Tesis sobre el tema "Literary correspondences"

This doctoral thesis analyzes the reception of the literary works of Polish novelist and playwright Witold Gombrowicz in Spain. The period of analysis begins with the first edition in Spain of a work by Gombrowicz, Pornography (The seduction) in the translation of Gabriel Ferrater, and finishes in 2014 when the intimate diary Kronos, the last work of Gombrowicz, is published. Based on Reception Theory and Polysystem Theory and thanks to the reading and analysis of the correspondence of Witold Gombrowicz with his family, the translators of his works, the editors and collaborators, of the censorship reports of the works of Gombrowicz, documentation of public and private archives, articles of academic character, press articles and other materials and with the help of personal interviews with Rita Gombrowicz and Salvador Clotas, it was possible to describe the process of introduction and subsequent reception of the works of Gombrowicz in the Spanish and Catalan literary system
Aquesta tesi doctoral analitza la recepció de les obres literàries del novel·lista i dramaturg polonès Witold Gombrowicz a Espanya. El període d’anàlisi abraça des de la primera edició a Espanya d’una obra de Gombrowicz, Pornografia (La seducción) en la traducció de Gabriel Ferrater, fins l’any 2014, quan s’edita el diari íntim Kronos, l’última obra de Gombrowicz. Basant-se en la teoria de la recepció i la teoria de polisistemes, i gràcies a la lectura i l’anàlisi de la correspondència de Witold Gombrowicz amb la seva família, els traductors de les seves obres, els editors i col·laboradors, dels informes de censura de les obres de Gombrowicz, de la documentació d’arxius públics i privats, d’articles de caràcter acadèmic, articles de premsa i altres materials, i amb l’ajuda de les entrevistes personals amb Rita Gombrowicz i Salvador Clotas, s’ha pogut descriure el procés d’introducció i la posterior recepció de les obres de Gombrowicz en el sistema literari espanyol i català

This thesis reads five examples of correspondence from the perspective of the unique dialogic relationship existing between epistolary partners. It investigates the way published authors, writing in the revolutionary decade of the 1790s, shape affective and ideological subjectivities through their epistolary relationships. Helen Maria Williams, Mary Wollstonecraft, Mary Hays and William Godwin write the primary letters considered by this study. The extant material drawn on includes unpublished manuscripts, and modem scholarly editions, as well as letters that survive only in the ~ tl form they were contemporaneously edited and published. Reading in close conjunction with the authors' published epistolary texts, I examine constructions of the self-determining, radical, female author. This thesis considers the strategies each writer deploys to experiment with unstable constructions of this figure. I consider the use of different epistolary models-for example, female friendship, didactic instruction or seductive love letter-and the variety of related personae inhabited in the interests of finding cohesion. I also pay attention to the reciprocity of epistolary dialogue. By focusing closely on language and context I expose new aspects to the correspondences in question and suggest specific correctives to existing readings of some of the material.

Anna Matilda Whistler (1804-1881) is now best known as the sitter for perhaps the most famous painting of an artist’s mother in the world, by James McNeill Whistler, Arrangement in Grey and Black: Portrait of the Artist’s Mother, Musée d’Orsay, Paris. My thesis is an annotated edition of Anna Whistler’s extent correspondence, comprising 267 letters and six essays. I have annotated the letters with respect to chronological, geographical, social, political and artistic references, documenting life and culture in the mid-19th century in America, Britain and Russia. Anna Whistler was a prolific letter writer who knew how to shape her epistolary style to suit the person in question. Her commentary ranged from the evolution of travel to Imperialist Russia. Her changing social status - from that of a wealthy housewife in Russia to a bankrupt widow - and her constant search for new homes and horizons for her children, take the reader on a social and geographical journey from the antebellum South to New England, and Europe. It is from these places that Anna Whistler introduced her correspondents and now us, today’s readers, to the personal stories of hundreds of individuals including the leading professionals of the time. These range from manufacturers and railroad engineers to religious leaders, slave owners, army officers and artists. A North Carolinian by birth, Anna Whistler experienced a lifestyle that was rich both in material and spiritual terms. She was brought up in a nineteenth century context, where white middle-class women were confined in most cases to the private domain of the home. Although Anna Whistler believed in traditional domestic roles for women, her circumstances actually led her to more beyond these boundaries.

This thesis examines what literary theory can bring to the practice of visual story telling. Through praxis it examines underlying systems and techniques relative to works of fiction, investigating what impacts and advances narratology can bring to visual communication approaches and methods. This thesis will argue that literary concepts and methods produce new thinking and perspectives on visual methodologies, by establishing a dialectical relationship between the visual and verbal in creative practice; and in respect of literary theory and visual communication.

