaphor, george eliot associates the symbolic activity of the writer with that of the weaver. Yet her novels are informed not only by the traditional analogy between writing and weaving, but also by the transformation and problematisation, the "entanglement", of this received metaphor of artistic creation. The etymological bond between the textile and the textual, and the underlying cultural assumptions common to the structure and construction of both, invite an exploration of the motif of the thread as a paradigm of narrativity. Part one studies the heuristic function of the thread as an instrument of narrative investigation in the fiction of george eliot. Part two focuses on some of the structural variants of the thread in eliot's novels, such as the river, the crowd and the eliotian notion of sympathy. The analysis of "sympathy" discerns a preference for affiliation over filiation in the novels, and this undermining of filiation and of genealogical structures in general is the subject of part three. Finally, part four examines the recurrent imagery of the body lacerated, divided and cut asunder as the expression of the negativity which is constitutive of the act of writing and representation

Los estilos APA, Harvard, Vancouver, ISO, etc.

6

Routier, Hélène. "D’une esthétique métakitsch sur la scène contemporaine : évolution de la notion de kitsch et son usage au second degré dans des mises en scène d’opérettes de Jacques Offenbach au XXIe siècle". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA005.

Texto completo

Resumen

Le spectacle vivant actuel fait la part belle à des représentations légères, divertissantes, qui jouent avec le mauvais goût et intègrent la culture de masse. Il se dégage alors de certaines mises en scène, à la valeur artistique pourtant indéniable, une tonalité qui amène à les qualifier de kitsch. Or, selon Hermann Broch, le kitsch est “l’anti-art” par excellence. Cette contradiction tient au fait que, lorsque le kitsch est envisagé à distance, comme l'ont démontré Susan Sontag et Guy Scarpetta, à un second degré, il peut accéder à l’art. Pour qualifier de kitsch une représentation sans que cela renvoie à un jugement de valeur dépréciatif et afin de comprendre les modalités de ce renversement, il faut au préalable identifier le kitsch. En s’appuyant sur les définitions de cette notion par des penseurs comme Walter Benjamin ou Clement Greenberg et sur les descriptions des propriétés du kitsch par Abraham Moles et Christophe Genin, cette thèse s'arrête, notamment, sur le rôle du processus autoréflexif de la métathéâtralité. Celle-ci permet en effet au kitsch, en se dénonçant comme tel, de devenir un outil scénique qui produit une esthétique que nous appelons métakitsch. Dans l’objectif de saisir concrètement les enjeux, les effets et les limites de cette esthétique, l’opérette s'est avérée le genre théâtral le plus propice. Aussi la deuxième partie de cette étude est-elle centrée, d’une part sur quatre œuvres de Jacques Offenbach par un même metteur en scène, Laurent Pelly, de l’autre sur l’analyse comparative de quatre représentations de La Belle Hélène d’Offenbach par des metteurs en scène différents. Il en ressort que l’utilisation du kitsch, qui offre une grande liberté aux metteurs en scène, engendre des spectacles souvent ironiques, voire caustiques, hybrides, éclectiques et ludiques. L’utilisation du kitsch, de l'anti-art dans l'art, semble répondre aux besoins de renouveau du public
Modern live shows tend to be light and fun affairs which integrate with bad taste and popular culture. Some stagings, which possess an undeniable artistic value, have emerged with a tone that one could call kitsch. According to Hermann Broch, kitsch is the "anti-art". This contradiction arises because, as Susan Sontag and Guy Scarpetta have demonstrated, when kitsch is considered at a distance, with irony, it can be considered art. To call a show kitsch in a non-pejorative manner, and in order to understand the manner of this reversal, one must first define kitsch. Based on the definitions of this notion by thinkers like Walter Benjamin and Clement Greenberg and the descriptions of the properties of kitsch by Abraham Moles and Christophe Genin, this dissertation will notably end with the role of the self-reflexive process of metatheatre. This allows kitsch, in identifying it as such, to become a tool for the stage that produces an aesthetic that we call metakitsch. In terms of concretely defining the stakes, the effects and the limits of this aesthetic, the operetta has proved to be the most suitable theatrical genre. The second part of this study is centered, on the one hand, on four works by Jacques Offenbach presented by the same director, Laurent Pelly, and on the other, on a comparative analysis of four representations of La Belle Helene by Offenbach, presented by different directors. It will emerge that the use of kitsch, which offers a great deal of freedom to directors, produces spectacles that are often ironic, even caustic, hybrid, eclectic and playful. The use of kitsch, of anti-art in art, seems to meet the public's need for something new

Los estilos APA, Harvard, Vancouver, ISO, etc.

7

Boulerial, Leila. "Mise en scène de l'acte et morale de la personne dans les romans de George Eliot". Paris 3, 2001. http://www.theses.fr/2001PA030087.

Texto completo

Resumen

Afin de mieux cerner les mécanismes qui régissent la pensée et l'acte, George Eliot donne naissance dans ses romans à des personnages qui semblent dans un premier temps préservés des aléas du hasard et de l'imprévu. A la suite de multiples éléments imprévisibles de changement, les personnages se retrouvent contrariés dans leur quiétude habituelle. Qu'ils l'approuvent ou non les personnages sont contraints d'agir. Ce n'est qu'à ce prix qu'ils parviennent à se démarquer de la société à laquelle ils appartiennent. Leurs actes sont déterminés par le hasard, l'hérédité, leur milieu social mais aussi leur libre arbitre. Les personnages s'interrogent ensuite sur leur responsabilité quant à ce qu'ils ont volontairement ou involontairement entrepris. Ce sont précisément les conséquences de leurs actes qui confirment soit leur responsabilité ou leurs absence de reponsabilité. .
In order to reveal the mechanisms directing thoughts and acts, George Eliot presents characters in her novel which seem at first sight to be sheltered from the misfortunes of chance and the unexpected. Owing to numerous unpredictable causes of change, the peacefulness of the caracters'lives is disturbed. Whether they like it or not, they are forced to act. It is only at this cost that they are able to mark themselves out from the society they belong to. Their acts are shaped by chance, heredity, their social milieu and also their free will. Then comes the questioning of their responsibility with regard to what they have undertaken, deliberately or not. It is precisely the consequences of their acts which confirm t eir responsibility. .

Los estilos APA, Harvard, Vancouver, ISO, etc.

8

Henchey, Karen. "The keen, settled mind : the language of the citizens in George Eliot's fiction". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66141.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

9

Vitaglione, Daniel. "George Eliot and George Sand : a comparative study". Thesis, University of St Andrews, 1990. http://hdl.handle.net/10023/15069.

Texto completo

Resumen

The thesis is a comparative study of George Eliot and George Sand. Numerous references to Sand in Eliot's correspondence, as well as in Lewes's criticism, show that the link between the two female authors was more profound than suspected. Lewes and Sand met and corresponded for a few years and his art theory is greatly indebted to Sand's novels. Sand also exerted a profound influence on Eliot's intellectual and artistic development before Eliot met Lewes. Sand was her "divinity." However, it is Lewes who encouraged Eliot to follow in Sand's footsteps. The thesis is thematic and compares first the impact of Sand's religious novels such as Spiridion and Lélia. Then their social thought is examined, with novels such as Le pêche de Monsieur Antoine and Felix Holt, the Radical. The third part deals with their conception of art, with special attention to the doctrine of Realism and to Sand's rustic novels. Their conception of women is also examined as well as their position on the question of woman's liberation. Finally, I compare their views of the complex relationship between femaleness and literature, in the light of recent feminist criticism.

Los estilos APA, Harvard, Vancouver, ISO, etc.

10

Goninet, Philippe. "La collaboration Meilhac - Halevy - Offenbach". Tours, 1994. http://www.theses.fr/1994TOUR2042.

Texto completo

Resumen

A partir de 1862, un compositeur déjà célèbre et joue dans le monde entier, Jacques Offenbach commence à travailler en collaboration avec deux librettistes, Henri Meilhac et Ludovic Halévy. Ce travail exceptionnel a permis en quelques années l'avènement d'un genre vocal original et typiquement français : l'opéra-bouffe ; du brésilien, une simple pièce en un acte écrite en 1863, à "La Boulangère a des écus" en 1875, six chefs-d’œuvre ont vu le jour : "La Belle Hélène" (1864), "Barbe-bleue" (1866), "La Vie parisienne" (1866), "La Grande-duchesse de Gerolstein" (1867), "La Périchole" (1868), "Les Brigands" (1869). Notre démarche est tout d'abord chronologique ; la place de ces auteurs dans leur temps est évoquée, la genèse de ces pièces est établie avec précision, faisant apparaitre leur état avant l'édition en se basant notamment sur les livrets de censure. Nous montrons ensuite la richesse culturelle dissimulée dans les livrets : chaque pièce révèle une quantité gigantesque d'allusions théâtrales, littéraires, poétiques, voire philosophiques, comme si sa substance même était un tissu de citations allant du Grand siècle à l'époque contemporaine. La partie musicale réalise une synthèse de ces paramètres : comment mettre en musique un texte aussi riche ? Après avoir établi l'allure générale d'un opéra-bouffe, montrant ses formes instrumentales et vocales, nous nous attachons à mettre en lumière l'originalité de la prosodie ; la musique met en scène des mots qui ont déjà une valeur musicale : Offenbach est aussi librettiste, et ses librettistes, Halévy en particulier, connait la langue musicale. Le rire en musique est sans doute la facette la plus spectaculaire de ce travail.

