Thèses : « Literary postmodernism »

1

Coughran, Christopher John. « Literary ecology and the fiction of American postmodernism / ». [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18752.pdf.

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Sutassi, Smuthkochorn Renner Stanley W. « Postmodernism and comparative mythology toward postimperialist English literary studies in the Thailand / ». Normal, Ill. Illinois State University, 1996. http://wwwlib.umi.com/cr/ilstu/fullcit?p9721398.

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Thesis (D.A.)--Illinois State University, 1996.
Title from title page screen, viewed May 26, 2006. Dissertation Committee: Stanley W. Renner (chair), Ronald Strickland, William W. Morgan, Jr. Includes bibliographical references (leaves 140-146) and abstract. Also available in print.

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Ferrari, Alessandro <1992&gt. « The undead phoenix. An insight into John Fowles’ literary postmodernism and its legacy ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/11646.

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The present paper will offer an insight into the meaning and legacy of the postmodernist phenomenon, with a strong stress and emphasis on its literary and cultural relevance. The first part will provide an analysis of the historical background preceding and shaping postmodernism, which will be counterbalanced by a two-chapter discussion about the philosophical stands in favour or against it. The core section will use Linda Hutcheon’s concept of narcissistic metafiction and John Fowles’ bestseller The French Lieutenant’s Woman as the basis for valuing the main characteristics and traits of postmodernist literature in the English-speaking environment. The final chapter of the paper will attempt an understanding of the modern-day relevance of postmodernism, especially in the light of the counter-theories developed to contrast it. The overall conclusion will state the ongoing importance of postmodernism in the literary field, in spite of its dismissal as an ideology.

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Carlisle, Allison L. « The Never-ending Quest : Possession as a Postmodern Literary Romance ». Oberlin College Honors Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1245362753.

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Wong, Siu-lung Marcus, et 黃少龍. « Different perspectives on the decentredness of the human subject in novels by Carol Shields and Toni Morrison ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952458.

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Alvarez, Araceli. « The Media as an Image Maker/Breaker : The Case of Tina Modotti and Its Literary Representation ». Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/34427.

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This thesis examines the role the media played in shaping Tina Modotti's public image during the 1920s in Mexico and the representation of this image in the novel Tinísima by Elena Poniatowska. In Chapter I, the present study tackles also the issues behind the press attitude in relation to the Mexican political situation and the communist influence during the 1920s. Chapter II provides a review of the existing literature on Modotti's life and her involvement in the Mexican Communist Party. It also includes a brief summary of the Mexican Communist Party's origins and development, since the political environment affected the approach of the press upon Modotti.

Chapter III focuses on social research through content analysis of press articles about Tina Modotti, which were published by the Mexican newspaper Excélsior in January 1929. The purpose is to analyze the language employed in these accounts in order to uncover a possible bias behavior on the part of the press when covering Modotti's case. Chapter IV deals with the analysis of Poniatowska's novel Tinísima through a postmodern perspective. The connecting theme between this and the former chapter is based on the insertion of articles from Excélsior that function as latent and manifest intertexts in the novel. The objective is to study these insertions in order to interpret Modotti's public and private images within this literary framework. Postmodernism is a pertinent theory since it examines the transgressions of widely accepted views to uncover or demystify reality. Finally, the conclusion in Chapter V links the use of the media as an image breaker to the Mexican social and political context in the 1920s, and suggests political reasons behind Modotti's mistreatment by the press. In addition, the literary representation of Modotti in Tinísima and the analysis through postmodernism provides strong support to this conclusion and points at the role of this novel as an image maker.
Master of Arts

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Oxoby, Marc C. « American literary fiction in a televisual age / ». abstract and full text PDF (free order & ; download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209131.

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Thesis (Ph. D.)--University of Nevada, Reno, 2005.
"August, 2005." Includes bibliographical references (leaves 217-227). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.

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Webb, Rebecca K. Strickland Ronald. « A conflict of paradigms social epistemology and the collapse of literary education / ». Normal, Ill. : Illinois State University, 2005. http://wwwlib.umi.com/cr/ilstu/fullcit?p3196657.

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Thesis (Ph. D.)--Illinois State University, 2005.
Title from title page screen, viewed September 27, 2006. Dissertation Committee: Ronald Strickland (chair), Victoria Harris, Janice Neuleib. Table of contents page gives incorrect page numbers. Includes bibliographical references (leaves 131-138) and abstract. Also available in print.

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Morrison, Jago. « Journeys around nostalgia : Jarrow, Ulysses and cultural elitism ». Thesis, University of Nottingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307713.

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Flavell, Helen. « Writing-between : Australian and Canadian ficto-criticism / ». Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.114143.

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Herrmann, Sebastian M., Katja Kanzler et Stefan Schubert. « Historicization without periodization : post-postmodernism and the poetics of politics ». Poetics of politics : textuality and social relevance in contemporary American literature and culture / Sebastian M. Herrmann [Hrsg.] ... Heidelberg : Winter, 2015. S. 7 - 26. ISBN 978-3-8253-6447-2, 2015. https://ul.qucosa.de/id/qucosa%3A14872.

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A large number of recent scholarship in (American) literary and cultural studies is devoted to describing the contemporary moment as a monumental break from the previous (or current) period, postmodernism, by hailing our contemporary times as the era of post-postmodernism, late postmodernism, metamodernism, cosmodernism, or of a similarly termed construction. In these different proclamations, we recognize a pervasive tendency to periodize, an attempt to separate phases of human existence and cultural creation into neat stages that ‘logically’ follow after one another to form a supposedly coherent narrative. This practice of periodizing comes with a number of pitfalls that many of these studies seem not fully aware of, and it in turn speaks to (and characterizes) the contemporary moment as one marked by a desire for the boundedness of such clear divisions. In the following pages, we chronicle the quandaries that follow from such implicit and explicit efforts of periodization by focalizing them through three different ‘creation myths’ of the contemporary that such efforts at periodization typically subscribe to. As a way of sidestepping these, we accentuate the strengths of more ‘local’ critical lenses, approaches that historicize without periodizing. As one such lens, we suggest to engage the contemporary moment through the ‘poetics of politics,’ a historical discursive formation in which literary and popular texts’ desire for political relevance is matched by a recognition, in politics, of the (meta)textual quality of political action.

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Wong, Siu-lung Marcus. « Different perspectives on the decentredness of the human subject in novels by Carol Shields and Toni Morrison ». Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161343.

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Lynn, Marie Elizabeth. « The Place of Story and the Story of Place : How the Convergence of Text and Image Marks the Opening of a New Literary Frontier ». Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/lynn/LynnM0507.pdf.

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While certain scholars are lamenting that literature has become less relevant in these postmodern times, I have found that this is not at all the case. What is actually happening is that literature is the process of change, due in no small part to our blossoming visual culture. Interweaving Native American and dominant culture literatures, this document explores the ways narrative has historically played a critical role, not only in constructing human identity, but also in defining our relationship with place. More recently, new literary hybrids, with various degrees of intertwining text with image, are proliferating. These literatures of image are propelling us beyond postmodernism into a new era.

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Pignagnoli, Virginia <1984&gt. « Paratexts 2.0 : new perspectives on twenty-first century literary narrative ». Doctoral thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/3974.

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In this study, I argue for the need to extend Genette’s typology of the paratext to analyze twenty-first century literary narratives. “Paratexts 2.0” are formalized in a model that presents the new categories of material peritexts and digital epitexts and their main functions. The new model provides a heuristic for contemporary narratives whose authors exploit various semiotic modes in their printed books, and the affordances of Web 2.0 technologies in the digital world. My dissertation is therefore also an attempt to complement the rhetorical approach to narrative with investigations on mediality and modality, and a discussion on the extra-textual dimension of authorial agency. Finally, according to a diachronic perspective, this study explores the ethical values embedded in the choice of using paratexts 2.0 as resources of narrative communication in relation to post-postmodern American literature.
In questo lavoro, si tenta di dimostrare la necessità di estendere la categorizzazione di paratesto di Genette per analizzare narrazioni letterarie del ventunesimo secolo. I “paratesti 2.0” vengono formalizzati in un modello che presenta due nuove categorie, quella dei peritesti materiali e quella degli epitesti digitali, con le rispettive funzioni principali. Il nuovo modello si propone di offrire una chiave di lettura per narrazioni contemporanee i cui autori fanno uso di diversi modi semiotici nel libro stampato e sfruttano le proprietà del Web 2.0 nel mondo digitale. La mia dissertazione è pertanto un tentativo di completare l'approccio retorico alla narrazione attraverso studi su medialità e modalità, e con una discussione circa la dimensione extra-testuale dell'autore. Infine, da una prospettiva diacronica, questo studio esamina i valori etici determinati dalla scelta di usare i paratesti 2.0 come una risorsa narrativa in relazione alla letteratura americana post-postmoderna.

