Thèses sur le sujet « Irony – fiction »
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Green, Thomas Andrew 1953. « Irony and Indians : A collection of original fiction ». Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291722.
Texte intégralLauen, Douglas. « Oedipus Fallen : Irony in the Fiction of Milan Kundera ». Oberlin College Honors Theses / OhioLINK, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1397227893.
Texte intégralRoienko, L. V. « Comicality and the nature of irony formation in the fiction texts ». Thesis, Університет Григорія Сковороди в Переяславі, 2020. https://er.knutd.edu.ua/handle/123456789/16300.
Texte intégralMerican, Fadillah Fatima. « The fiction of Ruth Prawer Jhabvala : irony within a dual philosophical framework ». Thesis, University of Hull, 1990. http://hydra.hull.ac.uk/resources/hull:12767.
Texte intégralGeertsema, Johan Hendrik. « Irony and otherness : a study of some recent South African narrative fiction ». Doctoral thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17592.
Texte intégralThis study considers the relation between irony and otherness. Chapter 2 shows that there is little agreement on the politics of irony in critical discussions. Nevertheless, irony and otherness do appear to be linked in many of these discussions. Chapter 3 offers a consideration of Emmanuel Levinas's conception of ethics in terms of his understanding of the other as face and trace. The tendency of language to foreclose on otherness by reducing it must be interrupted, while otherness must, nonetheless, be Said. The chapter concludes with an attempt to relate Levinas's conception of otherness - as the interruption of conceptualising otherness - to Paul de Man's conception of irony as permanent parabasis in terms of the tropes of prosopopoeia and catachresis. Any representation of the other must be interrupted continually as it is a prosopopoeia of otherness (in that it gives otherness a face) and therefore a catachresis (for the other has no face and must be given one). The task with which the (reading) self is faced is ironic in that it consists at once of positing and interrupting the face given to the other. Chapters 4, 5 and 6 are attempts at reading the interplay of irony and otherness in selected recent South African fiction. Van Heerden's Kikoejoe, as an allegory of the refusal to narrativise otherness, is read as being caught in the double bind of irony; Matlou's Life at Home is read as a text intimating an otherness at the heart of domesticity and within the reader; and, finally, Coetzee's Age of Iron is read as a text in which confession is the nexus of the relation between irony and otherness. This study brackets the political in order to examine the relationship between irony and otherness from the vantage point of Levinas's 'conception' of the other. The task remains to consider whether it is possible to approach irony ethically, or ethics ironically, and to consider the political ramifications of the relation between irony and otherness postulated in this study.
Cattell, Victoria Fayrer. « Irony and alazony in the English Künstlerroman ». Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65961.
Texte intégralSijnja, Jennifer. « Apprehensive Irony and Disappearing Communities in the War Fiction of Ernest Hemingway, Evelyn Waugh and Joseph Heller ». Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17740.
Texte intégralS'hiri, Sonia. « Verbal irony in literary discourse : a pragmatic-stylistic study with particular emphasis on contemporary narrative fiction ». Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/29363.
Texte intégralBarker, Debra Kay Stoner. « Ironic designs in the exotic short fiction of W. Somerset Maugham ». Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/558342.
Texte intégralDepartment of English
Uddén, Anna. « Veils of irony : the development of narrative technique in women's novels of the 1790s / ». Uppsala : S. Academiae Ubsaliensis : Distributor, Uppsala University Library, 2000. http://bibpurl.oclc.org/web/31295.
Texte intégralHeinimann, David. « A portrait of the young man as a failed artist / ». Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66151.
Texte intégralLittle, Michael Robert. « Novel affirmations : defending literary culture in the fiction of David Foster Wallace, Jonathan Franzen, and Richard Powers ». Diss., Texas A&M University, 2004. http://hdl.handle.net/1969.1/366.
Texte intégralPicq, Elisabeth. « Popular fiction in France and England, 1860-1875 : convention, irony and ambivalence in the novels of Paul Féval and Wilkie Collins ». Thesis, University of St Andrews, 2000. http://hdl.handle.net/10023/11112.
Texte intégralCosta, Yasmin Serafim da. « Prenúncios de uma revolução : feminino, masculino e sociedade em O número dos vivos ». Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-09062015-132219/.