Los estilos APA, Harvard, Vancouver, ISO, etc.

11

Jumeau, Alain. "George eliot, ses personnages et son lecteur : genese d'une fiction (1857-1861)". Paris 3, 1987. http://www.theses.fr/1987PA030064.

Texto completo

Resumen

Marian evans, traductrice de strauss et de feuerbach, et responsable de la revue radicale the westminster review, est devenue une creatrice de fiction en publiant sous le pseudonyme masculin de george eliot. Mais ce travail s'interesse surtout a une autre fiction : celle d'une relation entre "george eliot" (personnalite fictive creee par le pseudonyme, et renforcee par la presence d'un narrateur masculin), ses personnages (eux aussi le produit d'une fiction) et son lecteur (un lecteur fictif present dans ses romans). Il commence avec la publication des scenes of clerical life et s'acheve avec celle de silas marner. Pendant ces cinq annees de creation intense et ininterrompue pour george eliot, on assiste a la genese d'une fiction, a la mise en place d'une strategie de communication avec le lecteur - d'abord assez naive et maladroite jusqu'a adam bede, plus sure dans the mill on the floss, et bien maitrisee dans silas marner. L'image du narrateur commence a changer avec the mill on the floss. Au discours machiste des debuts succede un discours androgyne. En outre, le narrateur ne pretend plus etre seulement le temoin de la realite. Il commence a reconnaitre la part de fiction qui entre dans son entreprise. Mais toujours il emmene le lecteur a la recherche du temps perdu, et lui propose sa vision humaniste, ou se reconnait l'influence de feuerbach. La creation romanesque de george eliot, qui fait suite a un vaste travail de traduction et de reflexion humaniste sur la religion chretienne se presente comme une entreprise de substitution. Apres avoir soumis l'ecriture sainte a son examen critique, la romanciere entend montrer la saintete de l'ecriture dans une perspective humaniste
Marian evans, the translator of strauss and feuerbach, the editor of the westminster review, a radical publication, chose the male pseudonym of george eliot to become an author of fiction. But the present work is concerned with another fiction : the relationship between "george eliot" (a fictitious person created by the pseudonym and reinforced by the presence of a male narrator), her characters (mere artifacts) and her reader (a reader in the text). We begin with the publication of scenes of clerical life and end with that of silas marner. These five years of intense and continuous production for george eliot can be regarded as the genesis of a fiction, during which she develops a strategy of communication with her reader. This strategy is at first naive and awkward up to adam bede, then, more effective in the mill on the floss, and quite controlled in silas marner. The image of the narrator begins to change with the mill on the floss. After the sexist discourse of the beginning comes an androgynous discourse. Moreover, the narrator no longer claims that his narrative reflects real life. He begins to acknowledge its fictional nature. However, he continues to take the reader back to the past. And feuerbach's humanism still influences his vision. George eliot's fiction-writing, following upon her humanist translations, can be seen as a substitute for her lost faith. Having critically examined holy writ, she is aware of the holiness of writing from a humanist point of view

Los estilos APA, Harvard, Vancouver, ISO, etc.

12

Nikkila, Sonja Renee. "Pseudonymity, authorship, selfhood : the names and lives of Charlotte Brontë and George Eliot". Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/17556.

Texto completo

Resumen

"Why did George Eliot live and Currer Bell die?" Victorian pseudonymity is seldom treated to any critical scrutiny - the only sustained interest has been in reading masculine pseudonyms as masks for "disreputable femininity," signs of the woman writer's "anxiety of authorship." This thesis proposes that pseudonymity is not a capitulation to gender ideology, but that a nom de plume is an exaggerated version of any authorial signature - the abstraction (or Othering) of a self into text which occurs in the production of "real" authors as well as fictional characters. After an introductory chapter presenting the theoretical issues of selfhood and authorship, I go on to discuss milieu - the contexts which produced Bronte and Eliot - including a brief history of pseudonymous novelists and the Victorian publishing and reviewing culture. The third and fourth chapters deal with pseudonymity as heccéité, offering "biographies" of the authorial personas "Currer Bell" and "George Eliot" rather than the women who created them, thus demonstrating the problems of biography and the relative, multiple status of identity. The three following chapters explore the concerns of pseudonymity through a reading of the novels: I treat Jane Eyre, Villette, and even Shirley as "autobiographical" in order to address the construction of self and narrative; I examine how Eliot's realist fictions (notably Scenes of Clerical Life, Romola, Middlemarch and Daniel Deronda) trouble the "reality"/"fiction" binary; and finally I read Bronte specifically for her engagement with "dress," using queer theories of performativity with Victorian theories of clothing and conduct to question "readability" itself. My final chapter is concerned with agencement (adjustment) and "mythmaking": the posthumous biographical and critical practices surrounding these two writers reveal that an author's "name," secured through literary reputation, is not static or inevitable, but the result of constant process and revision.

Los estilos APA, Harvard, Vancouver, ISO, etc.

13

Seichepine, Marielle. "Le temps dans les romans de George Eliot". Paris 4, 1996. http://www.theses.fr/1996PA040123.

Texto completo

Resumen

Je me propose, en me fondant sur les théories du philosophe Paul Ricœur, d'apporter un éclairage général sur l'aspect temporel de l'œuvre eliotienne. En fait, la romancière souscrit aux nouvelles conceptions philosophiques du début du dix-neuvième siècle, qui se caractérisent par un dynamisme mesure, et qui reposent sur la notion de continuité et de développement progressif. Le temps, parfois mythique et statique, revêt généralement un caractère organique, illustrant que Paul Ricœur nomme la "répétition du même" à travers l'évocation de l'histoire naturelle, mais aussi "historique" par la prise de conscience de l'importance de l'héritage. Au plan individuel, le temps est synonyme de nostalgie, et d'évolution ou régénération par la souffrance. En fait, George Eliot retourne constamment au passé (nostos), et privilégie la notion de mais elle tente aussi d'accélérer le temps, en appelant de ses vœux le progrès social, économique, politique et scientifique. En réalité, elle souhaite surtout décrire la vie quotidienne de ses contemporains. En ce qui concerne les personnages eliotiens, certains souffrent du décalage entre temps privé et public ou "monumental", d'autres jouissent du moment présent et ou se tournent vers l'avenir, d'autres encore privilégient le passé (liens biologiques, sociaux organiques, …). ; L'œuvre montre également que l'homme est soumis au temps (aux "récurrences du temps cosmique") ou tente de le transcender en produisant une œuvre, ou en faisant bénéficier la communauté de ses visions. Quant à la temporalité narrative, elle s'inscrit dans une certaine mesure dans la tradition, car histoire et récit se développent parallèlement devient dynamique lorsque le narrateur a recours aux discordances anachroniques et anisochroniques entre "le temps raconte" et "le temps du raconter". Ainsi, le lecteur, appelé à s'interroger sur le concept de temporalité, annonce déjà le lecteur du vingtième siècle
My aim is to study time in all George Eliot’s novels. The novelist actually appropriated the organicist philosophy based on continuity and progressive development. Time in her work is sometimes mythical and static, but is generally organic natural history) and it is also what the philosopher Paul Ricœur would call "historic" (man gets aware of the importance heritage). For the individual, time is synonymous with nostalgia as well as evolution or regeneration through suffering. George Eliot both clings to tradition and wishes for social, economic, political and scientific progress, but she is interested in her fellowmen's everyday life. As regards her characters, some of them suffer from the gap between private public time, others enjoy the present and prepare the future, others still are faithful to the past (through biological, and social ties). Man is submitted to cosmic time, but he also attempts to transcend it through creation and visions. La not least George Eliot challenges the conventions of temporal continuity in fiction. The reader therefore has to cope with more dynamic narrative structure, and in doing so he anticipates the twentieth-century reader

Los estilos APA, Harvard, Vancouver, ISO, etc.

14

Canton, Licia 1963. "The fate of the fallen woman in George Eliot and Thomas Hardy /". Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65544.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

15

Favrot, Matthieu. "Poétique comparée du vers et de la phrase mélodique dans La Vie parisienne d'Offenbach". Paris 4, 2004. http://www.theses.fr/2004PA040128.

