Thèses sur le sujet « Epic literature, Irish – History and criticism »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 45 meilleures thèses pour votre recherche sur le sujet « Epic literature, Irish – History and criticism ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les thèses sur diverses disciplines et organisez correctement votre bibliographie.
Turner, Kerry Lynn. « Pagan Nostalgia and Anti-Clerical Hostility in Medieval Irish Literature ». Youngstown State University / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1008344167.
Texte intégralTurner, Robert Charles Grey. « Counterfeit culture : truth and authenticity in the American prose epic since 1960 ». Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709455.
Texte intégralMaxedon, Tom. « A course portfolio, what is "Irishness?" : surveying Ireland's struggle to define a unified national identity, depicted in the country's literature from 1801-present ». Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027119.
Texte intégralDepartment of English
Naraghi, Akhtar. « The images of women in western and eastern epic literature : an analysis in three major epics, The Shahnameh, The Iliad and The Odyssey ». Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=70325.
Texte intégralThe dichotomy in the characterization of women in epic literature is not limited to a single culture; a consistent thread runs through the universal inconsistency in the make-up of women in epic. The thread runs across the border between the East and the West, wherever that border may be drawn on the map geographically, historically, or culturally.
Machado-Matheson, Anna-Maria. « Madness as penance in medieval Gaelic sources : a study of biblical and hagiographical influences on the depiction of Suibne, Lailoken and Mór of Munster ». Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609646.
Texte intégralMacbeth, Georgia School of Theatre Film & Dance UNSW. « A Plurality of Identities : Ulster Protestantism in Contemporary Northern Irish Drama ». Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.
Texte intégralHopper, Keith. « Imagining otherwise : Neil Jordan's counter-narratives ». Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669873.
Texte intégralDixon, Marzena M. « The structure and rhetoric of twentieth-century British children's fantasy ». Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/14858.
Texte intégralBennett, Sarah. « The American contexts of Irish poetry, 1950-present ». Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669957.
Texte intégralWalters, Coenraad Hendrik. « Vervreemding, patronaat en tuiskoms : die Gilgamesj-epos vir Afrikaanse kinderlesers ». Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86499.
Texte intégralENGLISH ABSTRACT: The epic of Gilgamesh is the oldest recorded story known to humanity. It has a long and complex textual history. The final version of the epic, generally known as the standard version, was produced about 1200 B.C. in the Babylonian dialect of Akkadian by a priest and scribe named Sin-leqi-unninni. The cuneiform tablets upon which the epic was recorded, were rediscovered during the nineteenth century when European archaeologists started digging in the ancient cities of the Middle East, especially Nineveh. Since then the story has been translated into many languages; several English translations have been published. Some of these translations of the epic maintain epic poetic form, others are in prose, and there are a number of versions for children. At the moment no complete version exists in Afrikaans. This thesis presents a translation of parts from Geraldine McCaughrean's English children's version, which was published in 2002. McCaughrean adapts the structure of the standard version, clearly a strategy to make her text exciting for modern readers. The theoretical insights of André Lefevere and Lawrence Venuti form the paradigm for the translation process. Lefevere sees translation as one of a number of rewriting techniques. The detail of such a rewriting is determined by the poetics of the target culture, the patronage which enables such a translation to exist, and the ideological framework within which the rewriting develops. Venuti distinguishes between two translational approaches: a domesticating translation adapts the translation to the target culture and creates the impression with readers that they are reading an original text; foreignising translation makes the readers aware that they are reading a text from another culture. The opportunities and limitations of children's literature and translation for children are explored. Specific attention is given to taboo topics, as a number of these appears in the Gilgamesh Epic. The writers of the children's versions have solved these problems in different ingenious ways. Annotations shed light on the translational challenges and the decisions of the translator. Finally the whole project is evaluated and suggestions for further research are made.