Parfaitement accessibles, bien connues par les spécialistes et familières à une partie du grand public, les lettres du philosophe français Denis Diderot sont valorisées soit pour leur qualité littéraire, soit pour leur valeur documentaire. Au croisement des études littéraires et des approches historiques, cette thèse propose une méthode hybride pour relire l’intégralité de la correspondance active et passive de Diderot. En articulant avec souplesse les acquis de l’analyse des réseaux sociaux et une herméneutique de la lettre, cette recherche dresse avant tout un inventaire rigoureux des échanges épistolaires. L’analyse de leur rythme, de leurs enjeux et des profils sociaux des correspondants se joint à une tentative pionnière de visualisation des ego-réseaux de Diderot. Sensible aux problématiques de l’histoire culturelle et de l’histoire des intellectuels, j’explore le discours du scripteur afin de reconstruire non seulement l’infrastructure de son espace relationnel, mais aussi son expérience sociale. Je montre que, telle qu’elle est représentée dans les lettres, elle s’organise autour du travail intellectuel, des sociabilités et des rapports de pouvoir
Easily available and well-known by both professionals and laymen, French philosopher Denis Diderot’s letters are highly regarded either for their literary quality, or their documentary value. Combining literary studies and historical analysis, the thesis proposes a hybrid approach for rereading Diderot’s entire active and passive correspondence. Flexibly drawing insights from network analysis and hermeneutics of the letter, the study makes, first and foremost, a rigorous inventory of Diderot’s epistolary exchanges. Secondly, I analyse their rhythm, stakes, as well as the social profiles of epistolers in order to propose a novel approach to visualize Diderot’s ego-networks. Attentive to issues of cultural and intellectual history, I explore the discourse of the writer in order to reconstruct not only the infrastructure of his relational space, but also his social experience as it is organized around intellectual labour, sociabilities, and power relations

A Brief Experimental Analysis (BEA) is used to quickly and simultaneously evaluate two or more interventions so that the most effective intervention is selected for on-going implementation (Daly, Witt, Martens, & Dool, 1997; Martens & Gertz, 2009). Oral reading fluency interventions have been successfully evaluated using a BEA, yet minimal research studies have evaluated early literacy interventions within this context (Daly, Martens, Hamler, Dool, Eckert, 1999; Eckert, Ardoin, Daly, & Martens, 2002; McComas & Burns, 2009). The primary goal of the current study was to examine the effectiveness of a BEA in selecting a letter-sound correspondence intervention for individual students. A comparison of early intervention strategies was also completed as part of an extended analysis. The study was conducted in two phases with three kindergarten students. First, a BEA was used to evaluate performance-based and skill-based interventions designed to increase letter-sound correspondence in three kindergarten students. Specifically, four experimental conditions were evaluated: baseline, reward, incremental rehearsal (IR) + reward, and systematic incremental rehearsal (SIR) + reward. Effectiveness of the interventions was measured using early literacy curriculum-based measurement probes. Following the BEA, an extended analysis was completed in which IR + reward and SIR + reward were both implemented with each student to compare effectiveness and evaluate whether the BEA identified the more powerful intervention to improve letter-sound correspondence. Results indicated that in all three participants there was minimal differentiation across BEA conditions. It appears that LSF probes were not sensitive enough to measure growth or progress in the BEA. As suggested by Petursdottir and colleagues (2014), individualized probes may be required when completing a BEA of early literacy skills. During the extended analysis, all three participants made gains in letter-sound correspondence with SIR and IR interventions. When comparing the two interventions, participants appeared to make more immediate gains with SIR. Overall, both interventions appeared to be viable options for teaching students letter-sound correspondence.

Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 128-137). Also available for download via the World Wide Web; free to University of Oregon users.

Idioms are found in every language and learning them is an important aspect of the mastery of a language. The English language is no exception as it contains a large number of idioms, which are extensively used. However, because of their rather rigid structure and quite unpredictable meaning, idioms are often considered difficult to learn. Although little research has been done to date on the nature of idioms as well as how they are used, a better understanding of variations in idioms can nevertheless be acquired by looking at some theories and thoughts about their use and their structure.

The aim of this paper is to examine a number of animal idioms, focusing primarily on English idioms and the similarities and differences found in equivalent Swedish idioms, even when the Swedish idioms do not contain an animal. Two types of studies are presented. In the first one, the English and Swedish animal idioms collected are grouped into four categories. The results of such a categorization show that half of the English animal idioms found have an equivalent in Swedish containing an animal. In the second study, the content, structure, wording, semantics and metaphorical meaning of the animal idioms are analysed and compared. The results indicate that the Swedish animal idioms that correspond to the English animal idioms have, for the most part, the same structures and similar variations in degree of literalness, fixity, manipulation and transformation. Furthermore, the use of metaphor, personification and simile appears to be common both in English and Swedish animal idioms. The role of context and literal and figurative translation are also addressed in this study.