Texte intégralThe second novel published by Hélia Correia, O número dos vivos, in 1982, critics the social standards in Portuguese society in the 40s of twentieth century. This critic is achieved in the novel through strategies as irony and parody. The novel has as the model for the parody the realist literature mainly, Madame Bovary by Gustave Flaubert and O primo Basílio by Eça de Queirós. As a result, there is at the same time a critic to the ideals endorsed by the Realism and to the oppression suffered by women under the patriarchy. Irony is studied in combination with the standard of masculinity created in the second half of 19th century and preserved until the 50s of the next century. The analysis of the masculine characters is based in this relation between the image of man and the foundations of Portuguese society in order to criticize the fundamental institutions of Salazars dictatorship: Family, Church and State. As a way to get rid of the oppression, in the novel, are found predictions of an imminent change that would bring a new configuration to the Portuguese society, where the roles of women and men would be revised, in addition to the return of the democracy.
Silva, Felipe Bastos Mansur da. « O bruxo e o ilusionista : Machado de Assis e seu leitor Woddy Allen ». Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3080.
Texte intégralA presente tese tem como intuito investigar as relações entre as narrativas de Machado de Assis e de Woody Allen, autores de épocas e culturas bastante distintas. No entanto, através da análise do papel da ironia na obra de ambos tornou-se possível aproximar Memórias póstumas de Brás Cubas, romance de 1881 de Machado, e Stardust Memories, filme lançado em 1980 pelo diretor Woody Allen. A investigação divide-se em três etapas. No primeiro capítulo, analisa-se a aproximação entre os dois autores através de uma mesma visão sobre a ficção presente tanto na obra de Machado quanto na de Allen. Esta visão encontra-se fundamentada através de uma tradição literária burlesca que rompe com o primado realista na narrativa ficcional. No segundo capítulo, procura-se demonstrar como a perspectiva não realista escapa a uma regra moralizante na ficção, para valorizar uma postura ética, isto é, para se definir o ethos da narrativa. A ironia, assim, será a morada da ficção de ambos os autores, que problematizam o mundo incluindo nele a própria narrativa. E no terceiro e último capítulo, analisa-se a relação ficcional nas duas obras com a memória. A memória, elemento constituinte da identidade humana, revela-se uma linguagem própria e opressora aos narradores memorialistas, impondo-lhes a inexorabilidade do tempo. Dessa forma, suas ficções seriam uma luta incessante do homem contra o seu caminhar para a morte
Joubert, Lucie 1957. « L' ironie dans la prose fictionnelle des femmes du Québec : 1960-1980 ». Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41624.
Texte intégralExplicit irony, therefore, operates within the text and requires minimal competence in the reader for its decoding; the decoding of the text will play a central role in implicit irony, which will be focus of part two of the thesis. Implicit irony manifests itself in the text in three principal forms: rhetorical, structural, and chromosomic. Rhetorical irony emerges from knowledge of the language and requires the reader to identify occurrences of antiphrases, innuendoes, metaphors, and other types of word-games in the text; structural irony depends upon the inner-workings of the text and demands an aptitude for discerning instances of parody, structural paradox, or intertextuality; that form of irony which we have named chromosomic requires a specific decoding that is effected in function of the author's feminine gender.
Following part two, which highlights the reader's role in the process of interpreting irony, the third and final part reveals the principal targets of irony in these women's writings. This tableau of "victims" completes our study by identifying the types of persons, institutions, or ideas that provoke the criticism of women writers. Such a broad range of types, comprising the clergy, education, the family, and foreigners, among others, tends to point toward a common denominator: Power. The authors scrutinize power relationships in all their forms; inspired by their "collective destiny", that persists, even today, in excluding them from positions of decision-making, women now propose a different vision of the world. Irony in the feminine permits an original reading of their struggle and their demands.
Gelas, Nicolas. « Fiction et humanisme dans l'oeuvre de Romain Gary : s'affranchir des limites, s'éprouver dans les marges ». Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20123/document.