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Payne, Christopher Neil. « Terminus intractable and the literary subject : deconstructing the endgame in Chinese avant-garde fiction ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29518.

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The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.

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Hahn, Chun-Fang Bettina. « Schoenberg and Bakhtin : dialogic discourse in the String quartet, op. 10, no. 2 / ». Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162238.

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Thesis (Ph. D.)--Indiana University, 2004.
Computer printout. Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0021. Chair: Marianne C. Kielian-Gilbert. Includes bibliographical references (leaves 242-254), abstract, and vita.

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Herrmann, Sebastian M., Katja Kanzler et Stefan Schubert. « Historicization without periodization ». Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-207652.

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A large number of recent scholarship in (American) literary and cultural studies is devoted to describing the contemporary moment as a monumental break from the previous (or current) period, postmodernism, by hailing our contemporary times as the era of post-postmodernism, late postmodernism, metamodernism, cosmodernism, or of a similarly termed construction. In these different proclamations, we recognize a pervasive tendency to periodize, an attempt to separate phases of human existence and cultural creation into neat stages that ‘logically’ follow after one another to form a supposedly coherent narrative. This practice of periodizing comes with a number of pitfalls that many of these studies seem not fully aware of, and it in turn speaks to (and characterizes) the contemporary moment as one marked by a desire for the boundedness of such clear divisions. In the following pages, we chronicle the quandaries that follow from such implicit and explicit efforts of periodization by focalizing them through three different ‘creation myths’ of the contemporary that such efforts at periodization typically subscribe to. As a way of sidestepping these, we accentuate the strengths of more ‘local’ critical lenses, approaches that historicize without periodizing. As one such lens, we suggest to engage the contemporary moment through the ‘poetics of politics,’ a historical discursive formation in which literary and popular texts’ desire for political relevance is matched by a recognition, in politics, of the (meta)textual quality of political action.

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Jeffery, Thomas Carnegie. « The location of meaning in the postmodernist literary text : a reading of Mark Z. Danielewski's House of Leaves and related material ». Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002238.

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In House of Leaves, Mark Z. Danielewski has produced a text which epitomises the traits and concerns of postmodernist literature. Through his attention to aspects such as metafiction, intertextuality and parody, Danielewski develops a narrative structure which is best understood as a literary labyrinth. It is a structure intended to reflect the social conditions of the twenty-first century and comment on the experience of people living at this time. Some of the meaning-making strategies within the book’s labyrinthine structure are thus discussed in detail in order to demonstrate the relevance and importance of House of Leaves as social commentary. House of Leaves is an exemplary postmodernist text, but it is also one that seeks to guide the reader beyond the intellectual impasse of the postmodernist paradigm toward a renewed ethical and political engagement with the world. One of the most important goals of both Danielewski’s novel and this thesis is to attempt to redefine the postmodernist perspective in such a way as to insist on the necessity of what I call a new realism. This is founded upon an awareness of the pervasiveness of the self-perpetuating ideology of capitalism, even in the perspective of postmodernism (which purports to subvert all authoritative ideologies). Playing a crucial role in perpetuating the status quo of capitalism is the growth of entertainment culture, which works to sideline crucial political issues by replacing information with infotainment. The result is an intensification of the processes of commodification. Such an intensification, it is argued, may be countered by a radical scepticism which draws upon the methods and insights of contemporary science.

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Ballardini, Anny. « Ghost Dance in 31 Movements ». ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/826.

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A kind of poetry that tries to understand contemporary social and philosophical issues as much as behaviors by rewriting in a poetic language the video artwork of some of the main representatives of modernism and postmodernism. Such poetry is deprived of confessional hues, any personal reference has to be ascribed to a mirroring effect by which the single person empathically absorbs and projects what is conveyed, be it stemming directly from the historical time of the artwork's making and inherited, or alive at the time of its actual viewing. By following a restructuring process started at the beginning of the twentieth century, the writing analyzes possible ways to outline developments or to underline breaking points. Poetry is seen as an active medium within the formation of societies characterized as it is by its highly introspective power, not restricted to the individual but open to all beings perceived as members of one entity.

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Desmarais, Maya. « En quête d'une écriture hors genre(s) : processus de déconstruction générique dans l’œuvre d’Angélica Gorodischer ». Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20091.

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Nous proposons, dans la lignée des études culturelles et des études de genre, de mettre en corrélation genres littéraires et genre (gender) à partir de l’analyse de l’œuvre narrative d’Angélica Gorodischer (1928), une auteure argentine contemporaine. Le positionnement de cette auteure féministe dans le champ littéraire repose sur la déconstruction des modèles normatifs pour interroger la logique même de catégorisation, tant au niveau des genres littéraires que des représentations sociales hétéronormatives, et donc genrées. En effet, le canon littéraire, en interaction avec le champ social, se structure à partir de rapports de domination, rendus invisibles et ahistoriques par un processus de naturalisation, dont la logique taxinomique renforce l’aspect hiérarchisant. Nous analysons les champs social et littéraire dans lesquels évolue cette auteure qui se caractérise par la rupture et assume une position périphérique par rapport à de multiples centres dont elle interroge, par son écriture, la légitimité. Ensuite, nous observons plus précisément son rapport à la norme et aux genres littéraires en étudiant les modulations génériques qu’elle opère vis-à-vis d’un cadre générique précis, puis les processus inter- ou transgénériques que les textes de l’auteure mettent en œuvre pour déconstruire, dans une logique postmoderne, taxinomies et hiérarchies. Les écarts ainsi générés par rapport au canon, qui participent à des processus anamorphotiques, mettent en tension les genres et perturbent le lecteur par rapport à ses horizons d’attente, tout en renouvelant ledit canon
We intend, as it is traditionally done in cultural and gender studies, to connect literary genres and gender by analyzing Angelica Gorodischer’s narrative work (1928), an Argentinian contemporary female writer.This feminist female writer undoes normative models in order to question the very logic of categorization, in literary genres as well as in heteronormative social representations. Indeed, the social field and the literary canon are defined by the naturalization of a domination scheme. Indeed, the literary canon, linked with the social field, is built from domination schenes, which become invisible and out of history thanks to a naturalization process. The categorization logic of this process thus strengthens the feeling of a hierarchical organization. We analyse the social and literary fields in which this female writer evolves. She represents a rupture and questions the legitimacy of multiple centres while keeping a peripheral position. Then, we study more precisely the way she considers norm and literary genres by analyzing the generic modulations she uses in her writing, starting from a specific generic background. We then focus on the inter or transgeneric process the feminist female writer’s texts implement to undo, in a post-modern logic, categories and hierarchies. By doing so, she deviates from the canon, creating anamorphosis process which bring out the limits of genres and disturb the reader’s expectations, renewing this canon

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Brauer, Kristen D. « The religious roots of postmodernism in American culture : an analysis of the postmodern theory of Bernard Iddings Bell and its continued relevance to contemporary postmodern theory and literary criticism ». Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/6264/.

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This thesis is an examination and reassessment of an early work on postmodernism written by the once prominent American critic, Bernard Iddings Bell, in 1926. Bell's work, Postmodernism, and other essays, provides us with one of the earliest documented uses of the term "postmodernism" in the English language. It also anticipates many of the pronouncements of later critics regarding the development of postmodernism in politics, philosophy, and literary criticism. Despite these facts however, or perhaps because of them, contemporary critics have continued to ignore Bell's work, charging that his thesis is "anti-modern" rather than "postmodern", and otherwise irrelevant to current debates on postmodernism. This thesis will challenge that interpretation. Here it will be argued that the decision to exclude Bell's work from current debates on postmodernism is based upon Bell's religious predilections. In addition to constituting a radical break with the knowledge systems of the past, Bell argues that postmodernism will also be accompanied by a large scale religious revival. This argument runs counter to the dominant critical consensus regarding the relationship between postmodernism and religion adopted by critics from Arnold J. Toynbee in the 1950s, to Fredric Jameson in the 1990s. The first part of the thesis is dedicated to analysis of the philosophical influences and historical background to Bell's essay with the aim of comparing and contrasting Bell's ideas with those found in more recent works on postmodernism. The second part examines the possible impact of Bell's thesis on the interpretation of contemporary American literature and literary theory. Rather than focusing on a "poetics of parody", or the theoretical implications of "irony and humour", as previous critics have done, we will focus here on how contemporary writers like John Updike, Don DeLillo, and Toni Morrison, have chosen to incorporate the themes of postmodern criticism with a critique of that criticism, especially where this touches on the subject of religion. We conclude that Bell's insistence that postmodernism will be defined by a renewed interest in religion and mystical theology still has merit in the realm of contemporary cultural debates. Postmodern criticism that attempts to exclude religion from this arena does so on the basis of a modern interpretation of religious evolution and secularization, and therefore runs the risk of reiterating an older modernist critique.