Jules Barbey d’Aurevilly laisse une œuvre polymorphe. Les années 1851-1865 sont, à cet égard, exemplaires. Chaque semaine, il écrit un article pour Le Pays et envoie une lettre à son ami Trebutien. Jamais autant de récits aurevilliens n’auront paru qu’à cette période : la première des Diaboliques, Le Dessous de cartes d’une partie de whist, et les romans Une vieille maîtresse, L’Ensorcelée, Le Chevalier des Touches et Un prêtre marié. Menant de front ces écritures, Barbey semble cependant les dissocier. L’écriture critique, soumise aux conditions éditoriales des journaux, relève de l’urgence, de la censure et de “ la Nécessité ”. En revanche, les lettres donnent la liberté de “ rugir ” ; elles ouvrent une parenthèse au milieu du “ tintamarre ” pressant des journaux et de la “ fournaise ” du travail romanesque. Celui-ci – par le pouvoir de l’Imagination – apparaît néanmoins comme le lieu privilégié d’une expression personnelle authentique. Pouvons-nous imputer de manière aussi catégorique une fonction à la lettre, à l’article et au roman ? Certes, la correspondance est un espace de spontanéité où Barbey pénètre souvent en “ triple hâte ” ; elle ouvre aussi une véritable réflexion sur l’écriture, sert de matrice au roman et à la critique. De même, l’écriture critique nourrit la création romanesque, affine les choix esthétiques. Ce polymorphisme, loin de cantonner les genres dans une fonction et une esthétique particulières, dessine une cohérence générale où chaque écriture influence l’autre pour tenter d’atteindre “ l’éloquence du cœur ”. C’est bien cet idéal d’écriture que Barbey d’Aurevilly poursuit de 1851 à 1865 et qui fonde l’esthétique de sa prose
Jules Barbey d’Aurevilly left a polymorphous work. In that respect, the years 1851-1865 were exemplary. Every week he wrote an article for Le Pays and sent a letter to his friend Trebutien. No other period saw so many Aurevillien tales published : the first short story of Les Diaboliques, Le Dessous de cartes d’une partie de whist, and novels : Une vieille maîtresse, L’Ensorcelée, Le Chevalier des Touches et Un prêtre marié. Though he had to deal with those pieces of writing at the same time, Barbey seemed to dissociate them. Critical writing, submitted to editorial conditions of newspapers resulted from emergency, censorship and “Necessity”. On the other hand, the letters gave him a chance to “roar”: they opened parentheses amongst the pressing “din” of the newspapers and the “furnace” of novel writing. The latter – through the power of Imagination – appeared nonetheless as the privileged place for authentic personal expression. However, can we grant a function to a letter, an article or a novel in such a categorical manner? Of course, letters offered Barbey space for spontaneity into which he entered hurriedly. They also gave food for thought on writing itself, and were used as a pattern for novel and critical writing. In the same way, critical writing improved fiction and refined esthetic choices. This polymorphism did not limit genres to a particular function or aesthetic choice but designed a global coherence in which each piece of writing influenced another to try and reach ‘the eloquence of the heart’. Indeed that was the ideal writing Barbey d’Aurevilly pursued from 1851 to 1865 and which created the aesthetic qualities of his prose

In this dissertation, I examine the correspondence of an upper middle-class family from the early part of the nineteenth century. My aim is to answer questions about correspondence and letter-writing as an everyday event and as a social activity. My principal theoretical framework has been ethnograpy of communication.

My main source is the Eurén-Snellman manuscript collection at Uppsala University Library (UUB, G65). The central figure of this collection is Axel Eurén (1803−1879), who was a clergyman in Dalarna and also a member of the Swedish parliament. The material expands over three generations and includes Axel, his mother, his sister, his wife and Axel’s and his wife Sophie’s three children. In each generation the letter-writing is reciprocal in nearly all relations.

By creating a database of the 2,267 letters that remain from the family correspondence and by extracting meta-commentary about letter-writing I have studied how the family organized their correspondence. From the total collection I have chosen 293 letters during the period 1825−1858. These letters constitute a digitalized corpus that consists of approximately 160,000 words. With this corpus as my principal source, I have examined two different aspects of language use: a structural analysis of each writer’s total sum of letters and a study on address.

Certain findings confirm that letter-writing was based on routine. Traits of orality appear less often in the latter part of the material, a result that is in line with earlier investigations.The dimension of formal−informal language has been interesting to examine in relation to gender. Whereas the women’s writing at a lexico-grammatical level is more informal and natural in style, their need to portray themselves in a virtuous Christian manner seems at the same time to promote a certain kind of formality in expression. The opposite seems to be true for the men.