Texto completo

Resumen

Ce travail s'attache à montrer l'originalité du langage mélodique de Jacques Offenbach (1819-1880) à travers l'analyse de son opéra bouffe La Vie parisienne, créé en 1866 au théâtre du Palais-Royal. Toutefois, la perspective stylistique ne se borne pas à l'étude de la seule ligne mélodique, au relevé de structures, de tournures idiomatiques, mais vise à dégager un réseau global de significations. Texte et musique sont appréhendés simultanément au sein d'une poétique comparée du vers et de la phrase mélodique : y a-t-il concordance, discordance voire les conflit entre le vers, replacé dans son contexte dramatique et poétique (la strophe ou une forme fixe) et la phrase mélodique en tant que structure reposant sur une téléologie harmonique, sur une interaction cadentielle entre ses deux membres ? Y a-t-il coi͏̈ncidence entre l'organisation rythmique du premier (partagé en deux hémistiches par la césure) et l'organisation motivique (selon le schéma anacrouse/accent/désinence) de la seconde ? Nos conclusions nous permettent non seulement d'établir dans quelle mesure Offenbach était soucieux des problèmes de prosodie et de métrique (qu'il résout dans le cadre de l'opéra bouffe) mais également de confronter le fonctionnement du discours musical avec celui du discours poétique, dans le contexte particulier de La Vie parisienne et de manière générale
In this work, we want to show the originality of the melodic language of Jacques Offenbach (1819-1880), from the analysis of his opera bouffe La Vie parisienne created in 1866 at the Palais-Royal Theater. The stylistic perspective however doesn't stop at the study of the melodic line, at the statement of features or idiomatic shapes but tends to take out a global net of significations. Text and music are considered simultaneously in a comparative poetics : we examine the concordances, the discordances or the conflicts between the verse and the melodic phrase. The former is replaced in its poetic and dramatic context - the strophe or a fixed form - and the latter is apprehended as a structure based on an harmonic teleology, on a cadential interaction between its two members. We get interested too in the rhythmic organisation of the verse, separated by the caesura into two hemistichs and in the motivic organisation of the melodic phrase, according the scheme pickup notes/accent/desinence. Our conclusions not only allow us to determine in which measure Offenbach was preoccupied by the prosodical and metrical problems but also to confront the working of the musical discourse with the one of the poetic discourse, in the particular context of La Vie parisienne and in general

Los estilos APA, Harvard, Vancouver, ISO, etc.

16

Sullivan, Lindsay M. "'The ethics of art' : incarnation, revelation and transcendence in the aesthetics and ethics of George Eliot and M.M. Bakhtin". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14748.

Texto completo

Resumen

This thesis offers an analysis of George Eliot's aesthetics and ethics from the interdisciplinary perspective of literature and theology. I examine the role that religious motifs play in Eliot's "ethics of art," and argue that the motifs of incarnation, revelation, and transcendence are central to Eliot's aesthetic aim of extending her reader's sympathies. Eliot's ethics of art is designed to help her reader transcend his or her inherent egoism, and to improve the way her reader understands his or her own self in relation to the world and to others. An exploration of the religious motifs of incarnation, revelation, and transcendence explains how Eliot achieved this aim without resorting to didacticism or preaching. In order to demonstrate this, the thesis offers a reading of Middlemarch and Daniel Deronda in which I employ three concepts that are present in the early philosophical writings of Mikhail Bakhtin; non-alibi in being, excess of seeing, and self/other relations. The motif of incarnation is central to each of these concepts and forms a bridge between Bakhtin's aesthetics and ethics. In applying these concepts to a reading of Middlemarch and Daniel Deronda, I demonstrate the way in which Eliot's "ethics of art" relies on theological motifs.

Los estilos APA, Harvard, Vancouver, ISO, etc.

17

Jougan, Sylvie. "La stratégie de l'indirection dans l'oeuvre romanesque de "George Eliot"". Paris 3, 1999. http://www.theses.fr/1999PA030017.

Texto completo

Resumen

Ce travail analyse trois romans dans l'ordre chronologique : adam bede, the mill on the floss et middlemarch. Le fait d'avoir choisi un pseudonyme, et qui plus est un pseudonyme masculin, revele chez marian evans, alias + george eliot, ; une strategie de dedoublement. Pareille strategie semble servir un but precis : la distance qui separe celle qui produit les enonces de fiction a la troisieme personne et + celui ; qui s'y enonce permet de montrer (voire de se montrer) en meme temps que de se taire. C'est ainsi que nous pouvons discerner dans chacun des trois ouvrages etudies, et en particulier dans the mill on the floss, un contenu autobiographique latent. Le concept jamesien de l'+ indirection, ; de l'oblique, nous parait s'appliquer parfaitement non seulement au contenu mais aussi a la forme des trois romans etudies ici, de sorte que notre approche est essentiellement narratologique. Ainsi, pour chacune des trois oeuvres, nous abordons l'indirection sous trois angles differents : l'indirection comme + auto-citation ; du recit, lorsque l'enchainement des episodes correspond en realite a une seule + matrice ; thematique ; l'indirection comme decalage - parfois presque imperceptible, parfois discordant - entre le recit et le + discours ;, c'est-a-dire entre le discours du narrateur-historien et le discours du narrateur-orateur ; enfin, l'indirection comme citation intertextuelle, comme mise en resonance du texte eliotien avec d'autres textes. Ces trois formes d'indirection dans les trois romans etudies nous paraissent guider le lecteur au plus pres de la signification de l'oeuvre
This thesis analyses three novels in chronological order : adam bede, the mill on the floss and middlemarch. For marian evans to have chosen a pen-name, and what is more a masculine penname, + george eliot, ; reveals a strategy of double personality. Such strategy seems meant to serve a double purpose : the distance separating the woman producing the fiction in the third person and the (masculine) enunciator allows for revelation (sometime even for selfrevelation) as well as for silence. Thus, we can perceive a hidden autobiographical content in each of the three novels, especially in the mill on the floss. The jamesian concept of + indirection, ; of obliquity, seems to be of particular relevance, not only to the content, but also to the form of the three novels ; our approach is therefore essentially a narratological one. Thus, in each of the three novels we study indirectness from three different angles. The first angle to be examined is indirectness as a form of + self-quotation ; on the part of the narrative when the interconnexion of the different episodes reveals a single thematic + matrix. ; another aspect we explore is indirectness as a gap - sometimes barely perceptible, sometimes fully discrepant and discordant - between narrative and + discourse. ; that is to say, there exists a gap between the discourse of the narrator-as-historian and the discourse of the narrator-as-orator. Lastly to be considered is indirectness as intertextuality, as the 'resonance' between + george eliot ; 's texts and other texts. It seems to us that these three forms of indirectness in the three novels steer the reader towards the significance of the texts

Los estilos APA, Harvard, Vancouver, ISO, etc.

18

Wright, Catherine. "The unseen window : 'Middlemarch', mind and morality". Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/15066.

Texto completo

Resumen

Middlemarch is the novel at the centre of this thesis. George Eliot's writing, and Middlemarch in particular, is the paradigm of what has come to be known as Classic Realist fiction. In reading Middlemarch, it seems, one is introduced to a fictional world. The characters are psychologically complex, and they are presented with moral and social problems which are created and discussed with subtlety and intelligence. Until recently, critical assessment of Middlemarch has focussed on evaluation of Eliot's achievement in just these terms. The thesis begins with a question, how, and indeed is it possible for a novel to depict a fiction in this way? The introductory chapter proposes an answer to this question which opens the way to a radical critical appraisal of the status of Middlemarch as a psychologically realistic novel. The scope of the thesis is in one sense very narrow: it is on the ways in which George Eliot creates the moral psychology of her characters, and the ways in which she develops and sustains our interest in their motives, their emotions and in general their mental states and processes. My suggestion is that the language Eliot uses is deeply coloured by her commitments in the Philosophy of Mind. The argument will be that in order to take Eliot's fiction to be psychologically realistic, we are committed to sharing her unacceptable philosophical presuppositions. The second chapter of the thesis is a discussion of Eliot's novella The Lifted Veil. This is an odd piece of fiction, both technically and in subject matter. It does not fit easily into the Eliot canon, and until recently it has received little attention. The purpose of Chapter Two is partly to redress that balance but more to diagnose Eliot's philosophical commitments. The eerie fantasy of unnatural mind-reading reveals Eliot's ideas in a very explicit way. My suggestion is that in the struggle to make this fantasy coherent, a picture of the mind emerges which is both seductive and ultimately nonsensical. Narrow as the focus is, the arguments to establish my point take us deep into Wittgenstein's later Philosophy. The fundamental insight of Wittgenstein's work on the philosophy of mind was that in order to understand how it is possible to talk meaningfully about mental states and processes, we must resist the seductive, ultimately nonsensical picture seemingly imposed upon us by the grammar of ordinary psychological remarks. And if those arguments are thought to be convincing, the thesis has important negative implications for at least one important perennial question in the philosophy of aesthetics. The starting point of this thesis takes seriously the idea that novelists can, and ought to, examine themes of deep human significance. The larger goal of this piece of work has been to open up a line of enquiry which might examine, from within the Analytic tradition in philosophy, the extent to which that task is feasible. I have sought to establish an important connection between the creation of the moral psychology of fictional characters, and Wittgenstein's later work in the philosophy of mind. I believe that the examination I have conducted of the way issues in the philosophy of mind, especially those treated in the Philosophical Investigations, bear on the way Eliot writes places much of the psychological language of Middlemarch in a new light, and discloses certain quite general limits on what is possible in creating fictional minds.

Los estilos APA, Harvard, Vancouver, ISO, etc.

19

Petit, Marquis Aude. "Les mères et la maternité dans les œuvres de George Eliot et d'Elizabeth Gaskell". Thesis, Nantes, 2019. http://www.theses.fr/2019NANT2027/document.