Texte intégralChallenging both apparent determinism and political or moral representations, Gary's work is defined by its predilection for off limit situations and contentious attitudes. Confronted with hatred or barbarism, it will always stand for irony and the power of creativity, involved both in the process of getting detached as well as enrapturing the world anew. Fed on the World War II trauma, it sustains the concept of humanness needing reinvention, not being a set notion but a fiction to be built, an ideal to achieve. Artists and creators owe their contribution to such foundation of a new human mythology upholding the unalienable principle of dignity, thus implanting everyone's spirit with the strength to resist despair. However, humanism cannot be seen just as an abstracted value or some shore to reach, it also implies the actual manner of living in the world. One has to keep clear from whatever overwhelming dogmas reality can impose, by favoring “margins” that will accept human contradictions and frailty. Away from any prophetic idealism, these dedicated spaces become shelters for intimate expression, allowing one to avoid onlookers and escape compelling truth assessments. Shaped around affective values, they bring one to become sensitive to a potential world humanity. Against rigid certitudes and the alienating principle of transparency, they help remember that approximation and mystery can give access to freedom and oftentimes condition the possibility of happiness
Farouk, May. « Les Tribulations de la fiction chez Jean Echenoz : le retour du roman d'aventures : formes et enjeux contemporains ». Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030128.
Texte intégralSince 1980, the literary scene in France has witnessed a revival of romance once made obsolete by the New Novel (Nouveau Roman). Realistic, social, musical, crime, spy and adventure fiction has thus sprung up again. The current study examines and questions the problematic of “return” especially the return of adventure fiction in the very representative work of Jean Echenoz. Thought reviving a classical genre, the author does not shy away from modifying and remodeling that genre’s configurations and issues. Thus, this survey elaborates a poetic of the postmodern fiction of adventures, revisiting a traditional genre to extract contemporary forms and issues, so to speak. But from a broader perspective, the study underscores the tribulations of Echenoz’s fiction, work which does not mind to collapse plots, oscillate from one genre to another or sway between two space-times, at the risk of presenting itself in a turbulent mode of writing confounding the reader - who fells helpless in the face of the unbridled audacity of the author and his narrative perturbations
Aubague, Mathilde. « Ambiguïtés du récit sério-comique de Rabelais à Fielding : formation du personnage, mystification du lecteur ». Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL017.
Texte intégralOur study intends to analyse the stakes and forms of a figure of author’s representation in the comical narrative fiction in Europe from 16th to 18th century. Such figure, either external to the diegesis or belonging to the narrative characters, produces the speech of an author, mimes a dialogue and by doing so, establishes an imaginary narrative communication with the reader. This kind of communication seems paradoxical. It represents oral speech, which is problematic in a written text; the actual presence of the author cannot be placed within the text whereas the auctorial figure already belongs to the fictional world. The dialogue with the author is set on an imaginary presence and on a seducing rhetorical device with pragmatic stakes. Lessons are expected to be drawn from this narrative. It topicalizes the forming of the hero, which is often questionable, and it is up to the reader to untangle the stakes. The comical structure of the narrative and of the enunciation contributes toward a deception of the reader who is expected to give an interpretation of an entertaining text which is both comical and serious, and which refuses to deliver its meaning in a univocal way. From 16th to 18th century forms of a serio-comic gender are established within their writing context. They rely on parody and diversion of the forms and codes of contemporary literature, on the introduction of an ironic and critical intellectual attitude as well as an imaginary interaction with the reader. We will analyse the different forms of enunciative and narrative ambiguity in Rabelais, in the anonymous author of Lazarillo to Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux to Henry Fielding
Northcraft, Teresa Ann. « E Unibus Omnem : New Sincerity and Transcendence in David Foster Wallace’s Infinite Jest ». University of Toledo Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1544614667543305.
Texte intégralCosta, Rafael Martins da 1987. « Um escritor em déficit : cinismo, linguagem e afeto em João Gilberto Noll ». [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270092.