AFRIKAANSE OPSOMMING: Die Gilgamesj-epos is die mensdom se oudste opgetekende verhaal. Dit het ‘n lang en komplekse ontstaansgeskiedenis. Die finale variant van die epos, wat algemeen bekend staan as die standaardweergawe, is ongeveer 1200 v.C. in Babiloniese Akkadies geskryf deur ‘n skriba-priester genaamd Sin-leqi-unninni. Die spykerskriftablette waarop dit opgeteken is, is gedurende die negentiende eeu herontdek tydens argeologiese opgrawings van die verwoeste antieke stede in die Midde-Ooste, veral Nineve. Sedertdien is die verhaal in verskeie tale vertaal; daar bestaan etlike vertalings in Engels. Hierdie vertalings van die epos word soms aangebied as epiese gedig, in ander gevalle in prosavorm, en daar bestaan ook ‘n paar verskillende weergawes vir kinders. Daar bestaan tans egter geen volledige weergawe in Afrikaans nie. Hierdie tesis bied ‘n vertaling van dele uit een van die Engelse kinderweergawes, dié van Geraldine McCaughrean, wat in 2002 verskyn het. McCaughrean pas die struktuur van die standaardweergawe aan, ‘n duidelike strategie om haar teks vir hedendaagse lesers opwindend te maak. Die teoretiese insigte van André Lefevere en Lawrence Venuti vorm die raamwerk vir die vertaalproses. Lefevere beskou vertaling as een van ‘n hele aantal tegnieke van herskrywing. Die besonderhede van so ‘n herskrywing word bepaal deur die poetika van die doelkultuur, die patronaat wat die herskrywing moontlik maak, en die ideologiese raamwerk waarbinne die herskrywing ontstaan. Venuti onderskei tussen twee vertaalbenaderings: ‘n domestikerende vertaling pas die vertaalde teks sterk aan by die doelkultuur sodat lesers van die vertaling onder die indruk gebring word dat hulle ‘n oorspronklike teks lees; en vervreemdende vertaling, waarin die lesers bewus is dat hulle ‘n teks uit ‘n ander kultuur lees. Die moontlikhede en beperkinge van kinderliteratuur en vertalings vir kinderlesers word ondersoek. Spesifieke aandag word geskenk aan taboe-onderwerpe, waarvan ‘n hele paar in die Gilgamesj-epos voorkom, en hoe die skeppers van die kinderweergawes hierdie probleme opgelos het. Annotasies belig die vertaaluitdagings en die vertaler se keuses. Ten slotte word die projek as geheel geëvalueer en voorstelle vir verdere navorsing verskaf.
Sipley, Tristan Hardy 1980. « Second nature : Literature, capital and the built environment, 1848--1938 ». Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10911.
Texte intégralThis dissertation examines transatlantic, and especially American, literary responses to urban and industrial change from the 1840s through the 1930s. It combines cultural materialist theory with environmental history in order to investigate the interrelationship of literature, economy, and biophysical systems. In lieu of a traditional ecocritical focus on wilderness preservation and the accompanying literary mode of nature writing, I bring attention to reforms of the "built environment" and to the related category of social problem fiction, including narratives of documentary realism, urban naturalism, and politically-oriented utopianism. The novels and short stories of Charles Dickens, Herman Melville, Rebecca Harding Davis, Charlotte Perkins Gilman, Upton Sinclair, and Mike Gold offer an alternative history of environmental writing, one that foregrounds the interaction between nature and labor. Through a strategy of "literal reading" I connect the representation of particular environments in the work of these authors to the historical situation of actual spaces, including the western Massachusetts forest of Melville's "Tartarus of Maids," the Virginia factory town of Davis's Iron Mills, the Midwestern hinterland of Sinclair's The Jungle, and the New York City ghetto of Gold's Jews without Money. Even as these texts foreground the class basis of environmental hazard, they simultaneously display an ambivalence toward the physical world, wavering between pastoral celebrations and gothic vilifications of nature, and condemning ecological destruction even as they naturalize the very socio-economic forces responsible for such calamity. Following Raymond Williams, I argue that these contradictory treatments of nature have a basis in the historical relationship between capitalist society and the material world. Fiction struggles to contain or resolve its implication in the very culture that destroys the land base it celebrates. Thus, the formal fissures and the anxious eruptions of nature in fiction relate dialectically to the contradictory position of the ecosystem itself within the regime of industrial capital. However, for all of this ambivalence, transatlantic social reform fiction of the late-nineteenth and early-twentieth century provides a model for an environmentally-oriented critical realist aesthetic, an aesthetic that retains suspicion toward representational transparency, and yet simultaneously asserts the didactic, ethical, and political functions of literature.