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This study has as objective showing the importance of the letters, as influence in the process of the literary creation of Manuel Bandeira and Ribeiro Couto, in view of the second phase of the modernist movement, in the period between 1929 and 1939. At the same time, I want to demonstrate that the referring poetical function to the letters as literary genre, allows, many times, an aesthetic enjoyment. Under this subject, Sophia Angelides, in Carta e Literature (apud SCHNAIDERMAN, 2001, p.23-24), affirms : "in the personal testimonials of a writer, the poetical function can manifest itself with greater or minor intensity, but, in someway, the speech is marked by a peculiar procedure that will allow, many times, the aesthetic enjoyment". This way for Angelides "the proper spontaneous and fragmentary character, the alternation of the poetical and not poetical language, the cliches, everything is inherent to the epistolar genre. Being this way, many of the letters changed between Manuel Bandeira and Ribeiro Couto assume didactic value, others correspond to the intensity of feelings, transforming themselves into a subjective artistic expression that favors the understanding of the workmanships. The literary subjects in the letters are these: references to the workmanships published for both, appreciation of these workmanships, including citation of chronicles and quarrel of genres. Still, the letters exchanged between the two poets disclose tboth of theirs opinions on painting, the poetry of Carlos Drummond de Andrade, Jorge de Lima, Múcio Leão, etc. This way, the correspondence between Manuel Bandeira and Ribeiro Couto supplies information to us on the intellectual and literary trajectory of both, giving a theoretical and utilitarian contribution to the study of the genres in Brazilian Literature, in particular, the epistolar one
Este estudo tem como objetivo mostrar a importância das cartas como influência no processo da criação literária de Manuel Bandeira e Ribeiro Couto, considerando a segunda fase do movimento modernista, no período entre 1929 e 1939. Ao mesmo tempo, pretende demonstrar que a função poética referente às cartas como gênero literário permite, muitas vezes, a fruição estética. Sob esse aspecto, Sophia Angelides, em Carta e Literatura (apud SCHNAIDERMAN, 2001, p.23-24), afirma: nos testemunhos pessoais de um escritor, a função poética pode se manifestar com maior ou menor intensidade, mas, de alguma forma, o discurso é marcado por um procedimento peculiar que permitirá, muitas vezes, a fruição estética . Para a autora o próprio caráter espontâneo e fragmentário, a alternância da linguagem poética e não poética, os clichês, tudo isso é inerente ao gênero epistolar . Assim, muitas cartas trocadas entre Manuel Bandeira e Ribeiro Couto assumem valor didático, ao passo que outras correspondem à intensidade de sentimentos, transformando-se em expressão artística a subjetiva que favorece a compreensão das obras. Os temas literários tratados nas cartas são: referências às obras publicadas por ambos, apreciação dessas obras, inclusive citações de crônicas e discussão de gêneros. As cartas também revelam a opinião de ambos sobre pintura, a poesia de Carlos Drummond de Andrade, Jorge de Lima, Múcio Leão, etc. Desta forma, a correspondência entre Manuel Bandeira e Ribeiro Couto fornece-nos informações sobre a trajetória intelectual e literária desses dois autores, dando uma contribuição teórica e utilitária para o estudo dos gêneros na Literatura Brasileira, particularmente o gênero epistolar

L’objectif de cette étude est de recueillir des informations biographiques sur Julio Cortázar grâce à des lettres, des interviews, des essais et des documents pédagogiques écrits par l’auteur lui-même. Notre objectif est de remodeler ces éléments de manière à exposer et réfléchir sur la façon dont Cortázar entendait sa fonction d’écrivain et la manière dont il s’y est investi tout au long de sa vie. Grâce à une approche globale de ces sources biographiques, nous avons retracé le parcours de formation et d’évolution littéraire de l’auteur, les inquiétudes intellectuelles, sociales et politiques qui l’entouraient et les problèmes professionnels auxquels il a dû faire face au quotidien. Nous commençons par nous plonger dans la trajectoire chronologique de Cortázar en tant que lecteur. Nous apportons une vision globale des lectures qui l’ont formé et de celles qui l’ont accompagné de son enfance à son décès. Nous poursuivons notre analyse avec une présentation chronologique des opinions qu’il exprime sur son oeuvre. Nous montrons ainsi un jeune poète et auteur de contes qui doute de la qualité littéraire de ses écrits, un écrivain connu de contes fantastiques qui s’impose le défi de changer de modalité ou de genre ainsi qu’un auteur déjà reconnu qui continue à chercher comment briser les moules. Nous apportons enfin des informations sur les aspects pratiques de la fonction d’écrivain. En d’autres termes, nous présentons l’énorme implication de Cortázar dans le processus de publication et de traduction de ses livres ainsi que son interaction avec le monde littéraire et éditorial
This study aims to garner biographical information on Julio Cortázar, as obtained from his letters, interviews, essays and pedagogical texts, in order to offer new insights that allow us to expose and reflect on how he understood his writing career and worked as a writer throughout his life. In applying a global approach to said biographical sources, this study traces his first years as a writer and his literary evolution, his intellectual, social and political involvement, and the practical problems he had to face on a daily basis. To begin with, the study looks into Cortázar’s trajectory as a reader, providing an overview of the readings in which he was educated and of those that left an imprint on him from childhood to death. A chronological exposition of the opinions he expressed about his work follows. Thus, Cortázar offers a portrait of himself as a young poet and story writer who doubts about the literary quality of his texts, as a known writer of fantastic short stories who challenges himself with the task of changing modalities and genres, and as an acclaimed writer who constantly seeks to break moulds. Finally, this study furnishes data on the practical side of his writing career. Cortázar’s strenuous involvement in the publishing process and translation of his work is discussed, together with his interaction with the literary and editing world