Texte intégralDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-23T14:50:12Z (GMT). No. of bitstreams: 1 Costa_RafaelMartinsda_M.pdf: 923501 bytes, checksum: a99c60c076936718a497de165bbad0a8 (MD5) Previous issue date: 2013
Resumo: Este trabalho tem por objetivo propor uma leitura do livro Berkeley em Bellagio, de João Gilberto Noll, publicado em 2002. Para tanto, acompanha a trajetória do protagonista que, ao contrário do que ocorre em outros textos do autor, é um ser nomeado, portador de uma feição social e, além disso, um escritor prestigiado internacionalmente. A análise parte, então, para as figurações desse escritor em contato com importantes instituições financiadoras norte-americanas as quais o convidam para temporadas nos EUA e na Itália. Mais do que simplesmente representar o escritor em seu meio de atuação, a obra se estrutura a partir de uma dicção irônica e caricatural que termina por inviabilizar qualquer interpretação unívoca dessa relação entre o escritor e os demais atores do meio literário. Daí também a dificuldade de se tratar a questão da autobiografia na narrativa: embora o percurso do personagem se assemelhe às viagens empreendidas por João Gilberto Noll, e não obstante à homonímia, torna-se, pelo modo como tudo é contado, totalmente problemático entender o livro como uma confissão autobiográfica do autor. É por isso que se procura, aqui, identificar o cinismo que permeia a atuação desse homem e que condiciona o discurso narrativo. A seu momento, será dito que o narrador não quer se comprometer com uma ou outra verdade. Mas, se, por um lado, a nomeação do personagem e a atribuição de uma profissão a ele indicam que as questões políticas e contextuais são tratadas, na obra, de forma explícita, por outro, não se oculta aquilo em que o autor parece ser melhor: a evidenciação dos abismos do Ser, o déficit em relação à linguagem, o idealismo em torno de uma comunicação redentora, sem a intervenção dos condicionantes sociais. Dessa maneira, este texto pretende mostrar que, em seu desfecho, o livro aposta em relações afetivas mais pacificadas, menos furiosas se comparadas às dos outros romances de Noll. Desde já, recusa-se a ideia de que essa aposta corresponda a um triunfo do herói ou a uma resposta assertiva aos questionamentos existenciais dispersados durante a narrativa. Ao contrário, o livro acaba por sinalizar que "tudo o que vinga na vida vem em duplo". Talvez esse seja um posicionamento crítico ainda desejável quando o cinismo advindo de uma vontade de verdade parece contaminar mesmo os discursos mais bem intencionados
Abstract: This dissertation aims to propose a reading of Berkeley em Bellagio, by João Gilberto, published in 2002. Thus, it follows the path of the protagonist that, on the contrary to what occurs in other texts of the author, is a named character with social face and an internationally prestigious writer. The analysis goes towards this writer-protagonist which is in contact with the main American funding institutions that invite him to seasons in the U.S.A. and Italy. The reading intends to show that, beyond the mere representation of the writer in his current acting environment, the book is structured by an ironic and grotesque diction which ends to derail any univocal of the relationship between the writer and the other actors in the literary field. Therefore, there is also the difficulty of leading with the issue of autobiography in the narrative: although the character's route resembles the journeys undertaken by João Gilberto Noll, and despite the homonymy, it is fully problematic to understand the narrative as an author autobiographical confession. Thus, the present work aims to identify the cynicism that permeates the actions of the character and conditions the narrative discourse. The novel's narrator does not want to be committed to one truth or another. On one hand, the nomination of the character and his job assignment indicate that political and contextual issues are explicitly treated in the work. On the other hand, one does not hid what the author seems to be better in: the disclosure of the depths of Being, the deficit in relation to language, or the idealism around a redemptive communication, without the intervention of social conditioning. This dissertation demonstrates that, in its end, the book bets on more pacified relationships, less furious if compared to other novels by Noll. The interpretation rejects the idea that this wager corresponds to the protagonist's triumph or to an assertive response to existential questions scattered during the narrative. Instead, the book signals that "everything that stays in life comes double". Perhaps this is a still desirable critical position in a moment in which the cynicism arose from a desire for truth seems to contaminate even the most well-intentioned speeches
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
Vauthier, Bénédicte A. B. « Arte de escribir e ironía en la obra narrativa de Miguel de Unamuno : indagación en el taller artístico-ideológico de Amor y Pedagogía ». Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211466.