Committee in charge: William Rossi, Chairperson, English; Henry Wonham, Member, English; Enrique Lima, Member, English; Louise Westling, Member, English; John Foster, Outside Member, Sociology
Clark, Amy Ruth Wilson. « Eoin Colfer's Artemis Fowl novels : Contemporary subversive tales ». CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/2986.
Texte intégralSchubert, Layla A. Olin 1975. « Material literature in Anglo-Saxon poetry ». Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10909.
Texte intégralThe scattered instances depicting material literature in Anglo-Saxon poetry should be regarded as a group. This phenomenon occurs in Beowulf, The Dream of the Rood, and The Husband's Message. Comparative examples of material literature can be found on the Ruthwell Cross and the Franks Casket. This study examines material literature in these three poems, comparing their depictions of material literature to actual examples. Poems depicting material literature bring the relationship between man and object into dramatic play, using the object's point of view to bear witness to the truth of distant or intensely personal events. Material literature is depicted in a love poem, The Husband's Message, when a prosopopoeic runestick vouches for the sincerity of its master, in the heroic epic Beowulf when an ancient, inscribed sword is the impetus to give an account of the biblical flood, and is also implied in the devotional poem The Dream of the Rood, as two crosses both pre-and-post dating the poem bear texts similar to portions of the poem. The study concludes by examining the relationship between material anxiety and the character of Weland in Beowulf, Deor, Alfred's Consolation of Philosophy, and Waldere A & B. Concern with materiality in Anglo-Saxon poetry manifests in myriad ways: prosopopoeic riddles, both heroic and devotional passages directly assailing the value of the material, personification of objects, and in depictions of material literature. This concern manifests as a material anxiety. Weland tames the material and twists and shapes it, re-affirming the supremacy of mankind in a material world.
Committee in charge: Martha Bayless, Chairperson, English; James Earl, Member, English; Daniel Wojcik, Member, English; Aletta Biersack, Outside Member, Anthropology
Roy, Sneharika. « The Migrating Epic Muse : conventions, Contraventions, and Complicities in the Transnational Epics of Herman Melville, Derek Walcott, and Amitav Ghosh ». Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030108.
Texte intégralThis thesis offers collocational readings of traditional and postcolonial epics in transcultural frameworks. It investigates the specificities of modern postcolonial epic through a comparative analysis of Herman Melville’s Moby Dick, Derek Walcott’s Omeros, and Amitav Ghosh’s Ibis trilogy. It explores how these works emulate, but also rival, the traditional epics of Homer, Virgil, Ariosto, Camões, and Milton. Both traditional and postcolonial epic rely on generic conventions in order to aestheticize collective experience, setting it against the natural world (via epic similes), against history and imperial destiny (via genealogy and prophecy), and against the epic work itself (via ekphrasis). However, traditional epic emphasizes a unified worldview, characterized by harmonious conjunctions between trope and diegesis, genealogical continuities between ancestor and descendant, and self-reflexive ekphrastic associations between imperial history and the epic text commissioned to glorify it. From this perspective, the specificity of postcolonial epic can be formulated in terms of its ambivalent articulation of the postcolonial condition. In the works of Melville, Walcott, and Ghosh, tropes of heroic transfiguration are held in check by the mock-heroic, while empowering self-adopted hybrid affiliations co-exist, but cannot entirely compensate for, discontinuous genealogies marked by displacement, deracination, and colonial violence. This ambivalence finds its most powerful expression in the ekphrastic sequences where the postcolonial texts are most directly confronted with the impossible choice between commemorating experience and being critical of such commemoration
Mercurio, Jeremiah Romano. « Fantasy as a mode in British and Irish literary decadence, 1885–1925 ». Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1964.
Texte intégralWiten, Michelle Lynn. « Perceiving in registers : the condition of absolute music in James Joyce's Ulysses and Finnegans Wake ». Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669882.
Texte intégralHutton-Williams, Francis Brent. « Irish cultural politics, Thomas McGreevy and the Avant-Garde, 1922-1941 ». Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:c6fbe4ba-3908-4e45-a012-00fa766cd1eb.
Texte intégralHanan, Rachel Ann 1978. « Words in the world : The place of literature in Early Modern England ». Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11156.