Este trabalho tem como objetivo estudar a escrita autoficcional de Caio Fernando Abreu (1948-1996) segundo as concepções, respectivamente, dos teóricos franceses Serge Doubrovsky e Vincent Colonna, destacando-a e diferenciando-a de uma escrita pretensamente autobiográfica, segundo a concepção do também francês Philippe Lejeune. Se para Doubrovsky a escrita autoficcional é identificável pela condição do homonimato entre autor-narrador-personagem, para Colonna tal condição não se faz necessária para a identificação dessa escrita. Desse modo, no caso da autoficção segundo Colonna, para identificação da autoficção de Caio F., propõe-se o critério da sobreposição de textos com base nos paratextos genettianos. Procura-se, assim, estabelecer as bases diferenciais de uma escrita autoficcional que congrega em sua estrutura fatos reais e ficcionais elaborados pela linguagem, em contraposição a uma escrita dita autobiográfica baseada num pretenso pacto de verdade, entendendo ser a autoficção a forma de escrita amplamente praticada por Caio F. Para demonstração dessa escrita autoficcional, promove-se a análise e interpretação de textos significativos de Caio F., neles identificando as estruturas que os tornam autênticas autoficções.
This work aims to study the autofictional writings of Caio Fernando Abreu (1948-1996) according to the French scholars Serge Doubrovsky and Vincent Colonna, emphasizing and differentiating it from a supposedly autobiographic writing and also according to Philippe Lejeune. If, according to Doubrovsky, autofictional writing is recognizable by the requisite of homonimity author-narrator-character, to Colonna such requirement is not necessary. According to the latter, to identify Caio F.s autofiction, one must adopt the criteria of superposition of texts, based on Genets concept of paratext. Therefore, our goal is to establish the differential basis of an autofictional writing which creates in its structures of real and fictional facts elaborated by the language, as opposed to a writing considered autobiographic based on a intended pact of truth. Consequently, autofiction is the way of writing widely practiced by Caio F. In order to demonstrate this autofictional writing, we analyse and interprete Caios most important texts, identifying in them the structures that make them genuine autofictions.

Les correspondances féminines du XVIIIe siècle participent à l’émergence d’un nouveau public, dont le jugement a progressivement été pris en compte au siècle précédent : celui des « amateurs des Lettres ». Le rôle de ces personnes qui cultivent un goût pour les Lettres sans faire profession d’écrire ou de jouer est encore mal défini, à une époque où le champ de la discipline littéraire, qui s’est constitué de manière autonome au XVIIe siècle, subit des mutations. Longtemps cantonnées à des travaux voués à l’anonymat ou à une divulgation restreinte, les femmes font du commerce épistolaire un lieu d’accomplissement privilégié de leurs pratiques culturelles en amateur, apportant, sur le sujet, une connaissance essentielle. Notre étude porte sur les lettres de sept épistolières : Mmes de Graffigny, du Deffand, du Châtelet, d’Épinay, de Charrière, et Roland, ainsi que Mlles de Malboissière et de Lespinasse. Dans la première partie sont envisagées les conditions familiales et sociales qui favorisent l’accès des épistolières à une culture lettrée indispensable à l’éveil de leur goût pour les Lettres. La seconde partie s’intéresse à la formation et à l’appropriation de cette culture par les femmes, au gré d’expériences de lecture et de représentations de spectacles dramatiques. La recherche porte ensuite sur le rôle des épistolières dans la transmission des textes et dans l’arbitrage des Lettres, à telle enseigne qu’elles deviennent les agents privilégiés de la médiatisation de la vie littéraire de l’époque. La fréquentation quotidienne des œuvres, qu’elles soumettent à la critique, finit par nourrir leurs pratiques d’écriture. Celles-ci, étudiées dans la dernière partie, sont fondées sur des procédés d’emprunts aux textes littéraires, qui favorisent le badinage avec les interlocuteurs, et sur des initiatives nombreuses de composition qui repoussent les limites du genre épistolaire. Ainsi, en mettant à l’épreuve les goûts des épistolières à travers l’exercice de la plume, les correspondances s’avèrent une pierre de touche du savoir et de la sensibilité littéraire des femmes lettrées, un lieu d’expression et, dans la lignée des lettres de la marquise de Sévigné, l’espace par excellence de la création en amateur
In the XVIIIth century, women’s correspondences were representative of the emergence of a new readership whose judgment had progressively been acknowledged in the course of the previous century ― namely, that of the “amateurs of Letters”. We still know comparatively little about the role played by these people ; they cultivated their taste for Letters without aspiring to earn a living by writing or acting, in an era when the discipline of Letters, that had emerged as such in the XVIIth century, was undergoing significant changes. Writings by women had long been restricted to anonymous or confidential publication; women now elected epistolary intercourse as a locus for their cultural practice as amateurs, thus contributing essential knowledge on the subject.This study focuses on the letters by eight letter writers : Mmes de Graffigny, du Deffand, du Châtelet, d’Épinay, de Charrière, Roland, and Mlles de Malboissière et de Lespinasse. The first section is about the aspects of these ladies’ domestic and social conditions which facilitated their access to the literary culture that was indispensable to the birth of their taste for Letters. The next section concentrates on these women’s apprenticeship and their appropriation of this culture according to their reading and theatre-going experiences. Our research then shifts to the women letter writers’ role in the transmission and the assessment of texts, to the point that they became the prime agents in the mediatization of the literary life of their time.Their daily acquaintance with the texts that they submitted to their critical judgment turned out to nourish their writing practices. These practices are placed under scrutiny in the last section of our study ; they rely on borrowing, which favours banter with one’s interlocutors, as well as on numerous composing initiatives, which push back the boundaries of the letter as a genre. By challenging their writers’ tastes through the practice of writing, the correspondences thus prove to be a cornerstone of the women of Letters’ literary knowledge and sensibility, a place for expression and, in line with the letters of the marquise de Sévigné, the space par excellence for an amateur’s creativity