Texto completo

Resumen

A l’époque victorienne, plus qu’une expérience singulière et une réalité biologique et sociale, la maternité est un mythe, au sens barthésien du terme. Ce mythe est le produit d’une discursivité en mouvement, sans cesse renouvelée et renforcée par de nouveaux discours à son sujet, issus de domaines aussi divers que la médecine, les sciences sociales ou la littérature. En même temps qu’il s’élabore, ce mythe perd instantanément sa dimension de construction historique car il tire sa légitimité d’une vision essentialiste du corps de la femme ; ce qui rend sa remise en cause particulièrement difficile, si ce n’est en termes d’écarts pathologiques par rapport à la norme. La vision de la maternité qui prend forme dans ces discours est donc une construction idéologique et idéalisée, fondée sur le mode de vie des classes bourgeoises mais érigée en tant que norme à suivre par toutes les femmes. Mais est-ce bien la norme? Cet idéal se veut uniforme et universel (l’est-il vraiment?), malgré un décalage certain avec la réalité plurielle de la maternité à l’époque victorienne. Cette thèse a pour objet d’explorer la manière dont George Eliot et Elizabeth Gaskell mettent en mots le thème de la maternité et interrogent les discours qui définissent l’idéal maternel victorien dans les oeuvres suivantes : « Lizzie Leigh », Ruth et Wives and Daughters pour Elizabeth Gaskell ; Adam Bede, Silas Marner et Daniel Deronda pour George Eliot. Un examen attentif de ces oeuvres permet de mettre en lumière la manière dont ces deux auteurs s’emparent du thème de la maternité afin d’exprimer leur point de vue sur la question du rôle et de la place de la femme et de la mère dans la société victorienne. Leurs représentations de la banalité du quotidien domestique de ces mères servent également des intentions esthétiques et stylistiques. Plus qu’une simple thématique, la maternité est pensée comme le fondement d’une poétique féminine que l’on peut qualifier de « maternelle »
In the Victorian age, more than a personal experience or a social and biological reality, motherhood is a myth, as Roland Barthes defines it. This myth originates from the various types of ongoing discourses from different domains such as medicine, social sciences and literature that give shape to it. Despite the fact that motherhood, as a myth, is a historical construct, since it is produced by topical discourses, essentialist readings of the female body tend to naturalize this myth. This leads to transforming it into a stable and universal reality, so that it becomes difficult to question it, other than in terms of pathological differences, as compared to the norm. This vision of motherhood which stems from these discourses is both an ideological and an idealised construct, based on the middle classes’ way of life, but presented as the norm to follow for every woman. But is it really the norm? This ideal is said to be unvarying and universal (but is it?), despite its undeniable remoteness from the many singular experiences of motherhood in the Victorian age. This thesis aims at exploring how George Eliot and Elizabeth Gaskell write about motherhood and question the Victorian maternal ideal in the following works: “Lizzie Leigh”, Ruth and Wives and Daughters for Elizabeth Gaskell; Adam Bede, Silas Marner and Daniel Deronda for George Eliot. Close readings of their works reveal how these two female writers address the theme of motherhood to voice their own viewpoints concerning the role and place of women and mothers in the Victorian society. The way they write about the humdrum daily routine of these mothers also serves aesthetic and stylistic purposes. More than as mere topic of interest, motherhood is perceived as being the basis of what can be called a maternal writing style

Los estilos APA, Harvard, Vancouver, ISO, etc.

20

Donada, Jaqueline Bohn. ""The tree that bears a million of blossoms" : a revaluation of George Eliot's Romola". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/69843.

Texto completo

Resumen

Ao refletir sobre o seu próprio romance anos depois de tê-lo escrito, George Eliot disse a respeito de Romola que foi esse o romance que ela escreveu com seu melhor sangue, indicando assim uma predileção por esse livro. Uma análise de sua fortuna crítica, ainda que superficial, revela que Romola é o menos conhecido entre os seus romances. Ao passo que alguns poucos críticos contemporâneos, como Henry James e Robert Browning, por exemplo, publicaram elogios entusiasmados, o tom geral das opiniões contemporâneas sobre a obra é de decepção. O motivo mais comumente apresentado para isso é que o quarto romance de Eliot se desvincula da realidade que a autora muito bem conhecia e, por isso, falha ao tentar representar verdadeiramente o estado de espírito de Florença e dos florentinos ao final do século quinze. O resultado de tal fracasso seria a produção de um romance construído a partir de esforço intelectual e não de imaginação poética, com uma fuga desnecessária ao passado e a um cenário estrangeiro que teria produzido personagens e eventos improváveis. O conflito entre a apreciação de Eliot sobre sua própria obra e a opinião geralmente expressa em sua fortuna crítica é notável e prove a motivação inicial do presente trabalho. Ao resumir o foco central da crítica de Romola, a professora Felicia Bonaparte diz que George Eliot jamais desapontou seus leitores tanto quanto o fez em Romola. O objetivo deste trabalho é investigar o que considero ser os principais motivos para tal desapontamento: que, em Romola, mais especificamente do que em seus outros romances, George Eliot estava experimentando com a forma do romance e alargando os seus limites para acomodar convenções formais e efeitos estéticos que, até então, eram entendidos como pertencentes, quase que exclusivamente, a outros gêneros literários que não o romance. O efeito imediato desse experimento é uma reconfiguração do realismo e da interação entre os gêneros literários que pareceu aos contemporâneos uma junção descriteriosa de elementos soltos. Em Romola, observa-se a escritura de George Eliot progredindo para um tipo mais moderno de romance. O presente trabalho terá atingido seus objetivos se argumentar coerentemente que, ao invés de uma mistura aleatória de convenções, Romola é um precursor do romance modernista. O trabalho seminal de Georg Lukács na Teoria do Romance ilumina o potencial de Romola em conter boa parte dos gêneros literários dentro de si e a coleção O Romance, de Franco Moretti, fornece à presente reflexão um valioso suporte crítico e teórico em pontos nos quais se percebe lacunas deixadas pela obra de Lukács. O trabalho de Felicia Bonaparte sobre George Eliot e os estudos de George Levine sobre realismo embasam a reflexão sobre a literatura inglesa do século dezenove que se desenvolve aqui.
Looking back on her own novel several years after its composition, George Eliot said of Romola that it had been the novel she had written with her best blood, thus indicating a predilection for it among her other books. A survey of her critical fortune, even if a quick one, reveals that Romola is the least popular of her novels. Whereas a few contemporary critics, such as Henry James and Robert Browning, have published enthusiastic reviews, the general tone of these opinions is of disappointment. The most common reason presented is that George Eliot’s fourth novel departs too much from the reality the author knew so well and fails to represent truthfully the zeitgeist of Florence and Florentine people at the close of the fifteenth century. The result of such failure would be a novel constructed out of intellectual effort rather than poetic imagination, with an unnecessary flight to the past and foreign setting which produced improbable events and characters. The clash between George Eliot’s appraisal of her book and the general opinion expressed in its critical fortune is noteworthy and provides the initial motivation of this thesis. Summarising the bulk of criticism about Romola, professor Felicia Bonaparte states that George Eliot never disappointed her readers as much as she did with Romola. The goal of this work is to investigate what I consider to be the main reason for this disappointment: that in Romola, more explicitly than in her other novels, George Eliot was experimenting with the form of the novel and stretching its limits to accommodate formal conventions and aesthetic effects until then generally thought to belong almost exclusively to other genres. The immediate effect of this experiment is a reconfiguration of realism and of the interplay between literary genres which looked like an unselective assortment of loose elements. In Romola, we see George Eliot’s writing progressing towards a more modern kind of novel. This work will have been successful if it can coherently argue that, rather than a random mixture of conventions Romola is a harbinger of the modernist novel. The seminal work of Georg Lukács in The Theory of the Novel sheds some light on the potential of Romola for containing most genres within it and Franco Moretti’s collection The Novel provides valuable critical and theoretical support for this thesis at points in which blanks are left by Lukács’s book. Felicia Bonaparte’s work on George Eliot and George Levine’s studies on realism contribute valuably to the interpretation of English nineteenthcentury that unfolds in the present work.

Los estilos APA, Harvard, Vancouver, ISO, etc.

21

Schweers, Ellen H. "Moral Training for Nature's Egotists: Mentoring Relationships in George Eliot's Fiction". Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2868/.

Texto completo

Resumen

George Eliot's fiction is filled with mentoring relationships which generally consist of a wise male mentor and a foolish, egotistic female mentee. The mentoring narratives relate the conversion of the mentee from narcissism to selfless devotion to the community. By retaining the Christian value of self-abnegation and the Christian tendency to devalue nature, Eliot, nominally a secular humanist who abandoned Christianity, reveals herself still to be a covert Christian. In Chapter 1 I introduce the moral mentoring theme and provide background material. Chapter 2 consists of an examination of Felix Holt, which clearly displays Eliot's crucial dichotomy: the moral is superior to the natural. In Chapter 3 I present a Freudian analysis of Gwendolen Harleth, the mentee most fully developed. In Chapter 4 I examine two early mentees, who differ from later mentees primarily in that they are not egotists and can be treated with sympathy. Chapter 5 covers three gender-modified relationships. These relationships show contrasting views of nature: in the Dinah Morris-Hetty Sorrel narrative, like most of the others, Eliot privileges the transcendence of nature. The other two, Mary Garth-Fred Vincy and Dolly Winthrop-Silas Marner, are exceptions as Eliot portrays in them a Wordsworthian reconciliation with nature. In Chapter 6 I focus on Maggie Tulliver, a mentee with three failed mentors and two antimentors. Maggie chooses regression over growth as symbolized by her drowning death in her brother's arms. In Chapter 7 I examine Middlemarch, whose lack of a successful standard mentoring relationship contributes to its dark vision. Chapter 8 contains a reading of Romola which interprets Romola, the only mentee whose story takes place outside nineteenth-century England, as a feminist fantasy for Eliot. Chapter 9 concludes the discussion, focusing primarily on the question why the mentoring theme was so compelling for George Eliot. In the Appendix I examine the relationships in Eliot's life in which she herself was a mentee or a mentor.