Texte intégral"Words in the World" details the ways that the place of rhetoric and literature in the sixteenth and seventeenth centuries changes in response to the transition from natural philosophy to Cartesian mechanism. In so doing, it also offers a constructive challenge to today's environmental literary criticism, challenging environmental literary critics' preoccupation with themes of nature and, by extension, with representational language. Reading authors from Thomas More to Philip Sidney and Ben Jonson through changes in physics, cartography, botany, and zoology, "Words in the World" argues that literature occupies an increasingly separate place from the real world. "Place" in this context refers to spatiotemporal dimensions, taxonomic affiliations, and the relationships between literature and the physical world. George Puttenham's Arte of English Poesie (1589), for instance, limits the way that rhetoric is part of the world to the ways that it can be numbered (meter, rhyme scheme, and so forth); metaphor and other tropes, however, are duplicitous. In contrast, for an earlier era of natural philosophers, tropes were the grammar of the universe. "Words in the World" culminates with Robert Burton's Anatomy of Melancholy (1621/1651), in which the product of literature's split from the physical world is literary melancholy. Turning to today's environmental literary criticism, the dissertation thus historicizes ecocriticism's nostalgic melancholy for the extratextual physical world. Indeed, Early Modern authors' inquiries into the place of literature and the relationships between that place and the physical world in terms of literary forms and structures, suggests the importance of ecoformalism to Early Modern scholarship. In particular, this dissertation argues that Early Modern authors treat literary structures as types of performative language. This dissertation revises the standard histories of Early Modern developments in rhetoric and of the literary text, and it provides new insight into the materiality of literary form.
Committee in charge: Lisa Freinkel, Chairperson, English; William Rossi, Member, English; George Rowe, Member, English; Ted Toadvine, Outside Member, Philosophy
Kaplan, Stacey Meredith 1973. « The modern(ist) short form : Containing class in early 20th century literature and film ». Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.
Texte intégralMy dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature
Malamis, Daniel Scott Christos. « The justice of Dikê on the forms and significance of dispute settlement by arbitration in the Iliad ». Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002162.
Texte intégralSturgeon, Sinéad. « Law & ; literature in the writings of Maria Edgeworth, William Carleton, and James Clarence Mangan ». Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711601.
Texte intégralWardell, Kathryn Brenna. « The rake's progress : Masculinities on stage and screen ». Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11457.
Texte intégralMy dissertation analyzes the rake, the libertine male, a figure whose liminal masculinity and transgressive appetites work both to stabilize and unsettle hegemony in the texts in which he appears. The rake may seem no more than a sexy bad boy, unconnected to wider social, political, and economic concerns. However, my project reveals his central role in reflecting, even shaping, anxieties and desires regarding gender and sexuality, race and ethnicity. I chart the rake's progress from his origins in the Restoration era to the early twenty-first century. Chapter II examines William Wycherley's comedy The Country Wife in concert with John Dryden's Marriage à la Mode and Aphra Behn's The Rover to analyze the rake's emergence in seventeenth-century theatre and show that his transgression of borders real and figurative plays out the anxieties and aspirations of an emerging British empire. Chapter III uses John Gay's ballad opera The Beggar's Opera, a satiric interrogation of consumerism and criminality, to chart the rake in eighteenth-century British theatre as Britain's investment in global capitalism and imperialism increased. My discussion of Opera is framed by Richard Steele's early-century sentimental comedy The Conscious Lovers and Hannah Cowley's late-century The Belle's Stratagem, a fusion of sentiment and wit. Chapter IV hinges the project's theatre and film sections, analyzing Oscar Wilde's fin-de-siècle comedy The Importance of Being Earnest as a culmination of generations of theatre rakes and an anticipation of the film rakes of the modern and post-modern eras. Dion Boucicault's mid-century London Assurance is used to set up Wilde's queering of the rake figure Chapter V brings the rake to a new medium, film, and a new nation, the United States, as the figure catalyzes American tension over race and gender in early twentieth-century films such as Cecil B. DeMille's The Cheat, George Melford's The Sheik, and Ernest Lubitsch's Trouble in Paradise. My final chapter reads contemporary films, including Jenniphr Goodman's The Tao of Steve, Chris Weitz and Paul Weitz's About a Boy, and Gore Verbinski's trilogy Pirates of the Caribbean for Disney Studios, to assess the ways in which millennial western masculinity is in stasis.
Committee in charge: Dianne Dugaw, Co-Chair; Priscilla Ovalle, Co-Chair; Kathleen Karlyn; John Schmor
Najar, Daronkolae Esmaeil. « Pam Gems : Rethinking Her Life and the Impact of Her Plays on British Stage ». The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.