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Hietasaari, M. (Marita). « Totta, tarua vai narrinpeliä ?:Lars Sundin Siklax-trilogian (meta)fiktiivinen historiankirjoitus ». Doctoral thesis, Oulun yliopisto, 2011. http://urn.fi/urn:isbn:9789514296390.

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Abstract Historical novels are widely published and read in Finland. During the last few decades both Finnish and Finland-Swedish writers alike have addressed such incendiary topics as the Finnish Civil War and the events of the Second World War. The object of the present study is Lars Sund’s Siklax trilogy: Colorado Avenue (1991), Lanthandlerskans son (1997, ’Son of a Country Shopkeeper’) and Eriks bok (2003, ’Erik’s Book’). These novels can be defined as postmodern historical novels, relatively rare as a genre in Finland and even less studied. The impact of historical novels on readers’ attitudes may be strong, and as a result it is necessary to contemplate the ways in which history is reproduced and interpreted. The present study analyses the ways Sund’s novels represent the past, their relation to historiography and the historical novel as a genre, as well as their conception of history. The aim of the study is to demonstrate what kind of connection exists between narrative techniques and representations of the past. This study utilizes narratological, intertextual and contextual approaches. Cultural narratology integrates features from both classical and postclassical narratology, in consequence the novel’s narrative structures are examined as active forces that both reflect and influence the cultural discourses of a given period. During the research process, the narrative structure of Sund’s novels has been analysed as well as intertextual allusions to other texts and to other cultural and social discourses. The narrative structure of Sund’s historical novels suffices to raise epistemological questions about the achievability and reliability of historical knowledge. The occurrences of other media on the story and discourse level, such as descriptions of paintings and photographs and filmic narration, as well as numerous intertextual allusions, accentuate the polyphony of history and the subjectivity of historical conclusions. The present study connects Lars Sund’s historical novels with the international, Nordic and domestic tradition. Additionally, the analysis of the visual features of the novels connects the study with the abounding discussion on the relationship between word and image
Tiivistelmä Historiallisia romaaneja julkaistaan Suomessa runsaasti, ja laji on yhä lukijoiden suosiossa. Sekä suomen- että ruotsinkieliset kirjailijat ovat viime vuosikymmeninä käsitelleet maamme historian kipupisteitä, kuten kansalaissotaa ja toisen maailmansodan tapahtumia. Tutkimuksen kohteena on Lars Sundin Siklax-trilogia, jonka muodostavat romaanit Colorado Avenue 1991 (suom. Colorado Avenue 1992), Lanthandlerskans son 1997 (suom. Puodinpitäjän poika 1998) ja Eriks bok 2003 (suom. Erikin kirja 2004). Nämä teokset edustavat postmodernia historiallista romaania, jota Suomessa on kirjoitettu suhteellisen vähän ja tutkittu vielä vähemmän. Historiallisten romaanien vaikutus lukijan asenteisiin voi olla suuri, ja siksi on tarpeen pohtia myös niitä keinoja, joilla historiaa tuotetaan ja tulkitaan. Tutkimuksessa analysoidaan Sundin romaanien tapoja representoida mennyttä, historiankäsitystä sekä suhdetta historiankirjoitukseen ja historiallisen romaanin lajiin. Tavoitteena on selvittää, millainen yhteys kerrontatekniikoiden ja menneisyyden representaatioiden välillä on. Tutkimuksessa yhdistyvät narratologinen, intertekstuaalinen ja kontekstuaalinen tarkastelutapa. Analyysin kohteena ovat teosten kerrontarakenteet sekä viittaussuhteet toisiin teksteihin ja muihin kulttuurisiin ja yhteiskunnallisiin diskursseihin. Lähestymistapaa kuvaa parhaiten klassisen ja postklassisen narratologian piirteitä yhdistävä kulttuurisen narratologian käsite, jossa teoksen kerronnallisia rakenteita tutkitaan sekä aikakautensa kulttuurisia diskursseja heijastavana että niihin vaikuttavana aktiivisena voimana. Sundin historialliset romaanit nostavat jo rakenteellaan esiin epistemologisia kysymyksiä tiedon saavutettavuudesta ja luotettavuudesta. Muiden medioiden, kuten elokuva-, maalaus- ja valokuvataiteen, esiintyminen niin tarinan kuin kerronnan tasolla sekä lukuisat intertekstuaaliset viittaukset korostavat historian moniäänisyyttä ja tulkintojen subjektiivisuutta. Tutkimus osallistuu kuvan ja sanan vuorovaikutuksesta käytyyn vilkkaaseen keskusteluun ja kytkee Lars Sundin historialliset romaanit osaksi niin kansainvälistä, pohjoismaista kuin kotimaista traditiota
Abstrakt Historiska romaner publiceras det rikligt av i Finland och genren är fortfarande populär bland läsarna. Under de senaste decennierna har både finländska och finlandssvenska författare behandlat sådana nationella smärtpunkter som inbördeskriget, vinterkriget och fortsättningskriget. I denna avhandling forskas Lars Sunds Siklax-trilogi: Colorado Avenue (1991), Lanthandlerskans son (1997) och Eriks bok (2003). Dessa romaner representerar den postmoderna historiska romanen, som det till dags dato skrivits relativt litet om i Finland och ännu mindre forskats i. Historiska romaner konstruerar nationell identitet och deltar i den kulturella och politiska dialogen om det förflutna och nutiden. Deras inverkan på läsarens inställningar kan vara stark, och därför är det nödvändigt att reflektera på de medel med vilka historien produceras och uttolkas. I avhandlingen analyseras på vilket sätt det förflutna representeras i Sunds romaner; historieuppfattningen samt relationen till historieskrivningen och till den historiska romanen som genre. Syftet är att redogöra för hurdant förhållande det finns mellan berättarmetoder och representationer av det förgångna. I undersökningen förenas ett narratologiskt, intertextuellt och kontextuellt betraktelsesätt. Det gäller att analysera romanernas berättarstrukturer samt intertextuella referenser till andra texter och till andra kulturella och sociala diskurser. Betraktelsesättet skildras bäst med begreppet kulturell narratologi (cultural narratology), som förenar drag av den klassiska och postklassiska narratologin. Detta betyder att romanens narrativa strukturer granskas som en aktiv kraft, vilken både reflekterar tidens kulturella diskurser och påverkar dem. Själva konstruktionen av Sunds historiska romaner framför epistemologiska frågor om den historiska kunskapens åtkomlighet och pålitlighet. Andra mediers närvarande på historiens och på diskursens nivåer, så som beskrivningar av fotografier och målningar eller filmiskt berättande, och åtskilliga intertextuella hänvisningar, betonar historiens polyfoni och tolkningars subjektivitet. Undersökningen kopplar Lars Sunds historiska romaner till internationell, nordisk och finländsk tradition. Dessutom anknyter analysen av Sunds visuella material undersökningen till den livliga diskussionen om samspel mellan ord och bild

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Hayes, Katherine Jeanne. « Making meaning of madness : An integrated narrative approach to interpreting The Red Book ». Miami University Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1272091953.

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Smit-Marais, Susanna Johanna. « Castaways and colonists from Crusoe to Coetzee / Susanna Johanna Smit-Marais ». Thesis, North-West University, 2012. http://hdl.handle.net/10394/8724.