Texte intégralRolley, Anne-Maree. « Cast iron and making fiction : a novel and critical essay / ». [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19339.pdf.
Texte intégralvan, Malssen Hubertus Marinus George. « Redefining xia : reality and fiction in Wang Dulu's Crane-Iron Series, 1938-1944 ». Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/redefining-xia-reality-and-fiction-in-wang-dulus-craneiron-series-19381944(d3a0ba60-c193-4fa1-bebd-b1697f37c7c9).html.
Texte intégralWilliamson, David. « The Iron Rage Plus One ». Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/742.
Texte intégralBachelors
Arts and Sciences
English; Creative Writing
Alcalá, Anguiano Fabiola. « Lo irónico-sublime como recurso retórico en el cine de no-ficción de Werner Herzog. El caso The Withe Diamond, Grizzly Man y The Wild Blue Yonder ». Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7266.
Texte intégralEl texto esta dividido en dos partes: la primera, en la que se plantea un recorrido por los distintos contextos históricos, teóricos y artísticos que nos permiten reconocer cuáles son las características de este tipo de cine de no-ficción; una propuesta en la que lo real juega un papel más poético, y en la que la verdad que se persigue no es una verdad congruente con unos hechos determinados sino con una estética más universal.
En la segunda parte, se analiza de qué forma opera lo irónico-sublime (la principal característica del cine de no-ficción de Werner Herzog) en las distintas partes que conforman las tres películas que nos ocupan. Humor y belleza serán la clave para interpretar estas tres historias sobre el hombre, la naturaleza y sus límites.
The objective of this Thesis is to study the ironic-sublime as a rhetorical figure in three nonfiction films by Werner Herzog: The White Diamond, Grizzly Man and The Wild Blue Yonder.
The text is divided in two parts: the first one, is a review for different historical, theoretical and artistic contexts that allow us to recognize which are the characteristics of this type of non-fiction cinema; an offer in which the real plays a more poetical role, and the truth that is prosecuted is not true with a few certain facts but with a more universal aesthetics.
In the second part, it is analyzed how works the ironic-sublime (the principal characteristic of the non-fiction cinema of Werner Herzog) in the different parts that shape three movies that occupy us. Humor and beauty will be the key to interpret this three histories about man, nature and his limits.
McGuire, Matthew C. « Pig Iron : Stories of Appalachia ». Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429180352.
Texte intégralBell, Anita. « Re-visioning a "novel concept" : beyond vision and revision to advanced editing strategies ». Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/36431/1/Anita_Bell_Thesis.pdf.
Texte intégralBompaire, François. « Ironie et communication littéraire, à partir des fictions d’André Gide ». Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL075.
Texte intégralFaced with the apparent inconsistency of the notion of irony, this PhD does not suggest to enhance the impossibility of defining the notion or its proteism, but to build a definition on alternative principles: the focus on common features instead of variations, on long term processes instead of the succession of meanings and the definition of irony as an act of communication rather than as a formal mechanic. Irony, ever since the Greek world, appears as an act of communication which cannot be reduced to pragmatic linguistics: how to control socialisation in a dangerous context, in staying as close to the enemy as possible? Solving this problem by exchanging supposes the invention of forms, some of which – first and foremost the antiphrasis – get autonomous and are fixed forms – but among others – of the irony. I then strive to follow the way in with this non formal definition is maintained by paying attention – until Jena romanticism – to the analysis of the communication at work in the reflexions on irony. André Gide’s fictional work displaying a great variety of forms of irony and being imbued with secret, both biographical and sexual, is read as questioning this control of dangerous socialisation and as laying out, beneath the notion of collaboration, a reflexion on literary communication. On the other hand André Gide’s work is reinterpreted in the perspective of a history of irony in the nineteenth century. The antiphrasis is the centre of perception of irony: to the figure of Voltaire is attached to the idea of taunting the ideal, which constitutes a semantic weight conditioning the adaptation of different ironic traditions to the French framework
Hogarth, Claire Milne. « Epistolary constructions of identity in Derrida's "Envois" and Coetzee's Age of Iron ». Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38204.