Los estilos APA, Harvard, Vancouver, ISO, etc.

22

Pimentel, A. Rose. "'The divine voice within us' : the reflective tradition in the novels of Jane Austen and George Eliot". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2583.

Texto completo

Resumen

This thesis argues that a ‘tradition of moral analysis’ between Jane Austen and George Eliot — a common ground which has been identified by critics from F.R. Leavis to Gillian Beer, but never fully explored — can be illuminated by turning to what this thesis calls ‘the reflective tradition’. In the eighteenth century, ideas about reflection provided a new and influential way of thinking about the human mind; about how we come to know ourselves and the world around us through the mind. The belief in the individual to act as his/her own guide through the cultivation of a reflective mind and attentiveness to a reflective voice emerges across a wide range of discourses. This thesis begins with an examination of reflection in the philosophy, children’s literature, novels, poetry, educational tracts and sermons that would have been known to Austen. It then defines Austen’s development of reflective dynamics by looking at her six major novels; finally, it analyzes Middlemarch to define Eliot’s proximity to this aspect of Austen’s art. The thesis documents Eliot’s reading of Austen through the criticism of G. H. Lewes to support a reading of Eliot’s assimilation of an Austenian attention to mental processes in her novels. Reflection is at the heart of moral life and growth for both novelists. This thesis corrects a tendency in Austen’s reception to focus on the mimetic aspect of her art, thereby overlooking the introspective sense of reflection. It offers new insights into Austen’s and Eliot’s work, and it contributes to an understanding of the development of the realist novel and the ethical dimension in the role of the novel reader.

Los estilos APA, Harvard, Vancouver, ISO, etc.

23

Costa, Monica Chagas da. "George Eliot, o nome na capa de The mill on the floss". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143597.

Texto completo

Resumen

Este trabalho tem como objetivo analisar o conceito de autoria no contexto da obra de George Eliot. Para realizá-lo, definiram-se dois aspectos relevantes da atividade do autor. O primeiro deles é sua existência empírica, situada dentro de determinadas práticas, como apontado por Martha Woodmansee, Michel Foucault, Marisa Lajolo e Regina Zilberman. O segundo, seu funcionamento intratextual, como instância discursiva, destilado das teorias enunciativas de Emile Benveniste e das proposições teóricas de Wayne Booth, Umberto Eco e Wolfgang Iser. A partir dessas elaborações, foram desenvolvidas as análises, de um lado, da trajetória de Mary Ann Evans (George Eliot) e seu papel como escritora do final do século XIX, e, de outro, do romance The Mill on the Floss, obra de 1860, na qual se percebe o autor George Eliot em funcionamento. Pode-se notar, através da reconstrução da vida da autora, sua reflexão própria sobre o significado da prática da autoria como missão social. É também notável, através de seu romance, a atuação de uma figura autoral que organiza o texto e encaminha a interpretação de seu leitor para determinadas direções.
This work’s objective is to analyze the concept of authorship in the context of George Eliot’s production. In order to do so, two relevant aspects of the author’s activity were defined. The first one is its empirical existence, located within certain practices, as pointed by Martha Woodmansee, Michel Foucault, Marisa Lajolo and Regina Zilberman. The second one, its intratextual operation, as a discoursive instance, distilled from Emile Benveniste’s enunciative theories and from the theoretical propositions of Wayne Booth, Umberto Eco and Wolfgang Iser. These elaborations allowed the development of two analyses: on one hand, of Mary Ann Evans’ (George Eliot’s) trajectory and her role as a late nineteenth century writer, and, on the other, of the novel The Mill on the Floss (1860), in which George Eliot’s authorship is perceived at work. It is noticeable, through the reconstruction of the author’s life, her own reflection on the meaning of authorial practice as a social mission. It is also remarkable, through her novel, the performance o an author figure which organizes the text and directs its reader’s interpretations to determined directions.

Los estilos APA, Harvard, Vancouver, ISO, etc.

24

Drouet-Richet, Stéphanie. "Les marges du regard dans la fiction eliotienne". Paris 3, 2000. http://www.theses.fr/2000PA030127.

Texto completo

Resumen

Ce travail a pour objet de montrer comment, dans la fiction eliotienne, l'ecriture du regard contribue a ebranler les fondations de la representation realiste, remettant ainsi en cause les ambitions de stabilite, de permanence et d'ordre universel affichees par cette ideologie. Certes le regard descripteur encadrant est bien present dans cette oeuvre fortement ancree dans un systeme referentiel essentiellement mimetique. Le regard instaure cependant au sein du texte, veritable "machine a faire voir", un dynamisme qui l'entraine vers des espaces limites ou de l'entre-deux de la representation. Decentre, desoriente, le regard glisse le long de lignes de fuite vers des territoires fictifs et artistiques multiples. L'ecriture se fait visuelle, picturale, transgressant les codes et oscillant entre divers systemes de representation. Une etude des modalites de la vision permet de percevoir tout ce que le projet realiste comporte d'irrealisable dans ses marges. L'opacification du regard, organiquement defaillant ou occulte par des masques, dit la difficulte a bien voir, constat a valeur eminemment morale qui menace sa fonction representative et met en peril l'unite du sujet. A l'inverse, trop de regard tue le regard. Aveugle de lumiere, surdetermine, il fait obstacle a la connaissance dont il est pourtant traditionnellement la clef. Petrifie par le desir medusant, hallucine par des transes pathologiques ou mystiques, il s'abime dans une non-vision qui s'apparente au vide de la mort. La representation, aux marges du regard, est menacee dans son integrite par les premices du seisme moderniste a venir, mais non encore advenu. Si l'ecriture eliotienne explore les limites de la representation visuelle, elle reste attachee a ce systeme et affirme finalement sa foi dans le regard, qu'elle pose comme principe unificateur et heuristique, comme l'instrument de la vision lucide et eclairee qui doit mener a l'unite supreme.

Los estilos APA, Harvard, Vancouver, ISO, etc.

25

Lima, Rodrigo Jorge de [UNESP]. "Política externa brasileira em tempos de transformação: modernização e inserção internacional (1889-1912)". Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/93732.

Texto completo

Resumen

Made available in DSpace on 2014-06-11T19:26:45Z (GMT). No. of bitstreams: 0 Previous issue date: 2013Bitstream added on 2014-06-13T18:55:06Z : No. of bitstreams: 1 lima_rj_me_mar.pdf: 817684 bytes, checksum: e9ffb54cfe31aff4aa7a82c16a0c7532 (MD5)
A presente pesquisa pretende analisar as imbricações entre a agenda de política externa e aspectos de transformação no Brasil, tendo em vista o cenário político e econômico e o ambiente intelectual do país na virada do século XIX para o XX. Para tanto, busca-se compreender a modernização como um valor que integra a atividade diplomática no que tange aos objetivos de política externa e, portanto, a inserção internacional do Brasil nas primeiras décadas republicanas
This research aims to analyze the intersection between the foreign policy agenda and aspects of transformation in Brazil, considering the political and economic scenario and the intellectual environment of the country at the turn of the nineteenth to the twentieth century. It seeks to understand the modernization as a value that shapes diplomatic activity, in light of the foreign policy objectives and, therefore, the international insertion of Brazil in the first two decades of the Republic

Los estilos APA, Harvard, Vancouver, ISO, etc.

26

Hooker, Jennifer. "From paternalism to individualism : representations of women in the nineteenth century English novel". Scholarly Commons, 2000. https://scholarlycommons.pacific.edu/uop_etds/546.

Texto completo

Resumen

Three of the most notable English women authors, Jane Austen, Charlotte Bronte, and George Eliot, explore similar themes of the individual, particularly the young woman, in relation to a hierarchical, patriarchal society, more specifically a crumbling paternalist society. My focus is on three Victorian novels' representations of society's transformation from a paternalistic nature to one of greater individualism; and in particular, I explore how women defined for themselves positions of power within these structures. So this study is twofold, one on representations of gender and the other of class; for the two are inseparable in discussing power relationships of Victorian women. Austen, Bronte, and Eliot understood and, to some degree, accepted the pervasive paternal values. Their novels, however, do not advocate radical social change; rather, their heroines willingly turn to domesticity. I aim to argue that each author, although dissatisfied with aspects of society, did not desire to radically alter women's role within society. The fictitious lives they created became both a representation and a critique of the ideologies surrounding them. The texts of Emma, Jane Eyre, and Middlemarch are representative of traditional social norms and yet question some of the culture's dominant codes, especially in relation to paternalism and gender. What strikes me about these novels is that although the female characters are limited by society, they are not ineffectual. Rather the authors portray women in control of their lives and able to make choices for themselves within the framework of society. My research includes social, philosophical, and political attitudes of the decades in which each novel was written, as well as personal philosophies held by Austen, Bronte, and Eliot in relation to gender and class and the influence of these philosophies in their art. Finally, my reading of the texts explicates evidences of the culture's and author's attitudes in relation to paternalism and gender.