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Generic transformation of the castaway novel is made evident by the various ways in which the narrative boundaries that separate fiction from reality and history, the past from the present, and the rational from the irrational, are reconfigured in Umberto Eco’s The Island of the Day Before (1994), J.M. Coetzee’s Foe (1986) and Yann Martel’s Life of Pi (2002). The dissolution of boundaries reflects the dominant shift that has occurred in the castaway novel from the 18th century literary context to the present postmodern, postcolonial context. In this regard, the narrative utilizes various narratological strategies, the most significant being intertextuality, metafiction, historiographical metafiction, allegory, irony, and the carnivalesque. These narratological strategies rewrite, revise, and recontextualize those generic conventions that perpetuated the culture of masculinity and conquest that defines colonialism and the traditional castaway novel epitomized by Daniel Defoe’s Robinson Crusoe (1719). From a postcolonial perspective, the castaway’s state of being reflects on the condition of the colonized as well as the colonizer: his/her experience of displacement is similar to colonized peoples’ separation from their cultural, spiritual and personal identities; simultaneously, processes of appropriation, adaptation and control of space resemble colonization, thereby revealing the constructed nature of colonial space. As such, space is fundamental to individual orientation and social adaptation and consequently, metaphorically and metonymically linked to identity. In the selected postmodernist and postcolonial texts, the movement from the position of castaway to colonist as originally manifested in Robinson Crusoe is therefore reinterpreted and recontextualized. The postmodernist and postcolonial contexts resist fixed and one-dimensional representations of identity, as well as the appropriation and domination of space, that characterize shipwreck literature from pre-colonial and colonial periods. Rationalist notions of history, reality and truth as empirically definable concepts are also contested. The castaway identity is often characterized by feelings of physical and spiritual displacement and estrangement that can be paralleled to postmodernist themes of existential confusion and anxiety.
Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013

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Dvorak, John N. « Lukácsian aesthetics in a post-modern world : understanding Thomas Pynchon’s Mason & ; Dixon through the lens of Georg Lukács’ the historical novel ». Thesis, Kansas State University, 2010. http://hdl.handle.net/2097/3896.

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Master of Arts
Department of English
Timothy A. Dayton
This thesis project seeks to reconcile the literary criticism of Marxist critic and advocate of literary realism Georg Lukács with the writing of postmodern author Thomas Pynchon in order to validate the continued relevance of Lukácsian aesthetics. Chapter 1 argues that Lukács’ The Historical Novel is not only a valid lens with which to analyze Pynchon’s own historical novel, Mason & Dixon, but that such analysis will yield valuable insight. Chapter 2 illustrates the aesthetic transition from the historical drama to the historical novel by using Lukács’ ideas to explicate The Courier’s Tragedy, a historical drama found within the pages of Pynchon’s The Crying of Lot 49. Chapter 3 applies Lukács’ ideas on the “world-historical” figure and the “mediocre” hero of the classic historical novel to Mason & Dixon. Chapter 4 asserts that Mason & Dixon enables contemporary readers to experience the novel as what Lukács calls a “prehistory” to the present. This chapter also illustrates how the prehistory of Mason & Dixon anticipates Pynchon’s nonfiction essay “A Journey into the Mind of Watts.” Finally, this chapter demonstrates how Pynchon avoids the pitfall of modernization in Mason & Dixon, which Lukács defines as the dressing up of contemporary crises and psychology in a historical setting. Chapter 5 ties together the work of the previous four chapters and offers conclusions on both what Pynchon teaches us about Lukács, as well as what Lukács helps us to learn about Pynchon.

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Moffett, Joe. « The search for origins in the twentieth-century long poem : Sumerian, Homeric, Anglo-Saxon / ». Morgantown, W. Va. : West Virginia University Press, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015671691&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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de, Toro Alfonso. « Jorge Luis Borges o la literatura del deseo : descentración - simulación del canon y estrategias postmodernas ». El laberinto de los libros / Alfonso de Toro (ed.). Hildesheim 2007, S. 19 - 39 (Theorie und Kritik der Kultur und Literatur ; 40) ISBN 978-3-487-13512-0, 2007. https://ul.qucosa.de/id/qucosa%3A13085.

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La construcción y divulgación de un canon literario, sea éste en el contexto de las literaturas nacionales o de la literatura universal, provoca hasta hoy fuertes debates ya que representa algo elitista, lo más eximio de la literatura de una cultura como así también la inmortalidad de los autores. Todo esto constituye a su vez el prestigio de una país como nación cultural.:Observaciones prologómenas. - Borges y sus estrategias literarias. - Borges y el ANTi-canon: re-lecturas y re-escrituras infinitas

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Nadar, Sarojini. « Reading Ruth : towards a postmodernist, literary and womanist analysis ». Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7688.

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Bibliography: leaves 132-140.
This dissertation examines the book of Ruth from a postmodemist, literary and womanist perspective. The main methodology is postmodemist literary criticism, but it employs intertextual and autobiographical approaches as well. Chapter 1 is an exploration of the plot of Ruth and reveals that in order for the end goal of the plot to be achieved "emptiness has to return to fullness." It is shown that Ruth's action (her decision to return with Naomi) is the catalyst that begins the process that ultimately leads to the denouement of the plot. The fact that it is the two women, Ruth and Naomi, who drive the plot forward, indicates that the Book of Ruth is a woman's story. Chapter 2 demonstrates that the significance of narrative time for any literary analysis lies in the fact that the amount of time allowed for the retelling of the events rarely corresponds to the time it took for the events to happen. Since Ruth is a short story, the choice of what to tell, what to omit as well as how long to dwell on details are indeed significant. In other words it is shown that literary time is only spent on those aspects which are crucial for the advancement of the narrative. Since the reader's main goal is to see how the conflicts are resolved, the literary time spent on the resolution of the conflicts is an indication of where the weight of the story needs to lie. In this case, it is certainly with Ruth and Naomi judging from the amount of time spent on dialogues between the two women. They are therefore the ones that contribute to the resolution of the conflicts of the plot. Chapter 3 reveals that in the book of Ruth the narrative voice or the perspective of attitudes, conceptions and worldview are those of a woman. The fact that the book of Ruth is named after a woman; the fact that at the very outset all the males in the story die and it is the women that take over the narrative; the fact that in the end the women of Bethlehem declare that Ruth is better to Naomi than seven sons are just some of the reasons that substantiate the argument that the narrative voice in the book of Ruth was that of a woman. It is also shown that this narrative voice (whether overt or covert) subverts gender and ethnic expectations. Chapter 4 outlines the way in which biblical characters are portrayed. The subsections of chapter 4 deal with the characterisation of each major character: Naomi, Boaz, and Ruth. Chapter 4 is the longest chapter since it is difficult to evaluate characterisation without engaging the other facets of literary criticism as well, such as plot and dialogue.

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Baderoon, Gabeba. « Viewing postmodernist television : Moonlighting, Twin Peaks and The Simpsons ». Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/18257.

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Summary in English.
Bibliography: p. [181]-195.
Contemporary life is distinguished by a massive capacity for exchanging information. Increasingly comprehensive, global communication networks allow discrete realities to be linked. These prolific sources of representation generate a "membrane" of mediation, and a formal regime of fragmentation, depthlessness and allusiveness (Chambers, 11). These economic, epistemological and aesthetic conditions constitute postmodernism. This dissertation addresses the theoretical challenge of form by attempting to craft an approach commensurate to such semiotic density (Wollen, 65). Since formalist approaches have been criticised as ahistorical, attention is given to the concept's social dimensions hence the history and production context of communication technology is considered. The inquiry also acknowledges the specificities of its location. The matrix of unfamiliar allusions which characterises the South African experience of American texts, embodies the multi-tiered allusiveness of postmodernist texts. It also illustrates the cult precept that quotation can be appreciated even when its source is not recognized. Cult theorises viewership as active yet ambivalent (Eco, 1988, 454). The initial chapter delineates parameters in postmodernism, narrative, genre and cult theory. Subsequent chapters examine three postmodernist television series: Moonlighting, a detective series, Twin Peaks, a soap opera, and The Simpsons, an animated sitcom. Deploying parody, self-reflexivity and intertextuality, each has a complex relation with genre. Tony Bennett conceives of the latter as zones of sociality which constitute and are constituted by other zones (105). Changes in genre therefore articulate changes in modes of thinking and inscribe different reading strategies.

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Vichnar, David. « L'Avant-postman : James Joyce, L'avant-garde et le postmoderne ». Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030010.