This dissertation is a comparative study of the work and ideas of the Nobel Prize-winning Norwegian author Sigrid Undset (1882-1949) and the American Willa Cather (1873-1947). Their mutual admiration and written correspondence began in the 1920s and culminated during Undset's World War II refugee years in New York, when the two women met and developed a warm friendship. While several scholars are aware of their personal connection, no one has ever examined it. I do not claim that the writers influenced each other's work. Instead I examine the thematic and historical issues that most influenced them and attracted them to each other. Both had a very early devotion to nature, and both contemplated a career in science. At puberty both suffered a traumatic loss--death of a parent for one, removal from Virginia to the prairie for the other--which had a profound impact on their personal and artistic development, particularly around issues of sexuality, commitment, and love. I then explore the ways Undset's and Cather's early writing wrestled with the power of the erotic impulse, its effect on the artist's need for autonomy, and the conflict between the artist's life and socially expected female roles. I discuss the significance of their personal choices--which were reflected in choices made by heroines of their early novels--and place them in the context of Symbolist responses to the social disruptions of the late Victorian era. These include changing attitudes toward sexuality, feminism, art, and idealism, particularly the effect of thinkers like Darwin, Nietzsche and Freud on social attitudes; the apotheosis of Romanticism in the Decadent movement; the emergence of an increasingly mystical politics as the authority of religion waned; and the moral shattering of Western civilizations by World War I. The dissertation concludes at this point, when both women were faced with ruptures in their personal lives, both formally changed their religious affiliations, and both entered the decade in which they produced their most powerful work. Appendices include previously untranslated and unpublished texts (in both languages) of tributes each woman wrote about the other during the last years of their lives.

Il progetto di ricerca, che ha dato origine a un elaborato teorico-metodologico e al sito epistolariosilone.it, è nato dal proposito di sperimentare pratiche e risorse delle digital humanities nello studio e nell’edizione della corrispondenza di Ignazio Silone, nello specifico il carteggio con la Arnoldo Mondadori Editore, suo principale editore in Italia (per un totale di 419 pezzi epistolari, conservati nel Fondo Silone della Fondazione di Studi Storici “Filippo Turati” di Firenze e in vari fondi della Fondazione Arnoldo e Alberto Mondadori di Milano). Avvalendosi dei princìpi dello scholarly digital editing (e degli standard di trascrizione XML-TEI) e della text analysis (nella fattispecie, topic modeling e sentiment e polarity analysis), si è definito e attuato un modello di knowledge site editoriale che, con la sua infrastruttura e le sue funzionalità, trascenda il ruolo di ambiente digitale per divenire vero e proprio “luogo di conoscenza”, pur non venendo meno alle sue funzioni editoriali e di veicolazione del patrimonio archivistico. L’edizione elettronica del carteggio Silone-Mondadori così realizzata, pur concentrandosi su un corpus documentario definito e autosufficiente, si presenta come un primo momento di un possibile più ampio lavoro di edizione della restante corrispondenza siloniana (più di 10 mila unità epistolari solo nel Fondo Silone dell’archivio fiorentino) e, più in generale, di un’operazione finalizzata alla valorizzazione e alla diffusione (in ambiente digitale) delle carte dello scrittore.

This is a submission to the 3rd Annual Social Informatics SIG Symposium: The Social Web, Social Computing and the Social Analysis of Computing. This paper describes the use of multiple correspondence analysis (MCA) for data exploration as part of a recently completed study of the use of information technology (IT) by literary authors. The study discussed in this paper constitutes part of an ongoing effort to establish Literature and Art Informatics (LAI), the interdisciplinary study of the design, uses and consequences of information technologies that takes into account their role in the creative efforts of writers and artists. This paper is primarily methodological in nature.

Thomas Hardy described himself as "churchy". Yet his later novels and poetry gave him the reputation of being an agnostic, an atheist and a heathen. He denied that there was any particular philosophy behind his work claiming that it was the result of impressions not convictions. However, I wish to show that Hardy's fiction and poetry expose specific religious beliefs and doubts, that gave rise to his notoriously pessimistic art. By investigating the themes of sin, atonement and salvation, as reflected in the Mosaic Law and the New Testament against Hardy's mature novels, and examining Hardy's concept of God in his poetry, I aim to show that Hardy rejected the miraculous and the doctrine of redemption but retained a belief in the Biblical premiss that the earth is cursed and that humanity is governed by the Biblical Laws which dictate the consequences of sin. Hardy depicts a universe in which humankind is cursed from birth, resides on a cursed earth and is denied the possibility of salvation or redemption. Hardy's profoundly pessimistic world view is a result of his inability to accept the Christian doctrines that offer man a means to rise above the curse of original sin. The characters and plots he created in his fiction were born out of doubt and despair. Consequently, his imaginative universe is permeated with doom and damnation.
English Studies
M.A. (English)