Texte intégralMcIntyre, James Stuart. « Written Into the landscape : Latin epic and the landmarks of literary reception ». Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/543.
Texte intégralFlint, Angela. « The influence of contemporary events and circumstances on Virgil's characterization of Aeneas ». Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019/1540.
Texte intégralCosta, Lilian Nunes da 1985. « Gêneros poéticos na comédia de Plauto = traços de uma poética plautina imanente ». [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270793.
Texte intégralTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-26T06:53:49Z (GMT). No. of bitstreams: 1 Costa_LilianNunesda_D.pdf: 2914692 bytes, checksum: 7790a7f30cd6441d68b56c4fb18a7cf8 (MD5) Previous issue date: 2014
Resumo: A obra do comediógrafo romano Tito Mácio Plauto (c. 254 ¿ 184 a.C.) é marcada pela presença dos gêneros trágico, épico e mesmo lírico em determinadas passagens, que têm sido identificadas por diversos critérios, como menção, alusão e associação por paralelos formais. Estudos teóricos sobre "mescla" ou "cruzamento de gêneros" vêm se desenvolvendo ao menos desde a proposição do conceito de "Kreuzung der Gattungen" por W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). No entanto, estudiosos como A. Barchiesi ("The crossing", 2001) passam a questionar premissas do trabalho do filólogo alemão, que tomava a "miscigenação" como "decadência" da cultura literária helenística e romana. Em nossa pesquisa sobre as mesclas genéricas na comédia plautina, também nos afastamos da perspectiva de W. Kroll e não propomos, como ponto de partida, que as peças que abrigam outros gêneros resultem necessariamente em híbridos. Na verdade, preferimos uma abordagem como a de S. J. Harrison, que lida com a noção de "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). A sistematização da presença de outros gêneros poéticos no corpus de Plauto selecionado (a peça Cativos, bem como passagens de Báquides, O cabo, O soldado fanfarrão, dentre outras) nos interessa no sentido de explorar o quanto a comédia é enriquecida precisamente por meio de elementos perceptíveis pelo público plautino como "alheios" a esse gênero. Assim, nosso método envolve a identificação de aspectos (temáticos e formais) sob os quais esses gêneros aparecem ou transparecem, bem como uma reflexão sobre a possibilidade de, a partir da observação das convenções poéticas com que ele brinca em seus textos, pensar em uma poética imanente em Plauto
Abstract: The presence of the tragic, the epic, and even the lyric genre in the work of the Roman comic poet Titus Maccius Plautus (c. 254 ¿ 184 BC) has been already noted in the field of classical studies. Among the various criteria used in the identification of those poetic genres there is not only direct mention of elements of the works pertaining to them, but also (thematic or formal) allusion to such elements. Theoretical studies about "genres miscellany" or "genres crossing" have been developed at least since the proposition of the concept of "Kreuzung der Gattungen" by W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). However, scholars such as A. Barchiesi ("The crossing", 2001) now question premises from Kroll¿s work, which considered the "miscegenation" as a "decadence" on the Hellenistic and Roman literary cultures. The present research does not assume Kroll¿s perspective, i.e. it does not presuppose that the plays in which the presence of other genres is evinced are necessarily hybrids. Rather, it favors an approach like that of S. J. Harrison, which deals with the notion of "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). While systematizing such a presence of different poetic genres in the selected Plautine corpus (the play Captiui, as well as passages from Bacchides, Miles gloriosus, Rudens, among others) this study intends to appreciate to what extent comedy is enriched precisely by the elements perceived by the plautine public as extraneous to this genre. The method is based on the identification of (thematic and formal) aspects under which such genres emerge as the play goes on. The observation of the poetic conventions with which the Roman dramatist plays in his texts may also provide a reflexion on an imanent poetics in Plautus
Doutorado
Linguistica
Doutora em Linguística
O'Farrell, Kevin. « Joyce after Nietzsche : irony and the will to truth ». Thesis, University of Oxford, 2012. https://ora.ox.ac.uk/objects/uuid:3de0686a-b70f-433c-ae20-9de7d554b08e.
Texte intégralMcCann, Michael Charles 1959. « Occult Invention : The Rebirth of Rhetorical Heuresis in Early Modern British Literature from Chapman to Swift ». Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12081.