Texte intégralGazeau, Matthieu. « Le tombeau de Cynthia : mythes, fictions et ironie dans le livre IV des Elégies de Properce ». Paris 3, 2008. https://eu03.alma.exlibrisgroup.com/view/uresolver/33UFC_INST/openurl?u.ignore_date_coverage=true&portfolio_pid=53188741650006657&Force_direct=true.
Texte intégralBy placing Cynthia’s tomb at the centre of book IV and of Virgilian Rome, Propertius perverts, for a woman of small virtue, the traditional motif of immortalisation through poetry, and turns the Roman dialectics of the poet and great man upside down. The collection of poems comes as the epilogue to a work based on the poetics of recusatio, the marked refusal of the lofty style, and asserts the legitimacy of literary subjectivity embodied by Cynthia. Emblematical outcome of this recusatio, Cynthia’s apotheosis is the last fragment of a declaration of love which is authentic without being sincere. It does not follow the modern code of a spontaneous emotional demonstration poured forth from ideally transparent subjectivity. It is rather, in a staged reaction to a problematical reality, the expression of a subjectivity sheltered behind the persona of stereotyped literary forms and parts such as the recusatio, the paraclausithyron and the fallax seruus of the Comedy or epigrams, staged in the elegiac genre. At the end of this paradoxical epic written by an amorous poet who must fight to assert the legitimacy of his love and poetry, the drama is projected into the fantazied memory of Rome. The etiological explanations reveal the founding tale’s contingency, heir to a history created by the heroic acts of a few, and also the relativity of ethical norms, proof of the irony of History and the Gods. Book IV, the symbolical churchyard where the tombs of Cynthia and Mamurius, the artist who had been exiled for sculpting a dangerously equivocal work of art, stand side by side, is the response of the poeta caelator to the horatian Vates, useful to Rome and its princes
Rödholm, Siegrist Helena. « „Nichts ist verschwunden“ : Eine Analyse des Zusammenwirkens von Dokumentarischem und Literarischem in Martin Jankowskis Roman Rabet oder Das Verschwinden einer Himmelsrichtung ». Thesis, Uppsala universitet, Institutionen för moderna språk, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448006.
Texte intégralThis analysis of Martin Jankowski’s Rabet oder Das Verschwinden einer Himmelsrichtung explores the construction of a literary fiction, which consists of a documentary and corrective contribution to the remembrance discourse of the Peaceful Revolution in the German Democratic Republic in 1989. Along with a description of themes which gain relevance through the fictional, metaphorical and dialogical features of the narration, the study undertakes an analysis of stylistic devises such as metaphors, irony, concealment, intertextual references and transformations. Besides an interpretation of the literary narration, the study examines the novel’s emphasis on the influence of past events on contemporary society and private relationships.
Wood, Hannah. « Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency' ». Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.
Texte intégralShaklan, Steven. « Doomed to Irony, Condemned to Laughter : The Structure and Function of Irony in the Prose Fiction of Nikolai Gogol ». Thesis, 2013. https://doi.org/10.7916/D8RJ4RQD.
Texte intégralIafrancesco, Maria Cristina. « Irony and the portrayal of immigrant and ethnic protagonists in Canadian fiction ». Thesis, 1986. http://spectrum.library.concordia.ca/3530/1/ML32259.pdf.
Texte intégralPierobon, Ermenegilda. « Trasgressione e consenso nella vocazione realistica di una scrittrice ottocentesca : Itinerario Artistico della Marchesa Colombi (Maria Antonietta Torriani, 1840-1920) ». Thesis, 1994. http://hdl.handle.net/10500/15782.