The study examined the typical development of early literacy in a group of typically developing preschool Sepedi first language children residing in Atteridgeville, by determining their performance on a protocol of early literacy tasks. The following aspects were included: written language awareness, narrative abilities, phonological awareness, letter name knowledge, grapheme-phoneme correspondence and literacy motivation. The performance of the participants on the various tasks was used to describe the early literacy development of the target population and to identify relevant risk criteria that may indicate delayed early literacy development in the target population. The performance of participants on these tasks differed from those of other participants in local and international studies, which underscores the necessity of culturally sensitive procedures for identifying delays in the early literacy development of children. The influence of factors such as the mother’s level of education, gender, participants’ level of engagement in literacy activities and participants' current academic performance on the development of early literacy skills were also investigated. Based on the results as well as other indications from the literature, possible risk factors for delayed early literacy development for this group are listed.
Dissertation (M (Communication Pathology))--University of Pretoria, 2007.
Speech-Language Pathology and Audiology
unrestricted

Praca stanowi próbę ujęcia muzyczno-literackich związków w odniesieniu do twórczości Tadeusza Micińskiego. Pisarstwo artysty wzbudzało i nadal wzbudza zainteresowanie wśród wielu kompozytorów. Kontekst muzyki, w którym jest ono rozpatrywane, otwiera szerokie możliwości poznawcze. Z jednej bowiem strony obejmuje badanie muzycznych cech, walorów tkwiących w samej materii dzieła literackiego (kwestia muzyczności samej literatury), z drugiej zaś – odnosi się do recepcji określonych dzieł literackich w twórczości muzycznej. Recepcja w tym przypadku oznacza nie tylko zaadaptowanie danego tekstu na potrzeby określonej kompozycji wokalnej, lecz również dotyka problemu inspiracji literackiej. Innymi słowy, chodzi tu o problem korespondencji sztuk, jak również ideę muzyki programowej. Co więcej, w przypadku utworów wokalno-instrumentalnych istotne wydaje się zbadanie charakteru relacji słowno-muzycznych. Praca zasadniczo dzieli się na trzy części. Punktem wyjścia jest twórczość dramatyczna Micińskiego z zarysowanym tłem jego artystycznych, muzyczno-teatralnych inspiracji (rozdział I). Dalej następuje przejście do jądra problemu: muzyczno-literackiej przyjaźni Tadeusza Micińskiego i Karola Szymanowskiego, znajdującej swój wyraz w twórczości obu artystów (rozdział II). Rozdział III zawiera omówienie „muzycznych odczytań” tekstów poetyckich Micińskiego przez kompozytorów jemu współczesnych: Ludomira Różyckiego, Apolinarego Szelutę, Karola Szymanowskiego, kompozytorów młodszego pokolenia – Artura Malawskiego i Tadeusza Zygfryda Kasserna, i wreszcie na koniec – kompozytorów teraźniejszości – Sławomira Kaczorowskiego, Michała Jakuba Papary i Krzysztofa Pendereckiego. Uzupełnieniem analitycznej części pracy jest Aneks, który prezentuje zestawienie kompozycji powstałych w kontekście twórczości autora Bazilissy Teofanu, wskazuje najczęściej eksplorowane przez kompozytorów teksty poetyckie Micińskiego oraz przedstawia teksty przywołanych w dramatach pisarza pieśni.
The thesis tries to show music-literary relations with reference to Tadeusz Miciński’s writing. This literature got and is still getting a lot of composers interested in it. The context of music, in which Miciński’s writing is being examined, opens the wide cognitive possibilities. On the one hand, it involves looking for music features hidden in the literary work (the problem to what extent the literature is musical), on the other hand – it refers to the reception of literary works in music. The reception in this case does not only mean the problem of the literary text adaptation to the needs of vocal composition, but it also touches the problem of literary inspiration. In other words, it concerns the problem of correspondence of arts and the idea of program music as well. Moreover, in case of vocal-instrumental pieces it is vital to examine the character of word-music relations. The dissertation divides into three parts. It starts with the analysis of Miciński’s dramas due to their music features, including artistic, music-theater inspiration of the poet (Chapter I). Then, the main problem: music-literary friendship between Tadeusz Miciński and Karol Szymanowski, which found its expression in their works, is presented (Chapter II). Chapter III discusses “music reading” of Miciński’s poetry by his contemporaries: Ludomir Różycki, Apolinary Szeluto, Karol Szymanowski, afterwards – by younger generation composers – Artur Malawski, Tadeusz Zygfryd Kassern and finally – by todays’ composers: Sławomir Kaczorowski, Michał Jakub Papara and Krzysztof Penderecki. The supplement of analytic part of the thesis is Appendix, which presents the compositions written in the context of Miciński’s writing. It also shows poetic texts by Miciński used the most frequently and finally, it presents texts of songs quoted by Miciński in his dramas.