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La thèse, intitulée « L’Avant-Postman: James Joyce, L’Avant-Garde et le Postmoderne », s’efforce de construire une généalogie littéraire post-joycienne, centrée sur les notions de l’avant-garde joycienne et de l’expérimentation littéraire, et prend les deux dernières œuvres de Joyce, Ulysses et Finnegans Wake, pour points de départ des avant-gardes d’après la seconde guerre mondiale, une époque généralement appelée « postmoderne », en Grande-Bretagne, aux États-Unis, et en France.L’Introduction identifie la notion d’une avant-garde joycienne à l'exploration, par Joyce, de la matérialité du langage et l’identification de sa dernière œuvre, le « Work in Progress », à la « Révolution du mot », défendue par Eugène Jolas dans sa revue transition. L’exploration joycienne de la matérialité du langage se comprend selon trois orientations : l'écriture conçue comme une trace physique, susceptible d’être distordue ou effacée ; le lan-gage littéraire compris comme une forgerie des mots des autres ; le projet de la création d’un idiome personnel, défini comme un langage « autonome », qui doit être caractéristique de la littérature vraiment moderne.La thèse est divisée en huit chapitres, deux pour la Grande-Bretagne (de B.S. Johnson, Brooke-Rose à Iain Sinclair), deux pour les États-Unis (de Burroughs et Gass à Acker et Sorrentino) et trois pour la France (le nouveau roman, l’Oulipo, et la groupe Tel Quel). Le Chapitre VIII retrace l’héritage joycien pour la littérature après 2000 dans ces trois espaces na-tionaux. La conclusion définit l’avant-garde joycienne, telle qu'elle est thématisée après la seconde guerre mondiale, comme un défi adressé à la notion de « postmoderne »
The thesis, entitled “The Avant-Postman: James Joyce, the Avant-Garde and Postmodern-ism,” attempts to construct a post-Joycean literary genealogy centred around the notions of a Joycean avant-garde and literary experimentation written in its wake. It considers the last two works by Joyce, Ulysses and Finnegans Wake, as points of departure for the post-war literary avant-gardes in Great Britain, the USA, and France, in a period generally called “postmodern.”The introduction bases the notion of a Joycean avant-garde upon Joyce’s sustained explora-tion of the materiality of language and upon the appropriation of his last work, his “Work in Progress,” for the cause of the “Revolution of the word” conducted by Eugene Jolas in his transition magazine. The Joycean exploration of the materiality of language is considered as comprising three stimuli: the conception of writing as physical trace, susceptible to distortion or effacement; the understanding of literary language as a forgery of the words of others; and the project of creating a personal idiom as an “autonomous” language for a truly modern literature.The material is divided into eight chapters, two for Great Britain (from B.S. Johnson via Brooke-Rose to Iain Sinclair), two for the U.S. (from Burroughs and Gass to Acker and Sorrentino) and three for France (the nouveau roman, Oulipo, and the Tel Quel group). Chapter Eight traces the Joycean heritage within the literature after 2000 of the three national literary spaces. The conclusion contextualises the theme of the Joycean post-war avant-garde as a challenge to the notion of “postmodernism.”

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Domingues, Maria Izabel Velazquez. « Alasdair Gray's Lanark in the scottish contemporary scene : a matter of postmodern identity ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/134290.

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Esta é uma leitura crítica de Lanark: a Life in Four Books do escritor escocês Alasdair Gray (1934), cujos talento e estilo se constituem exemplo da literatura contemporânea da Escócia. Esta investigação tem por objetivo determinar o papel exercido pela produção do autor nas esferas literária, cultural e sociopolítica da Escócia de hoje. Ao transitar entre ficção e meta-ficção, arte e autobiografia, Gray encara os paradoxos envolvidos ao tentar revitalizar traços da identidade nacional. O trabalho de Gray não pode ser considerado sem o reconhecimento de que a sua literatura é, simultaneamente, local e universal. Ela pertence ao cosmos escocês o qual é destacado por lutas culturais assim como é também dominante por ser escrita em Inglês e, com isso, alcançar leitores de todas as partes do mundo dentro das fronteiras transpostas pela Língua Inglesa. Essa é uma das razões pelas quais esta pesquisa busca lançar luz sobre a cena literária contemporânea escocesa, empenhando-se em preencher uma lacuna existente no currículo acadêmico brasileiro de nossos cursos de graduação e pós-graduação no que tange o tratamento e a abordagem das outras Literaturas produzidas em Língua Inglesa. Para tanto, a tese está dividida em três partes. A primeira considera a literatura escocesa em relação à formação, ratificação e reavaliação do significado de senso de identidade nacional, como observado diacronicamente através do período entre 1940 e 1970. A segunda parte focaliza os novos olhares no cenário cultural da Escócia por um grupo de escritores repleto de estilo, história e visão, os New Scottish Writers. As estratégias de Gray para lidar com ficção e biografia em Lanark assim como sua reflexão sobre a natureza do mundo são de grande importância para este trabalho. Com embasamento teórico no entendimento de Linda Hutcheon sobre meta-ficção historiográfica, intertextualidade, parodia e ironia no pós- modernismo, eu tento enquadrar, no Capitulo Três, as manobra literárias desempenhadas pelo autor ao usar tais recursos textuais no romance. Espero que o resultado desta tese de doutorado possa ser útil como reflexão sobre o presente estado de discussões sobre a literatura Escocesa pós-moderna e, ao mesmo tempo, como um meio de tornar os leitores acadêmicos brasileiros mais familiarizados com a obra de Alasdair Gray.
This is a critical reading of Lanark: a Life in Four Books, a novel by the Scottish writer Alasdair Gray (b. 1934), whose talent and style provide a fitting example of Scotland’s contemporary literature. The aim of this investigation is to determine the role played by Gray’s production in the literary, cultural and sociopolitical spheres of present-day Scottish life. In his blending of fiction and metafiction, of art and autobiography, the author faces the paradoxes involved in the attempt to stress the marks of a national identity. Gray’s work cannot be considered without recognizing that his literature is both local and universal. It belongs to the Scottish cosmos which is highlighted by cultural struggles as well as it is dominant, once it is carried out in English reaching readers all over the world from within the limits and format determined by the English Language. That is one of the reasons why this research aims to shed light on the current Scottish literary scene, attempting to fill an existing gap in the Brazilian academic curriculum respecting the treatment and approach of Literatures produced in English in our undergraduate and graduate courses. The dissertation is divided into three parts. The first contextualizes Gray in Scotland’s literature in its relation to the formation, ratification and revaluation of the concept of a sense of national identity as observed diachronically, throughout the period between 1940s and 1970s. The second section focuses on the new looks at Scotland’s cultural scenario by a distinguished group of writers burst with style, history and post-devolution vision, the New Scottish Writers. Gray’s strategies to deal with a fictional and biographical context in Lanark and his reflection upon world’s nature and worth are of great importance for this work. By the reading of Linda Hutcheon’s understanding on historiographic metafiction, intertextuality, parody and irony in postmodernism, I attempt to frame in Chapter Three the literary maneuvers Gray makes in using such textual resources in his novel. I hope that the result of this doctoral thesis may be useful both as a reflection upon the present state of the discussion about Scotland’s postmodern literature, and as a means of making the Brazilian academic readers more familiar with the work of Alasdair Gray.

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Gustrén, Cia. « Getting out of Strange Spaces : A Reconstructive Reading of Paul Auster’s Oracle Night ». Thesis, Högskolan i Gävle, Engelska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-29353.

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As the title of this essay suggests, Paul Auster’s 2003 novel Oracle Night is studied with regard to what is here considered to be a search for a way out of estrangement. This search, as narrated from the point of view of the protagonist, is followed by a certain recognition of the limits of human existence – which may be essentially meaningless but is nevertheless portrayed as an intentional state of being, not least through the act of writing as a means of subjectification. Thus, the novel is read with a special focus on the thematic representation of writing and human subjectivity. These overarching themes may be approached with reference to two different philosophies or theoretical positions – postmodernism and existentialism. The purpose of the essay is to study the extent to which Oracle Night may be understood in terms of an existentialist (reconstructive) critique of, or challenge to, a postmodernist (deconstructive) perspective. In order to follow this line of inquiry, the analytic method rests on narrative thematics. This kind of narratological study answers the question what Auster’s novel is about and in what ways the theoretical perspectives in question are expressed in the novel. Thematic motifs are examined within the frame of a six-step model of narrative units. These units are based on Carsten Springer’s (2001) elaboration on the theme of identity crisis in Auster’s fiction and made it possible to put different motifs into a context and convey the point of view of the text in a systematic way.

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Dreyer, Nicolas D. « 'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin ». Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.

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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.

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Beneke, Nanette. « The formation and transformation of identity in the novel and film of Great expectations by Charles Dickens / N. Beneke ». Thesis, North-West University, 2008. http://hdl.handle.net/10394/582.