Texte intégralThe twentieth-century project of American rhetorician Kenneth Burke, grounded in a magic-based theory of language, reveals a path to the origins of what I am going to call occult invention. The occult, which I define as a symbol set of natural terms derived from supernatural terms, employs a method of heuresis based on a metaphor-like process I call analogic extension. Traditional invention fell from use shortly after the Liberal Arts reforms of Peter Ramus, around 1550. Occult invention emerged nearly simultaneously, when Early Modern British authors began using occult symbols as tropes in what I refer to as the Occult Mode. I use six of these authors--George Chapman, William Shakespeare, John Donne, Abraham Cowley, John Dryden, and Jonathan Swift--as examples of how occult invention arises. In appropriating occult symbolism, authors in the Occult Mode began using the invention methods of the occult arts of magic, alchemy, astrology, and cabala to derive new meanings, transform language, develop characters and plots, and reorient social perspectives. As we learn in tracking Burke's project, occult invention combines the principles of Aristotle's rhetoric and metaphysics with the techniques and principles of the occult arts. Occult invention fell from use around the end of the eighteenth century, but its rhetorical influence reemerged through the work of Burke. In this study I seek to contextualize and explicate some of the literary sources and rhetorical implications of occult invention as an emergent field for further research.
Committee in charge: Dianne Dugaw, Co-Chairperson; John T. Gage, Co-Chairperson; Kenneth Calhoon, Member; Steven Shankman, Member; Jeffrey Librett,Outside Member
Kay, Simon Michael Gorniak. « Literary, political and historical approaches to Virgil's Aeneid in early modern France ». Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13837.
Texte intégralFerber, Ben. « The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter ». Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1306506345.
Texte intégralHabel, Chad Sean, et chad habel@gmail com. « Ancestral Narratives in History and Fiction : Transforming Identities ». Flinders University. Humanities, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071108.133216.
Texte intégralCrowell, Ellen Margaret. « Aristocratic drag : the dandy in Irish and Southern fiction ». 2004. http://hdl.handle.net/2152/12765.
Texte intégralNagy, Szerdi. « Girl guides : towards a model of female guides in ancient epic ». Thesis, 2009. http://hdl.handle.net/10413/1123.
Texte intégralThesis (M.A.) - University of KwaZulu-Natal, Durban, 2009.
Stobie, Melissa Lauren. « Mise Eire : national and personal identity in two recent Irish memoirs ». Thesis, 2001. http://hdl.handle.net/10413/3252.
Texte intégralThesis (M.A.)-University of Natal, Pietermaritzburg, 2001.
Hynes, Colleen Anne 1978. « "Strangers in the house" : twentieth century revisions of Irish literary and cultural identity ». Thesis, 2007. http://hdl.handle.net/2152/3383.
Texte intégralGlisson, Silas Nease. « Cultural nationalism and colonialism in nineteenth-century Irish horror fiction ». Thesis, 2000. http://hdl.handle.net/10500/16852.
Texte intégralEnglish
M. Lit. et Phil. (English)
Johnson, Amy R. « Stranger in the Room : Illuminating Female Identity Through Irish Drama ». Thesis, 2007. http://hdl.handle.net/1805/918.
Texte intégralTitle from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)
Van, Heerden Helga Dieta. « L'Inferno e Ugone d'Alvernia : analisi morfologica di un testo cavalleresco e analisi comparativa di Alcuni inferni ». Thesis, 1987. https://hdl.handle.net/10539/25828.
Texte intégralThis thesis examines a medieval text which forms part of Italian chevalric literature i.e. The story of Ugone d'Alvernia. Its original name was Huon d'Auvergne. Firstly the text will be examined from the historic angle and then from a more scientific point of view. It shows how the original "chanson de geste", written in French was brought by the French "jongleurs" into Italy and became initialized, producing a unique phenomenon, a linguistic mixture known as franco-venetian. This literature played a decisive part in the diffusion of the stories surrounding Charlemagne. Huon d'Auvergne was elaborated and extended by Andrea da Barberino (c. 1370-1432) and called La Storia di Ugone d' Alvernia (The story of Ugone Of Alvernia). Various descents into Hell are then examined , from both the classic and the Christian point of view. This examination leads on to the comparison of the two "Inferni" described by Andrea da Barberino in his two works La Storia di Ugone d' Alvernia and in Guerino il Meschino with the descent described by Dante in his Inferno. A morphological analysis of the text is then undertaken. It applies the theory propounded and used by Propp in his morphological analysis of some Russian fairy tales. According to the theory there are thirty-one "functions" which can be applied in such an analysis
Andrew Chakane 2018
« "I step through origins" : different forms of piety in Seamus Heaney's poetry ». 2009. http://library.cuhk.edu.hk/record=b5893886.