Los estilos APA, Harvard, Vancouver, ISO, etc.

27

Toussaint, Benjamine. "Religion et humanisme dans l'œuvre d'Elizabeth Gaskell et de George Eliot". Paris 4, 2002. http://www.theses.fr/2002PA040154.

Texto completo

Resumen

Elizabeth Gaskell était unitarienne et profondément croyante tandis que George Eliot était agnostique et pensait, comme Feuerbach, que Dieu n'est qu'une projection des qualités de l'homme idéal. Cependant, l'unitarisme est une religion rationnelle, tolérante et peu dogmatique, de sorte qu'Elizabeth Gaskell a une approche très pragmatique de la foi. Quant à George Eliot, son humanisme est fortement marqué par la tradition chrétienne ; si elle souhaite replacer l'homme au centre de la religion, elle juge tout aussi important de préserver sa capacité à vénérer un idéal sacré. Bien que leurs points de vue sur Dieu divergent, les deux romancières ont la même vision de l'homme et des valeurs qui doivent guider ses choix dans l'existence. Elles souhaitent remplacer les valeurs patriarcales de leur société - trop influencées à leurs yeux par l'éthique impitoyable de l'Ancien Testament - par une éthique féminine plus en accord avec l'esprit de compassion et de miséricorde du Nouveau Testament
Elizabeth Gaskell was a Unitarian while George Eliot shared Feuerbach's belief that God is but a projection of man's nobler self. But Unitarianism is a rational, tolerant and hardly dogmatic creed, and this gave Gaskell a pragmatic approach to religion. She was not concerned with the afterlife, but with the way man could improve his neighbour's lot on earth by following the Lord's teachings. On the other hand, Eliot's humanism was strongly influenced by Christian tradition; she wanted to give back to man his true place at the centre of religion, while preserving his capacity to venerate sacred ideals. Though their religious views differed, the two novelists had a similar vision of humanity and the values that should guide people through their existence. They both insisted on the superiority of feminine ethics - as more representative of Christian compassion and mercy - over the patriarchal values which, they thought, were too much influenced by the harsh spirit of the Old Testament

Los estilos APA, Harvard, Vancouver, ISO, etc.

28

Daley, Nirmala. "A study of the suitability of a modern African novel such as "Things fall apart" by Chinua Achebe for black pupils in Ciskeian schools in contrast to a prescribed novel such as "Silas Marner" by George Eliot". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1003669.

Texto completo

Resumen

The enjoyment of any form of literature presupposes, in the reader, an understanding of the subject matter and a fundamental inclination to identify with the characters, to empathize with them and to appreciate varying perspectives. It follows that the choice of text is an important consideration especially, when the reader is not reading in the mother tongue. The choice of novel prescribed by the DET for Second Language, non-White, non-English-speaking, Ciskeian pupils poses many problems which lead to poor examination results. The increasing unpopularity of English Literature among Ciskeian pupils and teachers appears to stem largely from the predominance of works selected from the Great Tradition. To determine how far the choice of texts is responsible for the lack of success of literature teaching in Ciskei is the aim of this investigation. The DET syllabus for Black schools and the set books prescribed for Stds. 9 and 10 between 1980 and 1990 are examined to expose their Euro-centric focus. The effects of the DET examinations on literature study in Ciskei are also considered to show how examinations complicate the situation further. The aims of teaching literature to Second Language pupils are reviewed. Literary merit, relevance, aesthetic value and scope for moral seriousness, skill development are suggested as criteria suitable for an appropriate choice of literary texts for Second Language pupils. A comparative study of the prescribed novel, Silas Marner and an alternative African novel in English, Things Fall Apart has been attempted to find out whether Things Fall Apart is of equal literary value to Silas Marner and, perhaps, more relevant than Silas Marner to the experience of Black pupils. Six teachers have been interviewed for their opinions of the books prescribed. A miniature survey also has been conducted among pupils of Stds. 9 and 10 from selected schools to verify general attitudes to the study of literature. The findings indicate a dire need to make the syllabus more flexible and more open to include good African writing in English, such as Things Fall Apart.

Los estilos APA, Harvard, Vancouver, ISO, etc.

29

Bentley, Colene. "Constituting political interest : community, citizenship, and the British novel, 1832-1867". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36875.

Texto completo

Resumen

This dissertation asserts a strong connection between democratic culture and the novel form in the period 1832--1867. As England debated constitutional reform and the extension of the franchise, novelists Charles Dickens, Elizabeth Gaskell, and George Eliot endeavoured to define human communities on democratic terms. Drawing on work of contemporary political philosopher John Rawls to develop a methodology that considers constitutions and novelistic representations as analogous contexts for reasoning about shared political values and citizenship, this study provides readings of Bleak House, North and South, and Felix Holt that emphasize each novel's contribution to the period's ongoing deliberations about pluralism, justice, and the meaning of membership in democratic life. When read alongside Bentham's work on legislative reform, Bleak House offers a parallel model of social interaction that weighs the values of diversity of thought, security from coercion, and the nature of harmful actions. Felix Holt and North and South are novelistic contributions to defining and contesting the attributes of the new liberal citizen. Through their central characters, as well as in their respective novelistic practices, Eliot and Gaskell highlight the difficulty of uniting autonomous individuals with collective social groups, and this was as much a problem for literary practice in the period as it was for constitutional reform.

Los estilos APA, Harvard, Vancouver, ISO, etc.

30

Ayang, Ondo Marie-Madeleine. "La notion de bien-être physique et moral : relation et interaction dans l’œuvre de George Eliot". Thesis, Bourgogne Franche-Comté, 2020. http://www.theses.fr/2020UBFCH010.

Texto completo

Resumen

Cette étude se propose d’analyser la notion de bien-être dans les écrits de George Eliot afin de mettre en avant l’individu dans ses rapports à l’autre : autrui, animal et environnement, dans la construction et l’obtention du bien-être aussi bien physique, moral que personnel et social, et nous étudions l’éthique et l’esthétique qui s’en réclament. Pour la romancière, le bien-être trouve sa source dans le malaise qu’éprouvent les individus dans la société britannique du dix-neuvième siècle. Penser le bien-être revient dès lors à se préoccuper prioritairement des relations et des interactions individuelles. Cette vision relationnelle du bien-être revient également à prendre en compte les régularités sociales relatives à la vie communautaire, le lien émotionnel et symbiotique de l'individu avec la nature floristique et faunistique, ainsi que son unicité et celle de l'environnement dans lequel il évolue
This dissertation analyzes the concept of well-being in the writings of George Eliot in order to account for the question of the individual in his/her relationships with the other and others such as animals and the environment so as to obtain physical, moral as well as personal and social well-being along the resulting ethics and aesthetics. For the novelist, well-being finds its source in the individuals’ suffering in British nineteenth-century society. Conceiving well-being from Eliot’s point of view therefore means giving priority to individual relationships and interactions. This relational vision of well-being amounts to considering the social regularities related to community life, the emotional and symbiotic bond of the individual with the flora and fauna nature, as well as his uniqueness and that of the environment in which he lives

Los estilos APA, Harvard, Vancouver, ISO, etc.

31

Parkhurst, Brittany. "The Promise of an Ambiguous Self: Eradicating an Essentialist Femininity through Deceit in the Victorian Novel". Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/788.

Texto completo

Resumen

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
Bachelors
Arts and Sciences
English Literature

Los estilos APA, Harvard, Vancouver, ISO, etc.

32

Roberts, Timothy Paul English UNSW. "Little terrors:the child???s threat to social order in the Victorian bildungsroman". Awarded by:University of New South Wales. English, 2005. http://handle.unsw.edu.au/1959.4/23930.

Texto completo

Resumen

This thesis is a study of rebellious child protagonists in Victorian bildungsroman. It discusses five novels ??? Jane Eyre, The Mill on the Floss, What Maisie Knew, Vanity Fair and Kim ??? that feature ???radical child??? protagonists who use indirect methods of narrative control to resist conservative models of character development. It argues that these novels form a subset of subversive English bildungsromane, which threaten the genre???s traditionally liberal values. Theories of narrative desire, reader seduction and discursive manipulation are used to reveal how the radical child in the Victorian bildungsroman takes command of the reader???s sympathy and gains power over the realist text, despite its physical and social powerlessness. Especially important is the presence of a fantasy counterplot, which coexists with, and ultimately undermines, the bildungsroman???s realistic surface narrative of successful socialisation. The counterplot allows radical child protagonists to develop in a non-linear manner that contradicts bourgeois ideals of stable progress. Focusing instead on sites of rupture between the individual and society, subversive bildungsromane resist both the dialectical model of character, which aims to harmoniously unite the protagonist with the realist world, and the dialogic model of interaction, which requires the restriction of personal liberty for the common good. This rebellious child in the Victorian bildungsroman thus represents an assault on the genre???s democratic ideals. Rejecting compromise, the radical child replaces the bildungsroman???s central ethic of interpersonal responsibility with an individualistic ethic of domination. Indeed, the thesis argues that the appeal of such child protagonistslies in their rejection of the obligatory, but anticlimactic, exchange of freedom for security that underpins the realist bildungsroman???s social contract, a rejection attractive to the reader precisely because it is unrealisable in reality. Finally, the thesis compares this radical child with the Gothic monster. While the monster is punished for its subversion, the radical child???s counterplot enables it to enact most of its subversive desires unpunished. The conservative English bildungsroman thus becomes a more effective way of representing asocial energies than the more obviously radical Gothic genre, which openly displays its anti-democratic sentiments.