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The research done in this study was motivated by the notion that individuals (or societies) create their own reality through the specific space they occupy at a certain moment in time. This concept of reality implies an "interspace" between (con)texts that could be described as a hybrid (a term that is used to describe the mixing or intermingling of different aspects or liminal space between various (con)texts. As the notion of identity is closely related to the interaction of the individual with a specific context, the main aim of the research was to promote hybridity as a form of identity by exploring the relationship or dialogue between literature (novel) and film as texts. For this purpose, a comparison was made between the formation of identity in the novel Great Expectations by Charles Dickens and its twentieth century counterpart in film produced by Twentieth Century Fox (directed by Alfonso Cuaron and adapted by Mitch Glazer). The main difference between the two texts, the different periods in which the works were produced, constituted an important point of departure for this study. It also revealed that the main character of the respective texts, Pip/Finn, possesses a type of "core personality" of a sense of values that refuses to be repressed, despite the character's interaction with context as reflected in the interplay between the similarities and differences between the texts. The methodological approach was based on the Brockmeier model which suggested an imbrication of theories such as narratology, semiotics and intertextuality that could all contribute, in some way, towards the formation of "textual" identity. The analysis ,first identified three (con)textual aspects/constants in the formation of identity, namely ideological influences, strategies of writing and social reality, in the novel Great Expectations, and then proceeded to illustrate the transformation of these contextual markers in the twentieth century film version. 'The comparison indicated an expansion of the narrator's/protagonist's historic consciousness in the film that correlated with the cultural dominants of the specific time: the film's realist mode as opposed to the postmodernist expansion or fusion of boundaries. The two texts were perceived to be engaged in a dialogue with no conclusive interpretation, an aspect familiar to the postmodernist approach.
Thesis (Ph.D. (English))--North-West University, Potchefstroom Campus, 2008.

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Limond, Kate Elizabeth. « Authorship and strategies of representation in the fiction of A.S. Byatt ». Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/30175.

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This thesis examines the portrayal of authorship in Byatt’s novels with a particular focus on her use of character-authors as a site for the destabilisation of dominant literary and cultural paradigms. Byatt has been perceived as a liberal-humanist author, ambivalent to postmodern, post-structuralist and feminist literary theory. Whilst Byatt’s frame narratives are realist and align with liberal-humanist values, she employs many different genres in the embedded texts written by her character-authors, including fairy-tale, life-writing and historical drama. The diverse representational practices in the novels construct a metafictional commentary on realism, undermining its conventions and conservative politics. My analysis focuses on the relationship between the embedded texts and the frame narrative to demonstrate that Byatt’s strategies of representation enact a postmodern complicitous critique of literary conventions and grand narratives. Many of the female protagonists and minor characters are authors, in the broad sense of cultural production, and Byatt uses their engagement with representation of women in literature to pose questions about how cultural narratives naturalise patriarchal definitions of femininity. That Byatt’s female characters resist patriarchal power relations by undermining the cultural script of conventional femininity has been under-explored and consequently critics have overlooked significant instances of female agency. Whilst some branches of postmodern and feminism literary theory have conceptualised agency differently, this thesis emphasises their shared analysis of the discursive construction of subjectivity, as it illuminates Byatt’s disruption of literary conventions. My focus on the embedded texts and the discursive construction of authorship in Byatt’s fiction enables me to address the numerous paradoxes and inconsistencies in the novels as fertile sites that undermine Byatt’s presumed politics.

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López, Medel Pablo. « La intertextualidad como recurso literario en la narrativa breve posmoderna de Juan José Arreola ». Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/170355.

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[ES] El propósito de esta investigación es dar a conocer e intentar comprender la función de la intertextualidad en la obra literaria del autor mexicano Juan José Arreola (1918- 2001). Su estilo ecléctico, marcado por la prosa poética, la brevedad y la ironía, comparte un claro denominador común: la continua referencia a otros textos. A través de múltiples referencias a otras obras, Arreola nos invita en sus cuentos a un nuevo modo de lectura basado en un escritura que define una voz única y original, construida, paradójicamente, a través de otras voces. Esta tesis presenta un acercamiento teórico al concepto de la intertextualidad literaria, su conexión con la narrativa breve posmoderna y por qué es un recurso fundamental en la literatura hispanoamericana del siglo XX y, especialmente, en la mexicana. Asimismo, se plantea un análisis detallado de la última edición de su obra Bestiario que incluye una propuesta metodológica de lectura, en busca de referencias a otros textos, cómo se relacionan, cómo se utilizan y con qué intenciones. La obra de Arreola debe ser leída desde la intertextualidad, ya que se construye a través de ella, en una suerte diálogo permanente con la propia literatura. Esta técnica de escritura, tan característica en la narrativa breve de un autor de tan difícil catalogación como Juan José Arreola, hace imprescindible tanto una lectura intertextual como, sobre todo, la participación de la comunidad lectora, que será la que conecte el entramado de referencias y complete su significado, en un adelanto de las estéticas del pensamiento posmoderno literario del siglo XX.
[CA] El propòsit d'aquesta investigació és donar a conèixer i intentar comprendre la funció de la intertextualitat en l'obra literària de l'autor mexicà Juan José Arreola (1918- 2001). El seu estil eclèctic, marcat per la prosa poètica, la brevetat i la ironia, comparteix un clar denominador comú: la contínua referència a altres textos. A través de múltiples referències a altres obres, Arreola ens convida en els seus contes a una nova manera de lectura basat en un escriptura que defineix una veu única i original, construïda, paradoxalment, a través d'altres veus. Aquesta tesi presenta un acostament teòric al concepte de la intertextualitat literària, a la seua connexió amb la narrativa breu postmoderna i als motius pels quals és recurs fonamental en la literatura hispanoamericana del segle XX i, especialment, en la mexicana. Així mateix, es plantegen una anàlisi detallada de l'última edició de la seua obra Bestiari i una proposta metodològica de lectura, a la recerca de referències a altres textos, com es relacionen, com s'utilitzen i amb quines intencions. L'obra de Arreola ha de ser llegida des de la intertextualitat, a través de la qual es construeix, en una mena de diàleg permanent amb la mateixa literatura. Aquesta tècnica d'escriptura, tan característica en la narrativa breu d'un autor de tan difícil catalogació com Juan José Arreola, fa imprescindible tant la lectura intertextual com, sobretot, la participació de la comunitat lectora, que serà la que connecte l'entramat textual i complete el seu significat, en un avançament de les estètiques de la pensament postmodern literari del segle XX.
[EN] This research aims to present and understand the function of intertextuality in the literary work of the Mexican author Juan José Arreola (1918-2001). His eclectic style, marked by poetic prose, brevity, and irony, shares a clear common denominator: the continuous reference to other texts. Through multiple references to other works, Arreola invites the recipient of his stories to a new way of reading on account to author's unique style and original voice, constructed, paradoxically, through other voices. This dissertation presents a theoretical approach to the concept of literary intertextuality, its connection with the Postmodern short narrative, and explores why it is a fundamental resource of 20th Century Hispanic American literature and, especially, in Mexican literature. Likewise, this work presents a detailed analysis of the latest edition of his work Bestiary and a methodological reading proposal, searching for references to other texts, how they are related, how they are used, and with what intentions. Arreola's work must be read from intertextuality since it is built through it, in a permanent dialogue with literature itself. This writing technique, so characteristic in the short narrative of an author of such difficult cataloging as Juan José Arreola, makes essential intertextual reading and, above all, the readers' participation, which will be the ones that connect the framework of references and complete its meaning, in a preview of the aesthetics of 20th Century literary Postmodern thinking.
López Medel, P. (2021). La intertextualidad como recurso literario en la narrativa breve posmoderna de Juan José Arreola [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/170355
TESIS

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Dale, Daniel. « Beyond the Textual : Multimodal Print Fiction, Postmodernism, and Digital Literacies ». University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522319323132118.

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Fischer, Bettina. « The expressionist debate in the light of the concerns of postmodernity : Lukacs, Brecht, Lyotard and Habermas ». Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/18587.

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This dissertation investigates the debate between Georg Lukács and Bertolt Brecht in the 1930s, known as the Expressionist Debate and the controversy between Jean-Francais Lyotard and Juergen Habermas. which took place in the 1980s. The two debates. both of which took place among writers of the Left are juxtaposed in order to shed more light on the issues at stake in the Expressionist Debate when looked at in the light of postmodern concerns. The dissertation is based on selected texts by each of the four writers. Bibliography: pages 82-85.