Texte intégralBishop, Christopher Damien Clifford. « Literature and society in tenth-Century Wessex ». Phd thesis, 2006. http://hdl.handle.net/1885/150472.
Texte intégralGoussias, Giannoula. « Heroes and heroic life in the Iliad and Akritic folk-song ». Thesis, 1992. http://hdl.handle.net/2440/115948.
Texte intégral« Byron's Don Juan and nationalism ». Thesis, 2010. http://library.cuhk.edu.hk/record=b6074834.
Texte intégralI propose to comprehend the perceptive gap by focusing on Don Juan which best contextualizes Byron in the flow of historicity with the dimension of nationalism. I intend to delve into three structural units of Don Juan---digression, narrative, a lyric song---to argue that Byronic contradictions manifest nationalism in its multiple contingencies.
In conclusion Don Juan reveals that Byron's participation in the modern historicity of nationalism involves three dimensions---residual cosmopolitan ideals, English national consciousness and the independence of the oppressed nations. Don Juan embodies a historical magnetic field where Byron's existence actualizes the potential conflict of the modernity.
Secondly by reading Don Juan as the quest romance of the individual initiation, I bring the narrative into scrutiny and argue that the hero's transformation involves an implicit evolution of the national identification. In terms of subjective consciousness, nationalism embodies the mature vision of masculine selfhood. Don Juan's encounter with both female and male characters, through his repeated border-crossing, illuminates a metaphorical process from rejection to embrace of native roots, from negation to affirmation of national bonds Juan's rite of passage---sexual initiation, surviving shipwreck, the trial of the exotic love and battlefield and diplomacy---transmits a national subjectivity which corresponds to the Byronic existence of mobility.
The dissertation explores the discrepancy between critical reception towards Byron as a Romantic poet in contemporary Romantic scholarship and in Chinese historical evaluation (with certain reference to the European Continent). Byronic contradictions pose a problem to Romantic scholars who are engaged to interpret the interplay between Byron the man and Byron the poet. They share the view that Byron succeeds in manipulating his own personal image to promote his poetical visibility and tend to doubt if his poems could stand alone without the reference to his letters and journals. In China, as in many other countries of European Continent and Asia, Byron is often viewed in a more positive way as the very name has become a byword for liberal nationalism and the rebellion against tyranny
Thirdly 'Isles of Greece' adds an alternative yet prospective dimension to perceive the tension between national anxiety and modernity. In English context its meanings vary as the contextual focus shifts from poetical to socio-biographical and to existential level. The theme of the national independence is complicated by its negative elements such as the identity of the songster. In the Chinese context, 'the Isles of Greece' initiates and embodies a myth-making process as it gives vent to the anxiety of modernity faced by Chinese people in the opening of the twentieth century. The individual shaping of the 'Isles' by three Chinese intellectual pioneers symbolizes the simultaneous awakening of Chinese national consciousness and individual consciousness. The extended reading of Byron by Lu Xun, together with his reworking, voices the existential dilemma of modern enlighteners. His invocation of 'Mara poets' is prophetic of the modern intellectuals who possess both vision and willpower to eradicate ignorance and public apathy.
Gu, Yao.
Adviser: Ching Yuet May.
Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 167-173).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
Davis, Victoria Ann. « Restating a parochial vision : a reconsideration of Patrick Kavanagh, Flann O'Brien, and Brendan Behan ». Thesis, 2005. http://hdl.handle.net/2152/1532.
Texte intégralSelepe, Thapelo 1956. « Towards the African theory of literary production : perspectives on the Sosotho novel ». Thesis, 1999. http://hdl.handle.net/10500/17709.
Texte intégralAfrican Languages
D.Litt. et Phil. (African Languages)
Hoffman, Nancy Marie. « Mysticism and allegory in Porphyry's De antro nympharum ». Thesis, 2014. http://hdl.handle.net/2152/25784.
Texte intégraltext