Los estilos APA, Harvard, Vancouver, ISO, etc.

33

Munoz, José. "Franz Von Suppè et l'opérette viennoise à l'ère du libéralisme (1860-1880)". Thesis, Metz, 2007. http://www.theses.fr/2007METZ007L/document.

Texto completo

Resumen

Au travers du processus de sécularisation auquel ont contribué les philosophes de la Frühaufilarung, l'espace éthique et politique du théâtre bourgeois se développe progressivement. Une nouvelle classe, à savoir la bourgeoisie montante de la seconde moitié du XVIIIe siècle, réclame ses propres divertissements. Le libéralisme et l'opérette viennoise, notamment son créateur Franz von Suppk représentent le cadre des investigations de cette thèse. La première partie de la thèse décrit les formes musicales et théâtrales antérieures à l'opérette et établit l'élaboration de concepts idéologiques et esthétiques en rapport avec la naissance du libéralisme et ses répercussions dans le théâtre et la musique. En effet, le libéralisme autrichien (1860-1879) exerce une influence sur les mentalités et les arts. L'opérette est peut-être la manifestation la plus exemplaire de ce transfert. La seconde partie de la thèse se focalise sur l'analyse sociopolitique et musicale de deux opérettes de Franz von Suppè, considéré comme le père de l'opérette viennoise classique : Die schone Galathee (1865), Boccaccio (1879). Les théories politiques et économiques du libéralisme, ainsi que ses déviations afférentes forment le cadre dans lequel s'inscrit l'avènement de l'opérette viennoise, expression musicale et théâtrale de la bourgeoisie émergente. L'interaction entre opérette et société est au centre de la discussion. Les axes de la réflexion sont les rôles fédérateur et socialisateur de l'opérette viennoise au sein de la polis, l'émancipation des femmes, l'antisémitisme, l'anticléricalisme, entre autres thèmes
Through the process of secularization which the philosophers of the Frühaufklarung have contributed to, the ethical and political area of middle-class theatre progressively develops. A new class, that's to Say, the rising middle class in the second half of the 18th century, calls for its own amusements. Liberalism and Viennese operetta, especially its creator Franz von Suppè represent the context of the investigations of this thesis. The first part of the thesis describes the musical and theatrical forms pnor to operetta and sets up the elaboration of ideological and aesthetic concepts with derence to the birth of Liberalism and its repercussions upon theatre and music. indead, the Austnan liberalism (1860-1879) exerts an influence on mentalities and arts. Maybe operetta is the most characteristic manifestation of this transfer. The second part of the thesis deals with the sociopoliticai and musical analysis of two operettas from Franz von Suppè who is considered to be the father of the classical Viennese operetta : Die schöne Galathee (1865), Boccaccio (1879). Political and economic theuries of Liberalism, as well as its deviations form the background in which the advent of the Viennese operetta takes place, musical and theatrical expression of the rising middle class. The main lines of reflection are the federating and socializing roles of the Viennese operetta in the midst -of the city, women's emancipation, anti-Semitism, anticlericalism, arnong other themes

Los estilos APA, Harvard, Vancouver, ISO, etc.

34

Kandji, Mamadou. "Roman anglais et traditions populaires de Walter Scott à Thomas Hardy". Rouen, 1988. http://www.theses.fr/1988ROUEL047.

Texto completo

Resumen

La culture populaire, celle de la paysannerie de l’Angleterre est présente, de manière diffuse, dans le roman anglais du 19e siècle. Cette étude examine les aspects multiformes des coutumes, superstitions et pratiques populaires dans le roman anglais, de Scott à Hardy. Après avoir défini, de manière théorique d'abord, puis à l'aide d'exemples précis, l'héritage culturel antérieur au 19e siècle, l'étude s'efforce de montrer comment Scott, les sœurs Brontë, George Eliot et Thomas Hardy emploient et adaptent cette culture populaire à leurs créations romanesques. L'imprégnation dans l'enfance et la jeunesse a familiarisé les écrivains à cette culture orale, aux contes, légendes et ballades. Dans l'oeuvre de Scott, il s'agit d'une exploration des valeurs anciennes d’Ecosse, des coutumes des hautes-terres, par exemple, dans le contexte global de la récupération du merveilleux superstitieux. Avec les sœurs Brontë, c'est le fantastique des contes et ballades, celui du surnaturel; avec la différence que là où Charlotte se préoccupe davantage de fantaisie, de fantasmagorie, Emily se tourne vers les superstitions et le merveilleux des ballades populaires. La seconde partie du travail porte sur George Eliot et Thomas Hardy comme écrivains régionalistes, tous deux traitant du folklore, le plus souvent local, qu'ils appréhendent selon leur sensibilité personnelle. George Eliot prend du recul par rapport aux rites et coutumes qu'elle ne renie pas, mais dont elle déplore le travestissement. Dans ses œuvres, rites et coutumes fonctionnent comme un discours, un langage servant à illustrer la théorie qui lui est chère de la communauté bien intégrée. Avec Hardy, l'on voit le folklore à l'œuvre. L'auteur emploie les divertissements dans leurs formes les plus variées pour enrichir la substance de ses œuvres romanesques. Danses, fêtes populaires et rites agraires, tout cela est présent dans ses œuvres. Le rapprochement de toutes ces œuvres nous amène à la conclusion que le roman anglais du 19e siècle repose sur une solide tradition de culture populaire ; et que sa genèse est indissociable de celle-là
Agarian popular culture is an important component of the nineteenth-century english novel. This thesis is an attempt to map out the manifestations of customs, beliefs and popular superstitions, in the english novel, from Walter Scott to Thomas Hardy. The first chapter of this dessertation deals with the cultural heritage. Next, follow the chapters on Scott, Emily, Charlotte Brontë, George Eliot and finally, Hardy who availed themselves of the popular culture they had known and observed, in order to give substance and depth to their fiction. Scott taps the customs, beliefs, of the scottish highlands aiming, in so doing, at the rivival of ancient popular culture. Whereas the Brontë sisters approach it differently. Charlotte is more sensitive to fantasay, fantasmagoria and mental issues ; Emily deals with the supernatural germane to the ballad tradition (fairies, ghost-lores, witchcraft and demonology). The second part of the dissertation reviews George Eliot and Hardy as regional novelists who explore the folklore and local customs of their respective midlands and dorsetshire. In george eliot's treatment, satire and irony take the lead over romanticism. In Hardy’s works one can observe the richness and depth of dorsetshire folklore : popular feasts, fair-grounds, superstitions, and sundry customs and beliefs are handled vividly. As a conclusion, the thesis states that the rise of the english novel is closely related to the genesis of folklore scholarship and popular culture

Los estilos APA, Harvard, Vancouver, ISO, etc.

35

Murray, E. M. "The significance of utterance and silence in the shift from rebellion to continuity in George Eliot's novels". Thesis, 2014. http://hdl.handle.net/10210/9383.

Texto completo

Resumen

D.Litt. et Phil. (English)
This study investigates George Eliot's approach to the existential dilemma of her times, the collision of the individual with the general. It takes into account the historical context in which political radicalism and religious controversy threatened the stability and continuity of the individual and of society. The novels fictionalize the philosophical ideas expressed in earlier writings in terms of the individual experience of the characters. Each of the eight chapters is devoted to one ofthe novels and is discussed in chronological order of publication. Reference is made to George Eliot's letters and essays where relevant. The affinities of George Eliot with Auguste Comte and with Wordsworth are also considered. The nature and extent of a protagonist's rebellion is defined as it appears in each specific novel. The forms of active and passive rebellion are diverse. An utterance, usually an extended speech act made in complete sincerity, is a visible sign of the shift of consciousness which occurs when the individual moves from a state of rebellion to one of continuity of being. The two main categories of utterance are those of confession and those of commitment. The continuity of being towards which the individual strives consists of a belief in the innate goodness of the individual and trust in another sympathetic human being to release the good. Chapter One, Scenes of Clerical Life and Chapter Two, Adam Bede, emphasize the ceI,ltral role of a confessional utterance in the attainment of coherence of self. Chapters Three to Six focus on the novels published between 1860 and 1866 that are marked by key utterances of commitment and belief, arising from a sympathetic feeling towards another person. In The Mill on the Floss, Silas Marner and Romola, the pervasive Antigone theme is evaluated in which there is an opposition of two equally valid claims proposed by characters uttering contrary points of view in their expression of a rebellion against accepted norms. With the novel Felix Holt in Chapter Six, a political dimension appears and is further emphasized in the criticism of contemporary mores of the last two...

Los estilos APA, Harvard, Vancouver, ISO, etc.