Texte intégralThe aim of the present study is to offer a critical contribution on the writings of the Marchesa Colombi by tracing and developing those aspects of her work which best characterise her personality as a woman and as a writer. Her poetical choices, based on the ideal of an intimate, indivisible unity of woman-word-language and on the harmonious correlation between life and art, focus sharply on her conflict with the repressive and misogynist ambience of nineteenth-century Italy. Her works reveal a constant tension between the need to adapt in order to defend her own presence (as a writer) and the urge to transgress as a means to safeguard her inner, personal coherence. The author's ambivalence towards the father, depositary of the social order, is further reflected, in keeping with her poetical vision, in the polemical debates held with the fathers of Italian literature. Whereas these debates remain embedded within a metatextual discourse, the genuine and authentic message of her works is generally expressed on the metaphorical and symbolic levels and by an extensive antiphrastic use of irony. The need to stress the repression and death of feminine values, the intellectual and physical creativity which constitute the true essence of the individual, goes hand in hand with the artist's achievement of maturity as a painful compromise with the hard rules imposed by life. From the cruelty of a alienating labour to the brutal collapse of her ideals and of love, Colombi is able to achieve in her major works a new form of balance between life and art which, by sublimating the experience of death, elevates the artistic expression to the heights of personal salvation and of self-realization. By affirming her art as a product of the feminine mind at the service of justice and truth, she plays out her disobedience against all arbitrary forms of power. This study of the works of the Marchesa Colombi reveals the image of a writer who distinguishes herself not only for her originality and complexity but also for the marked modernity both in her style and in her choice of subject
Department of Classics & Modern European Languages
D.Litt. et Phil. (Italian)
Gama, Carolina Vanessa Pereira. « O universo narrativo de Maria de Menezes : paródia e transformação da realidade ». Master's thesis, 2019. http://hdl.handle.net/10400.13/2292.
Texte intégralThis study focuses on the books os short stories Três Histórias com Final Feliz and Contos Místicos by Maria de Menezes and it will reflect on the manner the author handles the humorous and fantastic literature, with critic features, setting up parody. Maria de Menezes defends the significance of literature and reading with a critic consciousness extent, which can go affect ethic changes according to modernity. Throughout this approach a review in literature occurs with the intent of understanding the emergence of The Fantasy and Science Fiction on the author´s fiction work and on the connection with Speculative-Fiction. The analysis of the Fantasy boundaries will lead to the consideration of the dissimilarities between each genre, the fantasy, the marvellous and the strange. Maria de Menezes work has its main focus on the telling of the her everyday life using items of the marvellous, such as the vampire, the fairy godmother, with the purpose of displaying the humour and irony in our world.
Maungedzo, Avhurengwi Edward. « The detective story in Venda : an analysis with special reference to Bono la mboni and Nwana wa mme anga ». Thesis, 1999. http://hdl.handle.net/10500/23246.
Texte intégralThe purpose of this research is to make a literary appreciation of the detective story in Tshivenda. Chapter 1 is the introductory chapter which discusses the aim of study, the definition of detective story, methodology, detective noels in Tshivenda, background information regarding the authors, summaries regarding selected novels and the scope of research. Chapter 2 is devoted to the plot structure of the two detective novels, and outlines the diegetic and meta-diegetic stories. The elements of mystery and dramatic irony are also discussed. Chapter 3 concentrates mainly on the setting of the two selected detective novels and its influence on the crimes committed, the lives of the characters and the tools that are used. Chapter 4 deals with the depiction of the victims, suspects and detectives in the selected detective stories. Chapter 5 concludes the study and summarises the main findings of the appraisal.
African Languages
M. A. (African Languages)
Castro, Fernanda Gonçalves de. « Utopia e distopia : testemunhar o mundo em Pepetela (estórias de cães, montanhas e predadores) ». Master's thesis, 2014. http://hdl.handle.net/10400.13/1480.
Texte intégralThe Angolan literature has an important role in national awareness and (re)construction, exploring the quest for unification and affirmation of countries formerly colonies during colonial and post-revolution periods. Used as deconstruction mechanisms, irony and utopia/dystopia permeate the cultural-historical and literary speech in O Cão e os Caluandas (1985), A Montanha de Água Lilás: uma fábula para todas as idades (2000) and Predadores (2005), by Pepetela. These narratives consider the complexity of postcolonial reality in Angola under the sign of the relationship and the journey of utopia/dystopia/utopia. The Pepetelian novels play a crucial role in making a statement of Angolan literature and Angolanity search of identity. Choosing an attitude of reflection about the 'unspoken' official History, Pepetela allegorizes the deconstruction of the hero and the (dis)belief of failed utopias through the poetics of subversive and ironic disenchantment. There are several lines of thought and dynamics in Pepetelian narratives which have its basis in the rewriting of History and in the reflective role of the reader in considering the fictional world as a portrait of its own reality. Thus, it is expected an attitude of selfreflection about the past and present that the literature itself promotes. It is towards the consideration of these aspects that this thesis is directed, starting with the definition and study of utopia, dystopia and mechanisms of irony, and passing by the inter-relationship between reality and fiction. As a result, there shall be an analysis of the merciless Pepetelian portraits, regarding the socialist utopia and disappointment. For this study, it is considered essential to analyze the postrevolutionary political ideology and its frustration, since the author rewrites History showing the decay of the Icarus type of heroes. These characters symbolize the dystopia, portraying negatively the post-independence period. Finally, it is crucial to study Pepetela as a social critic and humanist, one who still believes in Humanity and builds utopian-hopes from dystopias, subsidizing the reality using literature as an instrument of intervention.