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Gonçalves, Eliana de Oliveira. « A intertextualidade e a compreensão do discurso literário : Arraia de Fogo e Nove Noites ». Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tede/5231.

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This dissertation results from the research on the intertextuality as a dual mechanism, which applies to construction as well as the reception of literary texts, by reason of the discourse that it engenders in them. To reach this aim, the work sought first to understand the term intertextuality by the historic construction of its concept in the language phenomenon inner, under Mikhail Bakhtin perspective, and analyzed in several settings which acquired as object of theoretical studies in the linguistic and literary fields. The second movement focused on the aesthetic dimension of intertextuality in fictional text, as a phenomenon that has always been present in the literature, discriminated between several ways, that reflect the continuous resumption of what has been already said, and that has constantly a new sight in accordance with the specifications of each system; and that assumes determinative characteristic in contemporary art, considered postmodern. Thus, through comparative analysis of the novels Arraia de Fogo of José Mauro de Vasconcelos and Nove Noites of Bernardo de Carvalho, which allows putting into focus the theme of suicide, common to both of them, one can conclude that the thematic intertextuality that is around them feeds from lots of interdiscursive nuclei, contributing, therefore, to fill empty spaces through triggering the repertory composed in the memory of the reader, so that he can build the literary discourse meaning effects .
A presente dissertação resulta da pesquisa sobre a intertextualidade como um duplo mecanismo, que se aplica à construção assim como à recepção de textos literários, em razão do discurso que neles engendra. Para isso, o trabalho buscou primeiramente compreender o termo intertextualidade pelo expediente da construção histórica de seu conceito no interior do fenômeno da linguagem, sob o ponto de vista de Mikhail Bakhtin, e o analisou nas diversas configurações que adquiriu como objeto de estudos teóricos nos campos linguístico e literário. O segundo movimento focalizou a intertextualidade na dimensão estética do texto de ficção, como um fenômeno desde sempre presente na literatura, discriminado sob várias modalidades, as quais vêm refletir a contínua retomada do já dito, constantemente revestido de um novo olhar, em atendimento das especificações de cada sistema; e que assume característica determinante na arte contemporânea, considerada pós-modernista. Assim, mediante a análise comparativa dos romances Arraia de Fogo de José Mauro de Vasconcelos e Nove Noites de Bernardo de Carvalho, que possibilita pôr em foco o tema do suicídio, comum a ambos, pode-se concluir que a intertextualidade temática que os circunscreve alimenta-se de diversos núcleos interdiscursivos, contribuindo, com isso, para o preenchimento de espaços vazios por meio do acionamento do repertório constituído na memória do leitor, para com ele construir os efeitos de sentido do discurso literário.

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Gaj, Natasha E. « "Dazed and Confused and Triumphant" : An Exploration of Ergodic Literature ». Kent State University Honors College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1620689542646212.

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Paquereau, Marine. « Le réalisme social américain à l'ère postmoderne : (Russell Banks, Raymond Carver, Richard Ford) ». Thesis, Dijon, 2015. http://www.theses.fr/2015DIJOL017/document.

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Cette étude se penche sur les œuvres de Russell Banks, Raymond Carver et Richard Ford, qui ont débuté leur carrière dans les années 1960-1970. À une époque où les milieux académiques s’intéressent davantage à l’autoréflexivité et aux jeux métafictionnels des écrivains postmodernes, les trois auteurs revendiquent, quant à eux, leur appartenance à la tradition réaliste. Dans « Quelques mots sur le minimalisme », John Barth suggère que le retour du réalisme social à partir des années 1970 peut être vu à la fois comme une réaction à la fiction dite « postmoderne » et comme un symptôme du malaise social et économique de l’époque. En effet, Cathedral, Continental Drift et The Sportswriter décrivent, dans un souci de vraisemblance et d’exactitude, la vie quotidienne d’Américains ordinaires malmenés par la politique de Reagan. Cette étude montre que les trois auteurs s’inscrivent dans la tradition du réalisme social, mais qu’ils sont influencés par le contexte postmoderne dans lequel ils écrivent et tiennent compte des problèmes de représentation typiques de cette période. Leurs œuvres sont donc marquées par une tension entre le respect des conventions littéraires propres à la tradition réaliste et la mise en évidence de l’artificialité de l’illusion mimétique, à une époque où la réalité elle-même est vue comme une construction linguistique
His study focuses on the works of Russell Banks, Raymond Carver and Richard Ford. They started writing during the 1960s and 1970s, at a time when the self-reflexivity and metafictional play of postmodernist writers were drawing a lot of critical attention in academic circles. However, they consider themselves to be realist writers. In “A Few Words about Minimalism,” John Barth suggested that the return to realist fiction in the mid-1970s could be both a reaction against so-called “postmodernist” fiction and a symptom of the social and economic unease of the period. Indeed, Cathedral, Continental Drift and The Sportswriter describe in accurate detail the everyday lives of ordinary American men and women during Reagan’s presidency. This study demonstrates that these authors are part of the American realist tradition, but that their strand of social realism also takes into account the postmodern context in which they write, by dealing with problems of representation that are typical of the period. Their works both use and challenge the literary conventions associated with the realist tradition, by underlining the artificiality of mimetic illusion at a time when reality itself is seen as a linguistic construct

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McDonald, Trent A. « Between Artifice and Actuality : The Aesthetic and Ethical Metafiction of Vladimir Nabokov and David Mitchell ». Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1400014295.

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Potkalitsky, Nicolas J. « Refracted Realism and the Ethical Dominant in Contemporary American Fiction ». The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1563283222402333.

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Leffler, Hannah. « A National Idiom Universally Understood : Brazilian Tradition and Personal Evolution in Osvaldo Lacerda's "Variações e Fuga para quinteto de sopros" ». Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248512/.

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The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.

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de, Toro Alfonso. « Introducción [Jorge Luis Borges : Translación e Historia] ». Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-159310.

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En algunos trabajos ya publicados he puesto una serie de materiales a disposición para la discusión sobre la postmodernidad y la postcolonialidad en Europa y Latinoamérica, en particular sobre la obra de Borges, con la finalidad de establecer una base mí nima para una discusión científica y, así, tratar de excluir la polémica ideológica o de cualquier tipo. Partiendo de estos trabajos quisiera, a continuación, resumir características y elementos constitutivos de la obra de Borges o, al menos, de un buen número de textos que se inscriben como marcas de la postmodernidad y postcolonialidad, y confrontar así el tema en cuestión.

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Ameille, Aude. « Aventures et nouvelles aventures de l’opéra depuis la Seconde Guerre mondiale : pour une poétique du livret ». Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040065.

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Le genre opératique a connu une histoire mouvementée depuis la Seconde Guerre mondiale, celle d’une « mort » et d’une « renaissance ». Cette thèse s’attache à déterminer les raisons qui ont conduit compositeurs et spectateurs à délaisser l’opéra après 1945, laissant à penser que le genre allait disparaître, puis celles qui ont amené le retour en faveur de celui-ci à partir du début des années 1980 jusqu’à l’époque présente. À la lumière de ce contexte historique, cette étude propose une poétique du livret moderne et postmoderne, en s’intéressant aussi bien aux conditions concrètes de son élaboration qu’à ses particularités thématiques ou stylistiques. Elle souligne ses spécificités par rapport aux livrets des siècles antérieurs, mais attire également l’attention sur la permanence de certaines caractéristiques. Ce travail contribue ainsi à définir le livret comme un genre littéraire à part entière
Operatic genre has had a turbulent existence since the end of World War II, going through death and revival. This dissertation tries to determine the motivations of composers and spectators who tended to neglect opera after 1945 – time when the genre seemed bound to disappear – and then, the reasons leading to a new interest in opera from the eighties onwards. In the light of this historical context, the present study proposes a poetics of modern and postmodern libretto, studying the concrete conditions of its conception as well as its thematic or stylistic peculiarities. This essay underlines its specificity in comparison with libretto from past centuries, but also draws attention to the persistence of some characteristics. Therefore, this dissertation contributes to the definition of libretto as a full-fledged literary genre

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Brito, Junior Antonio Barros de. « Obra aberta : teoria da vanguarda literaria nas obras teorico-criticas de Umberto Eco ». [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270063.