Ce mémoire a pour objet d’étude les échanges épistolaires entre Robert Choquette et Louis Dantin, Alfred DesRochers et, dans une moindre mesure, Claude-Henri Grignon, Émile Coderre et Albert Pelletier. Les lettres en question, qui n'ont jamais été publiées, sont conservées pour l’essentiel dans le Fonds d'archives Robert-Choquette, qui n’est accessible aux chercheurs que depuis 2006. L'objectif de cette étude est de mesurer la voix et la part de Robert Choquette au sein des réseaux littéraires des années vingt et trente. La première partie du premier chapitre de ce mémoire est essentiellement théorique; la position de la lettre au sein de l'œuvre d'un écrivain, la constitution, par les lettres, d'un réseau littéraire ainsi que les rapports entre destinateur et destinataire y sont définis. Par la suite, les échanges épistolaires entre Choquette et ses correspondants sont examinés afin de mettre en lumière les rapports de force exploités dans ce réseau. Cette étude, qui se base sur un corpus de lettres rédigées entre 1927 et 1943, montre également l'évolution des ambitions poétiques du poète. Dans le but d'observer l'empreinte des correspondants de Choquette sur son projet littéraire, les deuxième et troisième chapitres du mémoire sont consacrés à l'analyse de ses recueils Metropolitan Museum et Suite marine. L'étude des échanges spécifiques portant sur ces deux œuvres expose une transformation quant au choix des images utilisées par Choquette pour se représenter, ainsi que l'évolution de ses attentes envers ses destinataires.
This thesis takes as its object the study of the correspondence between Robert Choquette and Louis Dantin, Alfred DesRochers and, to a lesser extent, Claude-Henri Grignon, Émile Coderre and Albert Pelletier. The letters in question were never published and are kept in the Robert-Choquette archival group, itself only made available to academics in 2006. The purpose of this study is to measure Robert Choquette's scope and influence as well as the role he played in literary circles during the 20s and 30s. The first part of the first chapter is essentially theoretical, and concerns itself with defining the importance of epistolary writing within the purview of a writer’s work, the constitution of a literary network by way of correspondence, and the relationship between sender and addressee. Then, the various letter exchanges between Choquette and his correspondents are examined so as to shed light on the interplay of influences within the network. The study, based on a corpus of letters written between 1927 and 1943, also displays the evolution of the author’s poetic ambitions. Aiming to highlight the impact Choquette’s correspondents had on his literary project, the second and third chapters of this thesis are dedicated to analyzing his collections of poems Metropolitan Museum and Suite marine. The study of specific exchanges bearing on these two books exhibits a transformation in the imagery Choquette employs to depict himself, as well as an evolution of the author’s expectations from his correspondents.

This dissertation, Hugh MacDiarmid and Sorley MacLean: Modern Makars, Men of Letters, transcribes and annotates 76 letters (65 hitherto unpublished), between MacDiarmid and MacLean. Four additional letters written by MacDiarmid’s second wife, Valda Grieve, to Sorley MacLean have also been included as they shed further light on the relationship which evolved between the two poets over the course of almost fifty years of friendship. These letters from Valda were archived with the unpublished correspondence from MacDiarmid which the Gaelic poet preserved. The critical introduction to the letters examines the significance of these poets’ literary collaboration in relation to the Scottish Renaissance and the Gaelic Literary Revival in Scotland, both movements following Ezra Pound’s Modernist maxim, “Make it new.” The first chapter, “Forging a Friendship”, situates the development of the men’s relationship in terms of each writer’s literary career, MacDiarmid already having achieved fame through his early lyrics and with the 1926 publication of A Drunk Man Looks at the Thistle when they first met. MacLean, on the other hand, was a recent university graduate, young teacher, and fledgling poet when he began to provide translations of eighteenth-, nineteenth-, and twentieth-century Gaelic poetry for MacDiarmid to versify in English with the odd Scots or Gaelic word. This assistance was essential to MacDiarmid’s compilation of The Golden Treasury of Scottish Poetry, which he wished to be representative of Scotland’s literary traditions in Scots, Gaelic, English, and Latin. The work resulting from MacDiarmid and MacLean’s literary collaboration further reinforced MacDiarmid’s credibility as a nationalist poet well versed in each of these traditions. Chapter two, “Cultural Nationalism – Politics and Poetry” discusses the significance of each writer’s stance on language in relation to Scottish literature and explores their success in avoiding the ideological antagonisms which plagued the literary and language revivals in early twentieth-century Ireland. “Modern Makars” scrutinizes MacDiarmid and MacLean’s renderings of several Gaelic poems in The Golden Treasury, particularly in relation to the implications of the term “translations”. The final chapter, “Epistolary Discourse and the Legacy of the Letters” sums up the significance of MacDiarmid and MacLean’s collaboration and long-standing friendship, as revealed through their letters, and addresses these writers’ subsequent influence on both writing and cultural life in Scotland. The letters are followed by two appendices. Appendix A includes a transcription of Michael Davitt’s interview with Sorley MacLean for the Irish journal Innti in 1986 wherein MacLean discusses such issues as his political views, the influences on his poetry, and his relationship with MacDiarmid. The interview is provided in its original Irish text and accompanied by a translation into English. Appendix B is a transcription of the Times Literary Supplement’s 4 January 1936 review of MacDiarmid’s translation of The Birlinn of Clanranald as it was originally published in The Modern Scot. Sorley MacLean served as the ghost writer of MacDiarmid’s response to this critique of his work. This research, conducted both here in Victoria and in Edinburgh, Scotland, provides the first book-length study of the literary collaboration of these influential Scottish poets and the first critical discussion of their collected letters.