Antunes, Madalena Sofia Salgado Lobo. « "De tanto pensar-me" : a consciência no Livro do Desassossego de Fernando Pessoa" ». Doctoral thesis, 2019. http://hdl.handle.net/10362/68131.
Texte intégralThis study aims to analyze how consciousness is formulated in Fernando Pessoa’s Book of Disquiet. It likens, therefore, Fernando Pessoa’s great prose work to other narratives on consciousness, namely the stream of consciousness novels by Virginia Woolf and James Joyce. As a novelistic proposal, the Book of Disquiet invoques pessoan examinations on authorship and character that are also observed in his critical texts. This thesis articulates Fernando Pessoa’s idea of consciousness with his idea of psychologically complex characters and with his use of literary techniques to simulate consciousness through language: wherein the first guarantees a novelistic attempt, and the second a clear experiment of the literary exploration of consciousness. Finally, this study takes on the irony behind the recontextualizations that literary consciousness allows for.
Randlemon, Daniel E. « David Foster Wallace's communal middle ground ». Thesis, 2012. http://hdl.handle.net/1957/30341.
Texte intégralGraduation date: 2012
Harrison, Zoia. « On the iron gatepost / Zoia Harrison ». Thesis, 2004. http://hdl.handle.net/2440/22141.
Texte intégralIncludes bibliographical references (leaves 65-68)
257, 68 leaves : ill. (some col.), map ; 30 cm.
Thesis (Ph.D.)--University of Adelaide, School of Humanities, Discipline of English, 2004
Harrison, Zoia. « On the iron gatepost / Zoia Harrison ». 2004. http://hdl.handle.net/2440/22141.
Texte intégralIncludes bibliographical references (leaves 65-68)
257, 68 leaves : ill. (some col.), map ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, School of Humanities, Discipline of English, 2004
Jacob, Mark Christopher. « Constructions of identity in Marguerite Poland's Shades (1993) and Iron Love (1999) ». Thesis, 2003. http://hdl.handle.net/10413/10539.
Texte intégralThesis (M.A.)-University of Durban-Westville, 2003.
Finnegan, Lesley. « ‘The Old Iron Cooking Pot of Europe’ Storytelling, Sleuthing and Neo-colonialism in the Botswana novels of Alexander McCall Smith ». Thesis, 2006. http://hdl.handle.net/10539/1592.
Texte intégralIn this study I will interrogate some of the issues and contradictions raised by Alexander McCall Smith’s Botswana novels. These texts feature a black African woman protagonist in a developing society, and have achieved huge popular and commercial success, but they are written by a white European man. I will examine briefly whether the books can be considered as ‘African Literature,’ and how the author has negotiated the interface between history and literature to convince readers and critics in ‘the West’ that he is portraying ‘the real Africa.’ I will investigate the strategies used by the author to create this ‘authentic’, ‘traditional’ effect, how he writes convincingly as, about and on behalf of women, and the use he makes of the detective fiction mode. Ultimately I will consider whether these novels represent a restorative ‘writing back’ or whether they constitute a continuing appropriation of African history, culture and identity, a further re-invention of Africa by and for ‘the West’.
Mitchell, Euan Wallace. « Making noises : contextualising the politics of Rorty’s neopragmatism to assess its sustainability ». Thesis, 2005. https://vuir.vu.edu.au/1462/.
Texte intégral