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Orientador: Marcio Seligmann-Silva
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação lida com os conceitos de obra aberta, vanguarda e kitsch, nas obras teórico-críticas do semiólogo italiano Umberto Eco, com o objetivo de observar como o conceito de obra aberta esclarece e fundamenta uma dialética entre norma e invenção, em artes, e entre vanguarda e kistch, no cenário artístico contemporâneo. Na primeira parte, revisamos as bases epistemológicas de Eco, em particular os trabalhos de Luigi Pareyson e dos formalistas russos; em seguida, tratamos dos principais conceitos de sua teoria semiótica, a fim de compreender (a) o conceito de abertura, mediante a dicotomia entre mensagens estéticas e mensagens referenciais; (b) como a abertura promovida pelas mensagens estéticas desafiam os hábitos interpretativos impostos pelo uso repetitivo das mensagens referenciais; e (c) como é possível, a partir disso, construir uma ideologia contestadora. De posse de um modelo estrutural, buscamos compreender como se dá a dialética entre vanguarda e kitsch, analisando as suas respectivas implicações ideológicas face aos argumentos anteriores. Na segunda parte, propusemos uma discussão da poética do Pós-modernismo com base nas reflexões acima, evidenciando a sua possibilidade de difundir, mediante uma linguagem paródica, uma ideologia contestadora, na medida em que ela exibe um elevado grau de abertura. Finalizamos com um breve estudo dos romances de Eco, apontando para uma contradição entre o que ele postula como valor artístico no plano teórico e o que ele produz como ficcionista
Abstract: This dissertation deals with the concepts of open work, avant-garde and kitsch present in the theoretical and critical works of the Italian semiologist Umberto Eco, in order to observe how the concept of open work sheds light upon and founds a dialectic between norm and invention in the field of the arts, and between avant-garde and kitsch in the contemporary artistic scenery. In the first section, we review Eco¿s epistemological basis, in particular the works of Luigi Pareyson and the works of the Russian formalists; afterward, we deal with the main notions within Eco¿s semiotic theory, in order to grasp (a) the concept of openness, by means of the dichotomy between aesthetical messages and referential messages; (b) how the openness fostered by the aesthetical messages challenges the interpretative habits imposed by the repetitive use of the referential messages; and (c) how is it possible, since that, to build a controvert ideology. In possession of a structuralist model, we intend to comprehend how the dialectic between avant-garde and kitsch art sustain itself, by the analysis of their respective ideological implication in face of the preceding argumentation. In the second section of this dissertation, we propose a discussion of the poetics of postmodernism based on the ideas above, trying to evince its possibility to diffuse a controvert ideology by means of the parody, while it shows a high degree of openness. We finalize this dissertation with a short study of Eco¿s novels, when we point to a contradiction between what he postulates as the artistic value in the field of theory and what he actually produces as novel writer
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

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Brandon, Sean Thomas. « Workers as thinkers in new times : critical literacy development in the restructured workplace : a case study ». Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/36564/1/36564_Brandon_1998.pdf.

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This case study set out to investigate the extent to which and ways in which critical literacy is taught within a workplace language and literacy course at a worksite subject to restructuring. In addressing this research aim the researcher set out to establish why particular teaching strategies were used, how effective these strategies were, how course participants experienced critical literacy education provision and how and why particular discourse influences framed critical literacy as it was taught and enacted during the course. The researcher employed a qualitative case study approach to research design which drew on multiple data gathering and analysis techniques. Central to this approach were a series of theoretical propositions which acted as a guide for data selection and analysis. These propositions emerged out of theory in the fields of workplace literacy education, educational psychology, educational philosophy and corporate management. Research revealed that course development and implementation was largely concordant with study propositions. The pedagogical approach employed was predominantly collaborative and afforded participating workers varying degrees of control over learning strategies and outcomes, both tacit and overt acknowledgment of existing critical literacy capabilities of course participants underpinned class activities, existing work practices and issues were problematised, and a relatively safe and supportive classroom environment gradually developed, in which sensitivity to the cultural contexts of workers' lives was displayed. Hence, research offered a valuable opportunity to ponder the nature and efficacy of a pre-eminently workercentered approach to critical literacy development in a restructured work environment. Evidence presented in this report, suggests that workers undertaking the course gained in self-confidence and demonstrated a greater willingness to engage in decision making and problem solving processes. Moreover, findings implied a link between workers securing control over learning strategies and outcomes and an observable increase in the magnitude and sophistication of critical literacy capabilities as displayed in critical dialogue. It was also found, that problematising issues and events acted as the catalyst for critical dialogue, and that displays of critical dialogue could be attributed, in part, to the teacher's ability to develop a supportive classroom environment. However, whilst course participants demonstrated competency in their capacity for critical dialogue, this was not demonstrated to the same extent in the written medium. A further significant finding was that the concept of critical literacy was developed and enacted overwhelmingly within the Discourses of New Times (an umbrella term describing a myriad of, more or less, characteristic discourse formations and practices allegedly shaping Australian industrial and training reform). Notably, research revealed no aspect of critical literacy development designed to foster metalevel critique of New Times work management reform.

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Scholtz, Eric. « Sosiale konstruksionisme as 'n pastoraal-terapeutiese benadering ». Thesis, Pretoria ; [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-05252005-155616.

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Allen, Rika. « Media ethics : a postmodern perspective in the search for truth, meaning and reality ». Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/50016.

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Thesis (MPhil)--Stellenbosch University, 2004.
ENGLISH ABSTRACT: According to recent research done in the field of media ethics, it seems that there is a need to complement studies on systematic normative ethics with more flexible theories such as those proposed by the field of Philosophy and Sociology. This assignment would like to prove that a more holistic model of moral reasoning should be considered based on the point of departure that the media and media practitioners find themselves in a postmodern world. The aim of this assignment is to examine the possibility of a postmodern ethics as a more authentic attempt by which the concept media ethics can be understood and applied. This assignment is a contribution towards the re-examination of media ethics in terms of a postmodern understanding of reality, truth and meaning, as well as an exploration of their practical implications in the context of a postmodern society such as South Africa and its media. According to the postmodern understanding of the concepts truth and meaning in relation to the postmodern understanding of reality, the postulated principles will define responsible journalism (media ethics) as journalistic action that takes into account how people (news consumers and sources of news) form their understanding of reality in a postmodern context. What purports to be reality in the news is inevitably a reconstruction of reality that fits the needs and requirements of journalistic practice. In this light, responsible journalism can be understood as journalistic action that creates a more holistic, authentic understanding of "reality" and how people understand themselves and others in the world they live in. Most people are informed by the media about themes such as the cloning of human beings, the war in Iraq, the attack on the World Trade Centre and genocide in Rwanda and not because of having been there themselves (direct experience). The way in which the media reports about events does influence the way in which media users make sense of the world in which they live.
AFRIKAANSE OPSOMMING: Na aanleiding van onlangse navorsing gedoen in die gebied van media-etiek, blyk daar 'n behoefte te wees om sistematiese normatiewe etiek met meer omvattende teorieë aan te vul, soos voorgestel in die studie rigtings van Filosofie en Sosiologie. Hierdie werkopdrag wil bewys dat, indien in ag geneem word dat die perswese homself in 'n postmoderne wêreld bevind, 'n meer holistiese modeloorweeg kan word vir diskoerse in media-etiek. Die doel van die werkopdrag is om die moontlikheid van 'n postmoderne etiek te ondersoek as 'n meer outentieke benadering waarvolgens die konsep media-etiek verstaan en aangewend kan word. Die werkopdrag lewer 'n bydrae ten op sigte van 'n herevaluasie van media-etiek in terme van 'n postmodernistiese lees van realiteit, waarheid en betekenis. Die praktiese implikasies van 'n postmoderne media-etiek in die konteks van 'n postmoderne samelewing, soos dié van Suid-Afrika en die Suid-Afrikaanse media, salondersoek word. Na aanleiding van 'n postmoderne interpretasie van die konsepte waarheid, betekenis en realiteit, stel die werkopdrag 'n raamwerk voor waarbinne verantwoordelike joernalistiek op etiese wyse beoefen word en rekening hou met die postmoderne interpretasie van die samelewing. Dit is onvermydelik dat dit wat as werklikheid in die nuus daargestel word, 'n rekonstruksie van die werklikheid is om aan die behoeftes van joernalistieke praktyke te voldoen. In die lig van bogenoemde, kan verantwoordelike joernalistiek gedefinieer word as joernalistieke optrede wat 'n meer holistiese, outentieke interpretasie van die werklikheid en begrip van die leefwêreld oordra.

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Thèses sur le sujet « Literary postmodernism »

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