36

Tridgell, Susan. "Treatment of emotion in the novels of George Eliot". Master's thesis, 1997. http://hdl.handle.net/1885/145286.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

37

Lynn, Andrew. "Minstrels in the drawing room: music and novel-reading in Johann Wolfgang von Goethe, Walter Scott, and George Eliot". Thesis, 2014. https://doi.org/10.7916/D8PV6HF5.

Texto completo

Resumen

"Minstrels in the Drawing Room" is an investigation of the representation of musical listening in the nineteenth-century novel. Theoretical accounts of the novel have tended to see it as a universal form, one that opportunistically subsumes all others as its represented content; descriptions of the novel's implied audience often interpret novel-reading as an essentially absorptive activity linking private reading to public belonging through an act of identification. For the writers I discuss here, however, musical listening is interesting because it is a rival mode of shared aesthetic experience that, before the advent of sound recording, was necessarily social. This dissertation draws on recent developments in the history of reading and media theory to describe how novels by three central figures of the European novelistic canon - Goethe, Scott, and Eliot - turn to musical listening to reflect upon the ways in which the absolutely open nature of the novel's mode of address is nevertheless prone to limitation. The dissertation thus complicates often all-or-nothing theories of novel-reading, offering instead a description of how novels model a distanced identification between reader and text.

Los estilos APA, Harvard, Vancouver, ISO, etc.

38

Gibson, Lindsay Gail. "Luminous Pasts: Artificial Light and the Novel, 1770-1930". Thesis, 2016. https://doi.org/10.7916/D8Z89CDT.

Texto completo

Resumen

Over the course of the nineteenth century, gaslight supplanted the candles and oil lamps that had brightened Europe and America for centuries, and, by 1900, electricity would attain decisive dominance over both. In their narrative figurations of lighting, however, novels of the same period often arrest this march of progress, lingering in an Arcadian past organized around the rhythms of the solar day and the agricultural year. Mining works by Frances Burney, George Eliot, Thomas Hardy, Marcel Proust, and others, my dissertation argues that novelists employ obsolete lighting technologies not merely to provide historical texture, but to express narrative impulses that run counter to the realist mode, to dramatize transgressive forms of ambition within the rural communities they depict, and sometimes even to voice ambivalence about the commercial constraints of the serial form. Characters in these novels who avail themselves of artificial illumination alter the rhythm of the workday in order to satisfy desires inconsistent with the interests and pursuits sanctioned by their neighbors: by the light of lamps and candles, they pursue cross-class romance, literary aspirations, or professional goals that fall outside the parameters dictated by social class and the historical moment. For Proust’s narrator, this entails a series of adjustments to his evening schedule over the course of the Recherche, first to accommodate an aristocratic social calendar, and, later, to facilitate the nocturnal composition of his own novel. In Eliot’s case, the inclination to stay awake after nightfall—whether the illicit romantic fantasies of a Hetty Sorrel or the workmanlike resolve of an Adam Bede—constitutes a meaningful challenge to the author’s narrative realism. By examining the formal innovations these technologies provoke in nineteenth-century fiction, my research unearths a pervasive counter-realist tendency in novels often famed for their fidelity to the protocols of realist representation.

Los estilos APA, Harvard, Vancouver, ISO, etc.

39

Glovinsky, Will. "Unfeeling Empire: The Realist Novel in Imperial Britain". Thesis, 2021. https://doi.org/10.7916/d8-4cyr-hb47.

Texto completo

Resumen

This dissertation considers the role of affective management in realist aesthetics and British imperial culture. Drawing on formalist analyses of English novels, nineteenth-century theories of emotion, and postcolonial accounts that identify the colonizer’s affective desensitization as the ground from which ongoing violence can be perpetrated, this study explores how domestic English novels developed new techniques for deflating the heightened feelings surrounding empire and distant intimacy. Through satires of sensibility, the replacement of epistolary style with impersonal omniscience, and newly dispassionate presentations of villains and protagonists alike, realist novelists explored affective restraint as at once a generic characteristic and an increasingly central element of British imperial and racial identities. This dissertation therefore argues, through readings of works by Jane Austen, William Makepeace Thackeray, George Eliot, and Joseph Conrad, for the deep influence of imperial culture on the realist novel’s distinguishing formal features. At the same time, it prompts critics to revisit longstanding accounts of the relationship between the novel and sympathy. Since the Victorian era, critics have readily understood the realist novel as concerned with the expansion of readers’ sympathies: this study reframes this important account by examining how the insistence on sympathy in novels often rerouted more turbulent reactions to empire’s dislocations—such as longing, desire for vengeance, and guilt—into cooler, more tractable feelings.

Los estilos APA, Harvard, Vancouver, ISO, etc.

40

Adkins, Lorraine Dalmae. "The self in and through the other : a Bakhtinian approach to Little Dorrit and Middlemarch". Thesis, 2013. http://hdl.handle.net/10413/10621.

Texto completo

Resumen

The thesis explores how readings of two nineteenth century English novels, Little Dorrit and Middlemarch, can be enhanced by using key elements of Mikhail Bakhtin’s ‘prosaics’ as a lens through which to examine them. Additionally, the readings are used to provide a platform from which to explore the Bakhtinian notion that language is inextricably connected to selfhood. The Introduction (1.1.) offers a brief discussion on Bakhtin and, in particular, to his formulation of a ‘prosaics’, offered in opposition to traditional linguistics (or ‘poetics’) which, he feels, is unable adequately to do justice to the social, ethical and ideological complexity of a dialogised heteroglossia, such as is found in the novel. An explanation follows (1.2.) of why the ‘word’ should not be conceived of as static lexical element but rather as an ‘utterance’. Invested with both clear and distinct meanings as well as dialogic overtones, the word forms the basis of all human communication. As the primary means of expressing the ‘self’, it cannot be heard in isolation but is always responsive and dependent upon “another’s reaction, another’s word – the two ‘interpenetrating’ the single utterance, establishing, as a result, its specific locus of meaning” (Danow 22). Likewise, it follows that the ‘self’ cannot exist purely in and for the individual but is irrevocably linked to the ‘other’. Chapter Two begins with a discussion on the way in which ‘centripetal’ and ‘centrifugal’ forces work simultaneously to shape language (2.1.). It looks at the Bakhtinian idea that language cannot ever have been monologic and unmediated, being instead ever-changing and evolving as a result of numerous influences brought to bear on it such as context, ideology and the discourses of others. The nature of heteroglossia is discussed (with particular reference to ‘dialogized heteroglossia’), as is ‘hybridization’ in which, although a statement appears to emanate from one voice, another parodic or ironic voice will also be evident in refracted form. 2.2. and 2.3 engage in a detailed analysis of selected passages from Books I and II respectively of Little Dorrit with a view to exploring ways in which a Bakhtinian reading is able to provide heightened appreciation of the text. With particular regard to the overtly parodic style of Dickens, I aim to show how Bakhtin’s prosaics, which militates against privileging one ‘voice’ over another, enables the voice of a relatively neglected character, such as Fanny Dorrit, to be adequately heard. Although the emphasis in this chapter is on language, I broach the Bakhtinian notion that both the ‘word’ and the ‘self’ are inscribed through the ‘other’. In Chapter Three the focus shifts to Middlemarch and to Bakhtin’s notion that selfhood can only be properly located in its dialogic relations to ‘another’. The chapter is offered in four parts, beginning with a brief discussion on some similarities between Bakhtin’s and Eliot’s philosophical thinking, particularly in regard to the ethical nature of the self (3.1.). The next three parts provide detailed thematic analyses of selected passages from Middlemarch. Particular attention is paid to Rosamond Vincy and Tertius Lydgate, whose relationship is explored in some detail. In order adequately to chart their development in the novel I begin by situating each of these characters in his or her various ‘fields of action’, or, as Bakhtin would have it, ‘character zones’. Character zones take into account not only the characters’ direct discourses but also other aspects of their being, including their backgrounds, ideologies and the various attitudes held by both the narrator and other characters towards them (3.2.). The next section (3.3.) explores, in dialogical terms, the rise and fall of Rosamond’s and Lydgate’s difficult alliance and it is suggested that their relationship represents the antithesis of the Bakhtinian notion of ‘finding the self in and through the other’. In the final section (3.4.), Rosamond’s and Lydgate’s possibilities for ‘real becoming’ are canvassed when each enters into dialogic relation with Dorothea Brooke. The Conclusion (4) offers a brief discussion of some of the ways in which the novel, as a genre, is open-ended. As such, it affords ongoing discussion in which completeness and conclusiveness is replaced with unfinalizability because “the final word has not yet been spoken” in the ongoing search for meaning (EaN 30).
Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.

Los estilos APA, Harvard, Vancouver, ISO, etc.

41

"The unfolding of self in the mid-nineteenth century English Bildungsroman". 2003. http://library.cuhk.edu.hk/record=b5896118.

Texto completo

Resumen

Cheung Fung-Ling.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves 106-112).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.v
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Passionate Impulses in Childhood and Adolescence --- p.26
Chapter Chapter Three --- Moral Dilemmas in Love --- p.52
Chapter Chapter Four --- The Ultimate Return --- p.75
Chapter Chapter Five --- Conclusion --- p.99
Notes --- p.104
Bibliography --- p.106

Los estilos APA, Harvard, Vancouver, ISO, etc.

Tesis sobre el tema "1819-1880"

Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros