Thèses sur le sujet « Literature fiction history criticism general »
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1
Van, Hove Hannah Jean. « 'How to begin to find a shape?' : situating the mid-twentieth century fiction of Anna Kavan, Alexander Trocchi and Ann Quin ». Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8199/.
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This thesis is concerned with situating the works of Anna Kavan (1901-1968), Alexander Trocchi (1925-1984) and Ann Quin (1936-1973) within a discussion of British mid-twentieth century fiction. The relative neglect of these authors in academic criticism may be due to the fact that much British experimental writing has previously been ignored in surveys of this period. This thesis argues that a study of their work warrants a more nuanced understanding of the mid-twentieth century literary landscape than conventional accounts have allowed for. In that sense, it aims to contribute to research undertaken in more recent years which is concerned with revising dominant accounts of this period. The broader framework for the thesis is provided in Chapter 1 which examines past and present accounts and categorizations of mid-twentieth century British fiction. The remaining three chapters then focus on the 1940s work of Kavan, the fiction written during the 1950s by Trocchi and Quin’s novels of the 1960s. As well as contributing to research concerned with overviews of this period, this thesis furthers individual studies of each of the novelists presented here. By drawing on archival material and reading their works in conversation with their time and place, it attempts to understand the ways in which the experimental fiction of these three authors responded to the social, cultural and historical forces at work in Britain between the forties and the sixties. Whilst all three authors started out from a strategy of subjectivity, rooting their experimentation in a turn inwards, their works, as this thesis suggests, can be construed of as political in their concern with drawing attention to the osmotic effects of exteriority on interiority.
2
Vázquez-Medina, Olivia. « Cuerpo presente : imaginería corporal, representación histórica y textura narrativa en Yo el Supremo (1974), Noticias del Imperio (1987) y el General en su Laberinto (1989) ». Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670014.
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Muscolino, Stephen J. « Writing in real-time, fictions of digitization : the novels of Don DeLillo and Dave Eggers ». Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8276/.
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By tracking the intersection of contemporary fiction and the information technologies of the digital age, this thesis argues that the narratives being produced over the past ten years have evolved into a distinct genre of literature, one where the aesthetics of fragmentation and postmodern uncertainty must confront the new realities of a digitally saturated culture and society. In order to demonstrate this alteration in contemporary fiction, this thesis considers novels written within the past ten years that reflect on this new form of textuality, namely Don DeLillo’s Cosmopolis (2003) and David Eggers’ The Circle (2013). These texts demonstrate a paradigm shift in contemporary literature, a new kind of fiction in which American society, culture, economics, and politics, are all directly affected by various forms of digital mediatisation. These authors reflect an altered cultural zeitgeist within their fiction—writings which can be differentiated from the postmodern literary aesthetic—prompted by neoteric digital technologies coupled with the ubiquitous nature of the Internet. Although this topic is broad and covers multiple fields of scholarly interests, my thesis nonetheless concerns itself with a very specific line of questioning: will our authors have the imaginative wherewithal and social sensitivity to keep pace with changes brought forth by the explosion of information technologies? If so, what type of fiction is likely to emerge from this new digital environment? By taking a focused approach and using contemporary literature as representative of these massive social, economic, and political transformations, my research recalls Kurt Vonnegut’s “Canary in the Coal Mine” dictum: the writer has always been the first to notice the dramatic effects of technology on the individual and the culture at large.
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Stratton, Sarah Louise. « More than throw-away fiction : investigating lesbian pulp fiction through the lens of a lesbian textual community ». Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8245/.
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This thesis argues for, and conducts close reading on, lesbian pulp fiction published in the United States between 1950 and 1965. Though a thorough investigation of a lesbian textual community centred on the lesbian periodical, The Ladder (1956-1952), this thesis forms a lens through which to closely read lesbian pulp fiction novels. This thesis maintains that members of this textual community were invested in literary discussions, as evinced through the publication of book reviews. Moreover, the lesbian textual community of The Ladder actively participated in literary discussions through the ‘Readers Respond’ column. Spring Fire (1952) by Vin Packer and The Beebo Brinker Chronicles (1957 to 1962) by Ann Bannon are investigated for implicit and explicit criticisms of 1950s sexual politics and the politics surrounding lesbian representation in popular media. For the members of The Ladder’s lesbian textual community, pulp novels belonging to the ‘Golden Age of Paperbacks’ were more than cheaply produced reading materials.
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Allen, Elizabeth. « The dislocated mind : the fiction of Raymond Williams ». Thesis, Liverpool John Moores University, 2007. http://researchonline.ljmu.ac.uk/5857/.
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Chan, Wai-ying, et 陳惠英. « Chinese lyrical fiction in the period 1919-1989 ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212864.
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Buscall, Jon. « 'Being Helle', +, Creative writing at the nexus of fiction & ; theory : a case study analysis of the interaction between fiction & ; critical praxis ». Thesis, Liverpool John Moores University, 2004. http://researchonline.ljmu.ac.uk/5856/.
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This project is comprised of a novel, Being Helle, and an accompanying dissertation. Being Helle explores in fictional form a number of ideas relating to the uneasy relationship between the individual, digital media and late-capitalism that emerge after undertaking a reading of the fiction of Don Delillo and Bret Easton Ellis alongside the critical theory of Jean Baudrillard and Fredric Jameson. Being Helle interrogates Baudrillard's contentious notion that the hegemony of capitalism undermines the autonomy of the individual subject. This is evident on a number of levels, both stylistically and thematically: the novel explores and reflects how late-capitalism's pervasive digital media affects the writer, the individual and the shape, form and scope of fiction writing. Following the life of photographer Helle Dahl, who has recently moved to Copenhagen, Being Helle ultimately challenges the limits of Jean Baudrillard's theoretical position as regards the influence of capitalism on the individual subject. Although the essential self may well be under attack in an era of rabid capitalism, Being Helle considers whether there are ways and means of formulating some kind of resistance to this, especially through artistic endeavour. The accompanying dissertation, Creative Writing at the Nexus of Fiction & Theory, is a case study analysis of the interaction between reading and creative praxis, focusing in detail on the kind of reading and thinking that took place in the production of Being Helle. In this way, the critical component of this project documents how when a writer engages in reading critical theory alongside fiction a "possibility space" is established which allows for a criticalcreative "cross-over" to occur. In the dissertation I posit that a writer who's methodological approach to novel writing embraces the reading of critical theory and fiction in tandem establishes a useful basis from which an informed cultural debate in the form of a novel can occur.
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Mathews, Peter David 1975. « Strategies of realism : realist fiction and postmodern theory ». Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.
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Oppelt, Riaan. « The valley trilogy : a reading of C. Loius Leipoldt's English-language fiction circa 1925-1935 ». Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_7246_1257247882.
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C. Louis Leipoldt is known as a canonical figure in the history of Afrikaans poetry, He is customarily included in the pantheon of writers such as C.J. Langenhoven who not only established Afrikaans as a standardized national language in the early twentieth century, but also contributed to the idea of the Afrikaner Volk as a distinct nation within South Africa. The recent publication of Leipoldt's Valley Trilogy, three novels written in English in the 1930's now reveals Leipoldt in a very different light. Today, in a time of national transformation, Leipoldt's liberal ideas deserve to be given the broader scope he had intended for them.
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Saggers, Emma Louise. « Carnivalesque inversion : the subversive fiction of Kurt Vonnegut ». Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19697/.
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This thesis considers the novels of Kurt Vonnegut, focusing on Cat’s Cradle (1963), Player Piano (1952), and Slaughterhouse-Five (1969), through the literary theories of Mikhail Bakhtin. It concentrates on Bakhtin’s carnivalesque inversion from Rabelais and his World (1965), his theoretical perspectives on the text as a site of struggle from The Dialogic Imagination (1975), and the practical application of his theories with the novel as polyphonic from Problems of Dostoevsky’s Poetics (1963). The thesis concentrates on three main themes: religion, technology, and war. Chapter One will examine the theme of religion in Cat’s Cradle. It will consider how religion is presented in society and how fundamental opinion can become embedded in our social and cultural structures. It will further consider the cultural shift in belief from religion to science, juxtaposing the two ideals and highlighting the destructive forces of absolute belief and fundamental opinion. Chapter Two will concentrate on Player Piano, and how technology could have a detrimental effect on the progress of human civilisation. It considers how valuable technology is to the human experience, and what happens to civilisation if humans are forced to surrender everything that gives their lives meaning. Chapter Three will analyse Slaughterhouse-Five, looking closely at the representation of war, and its effects on the mental state of those that are forced to encounter it. It will engage with the ‘ideals’ of war presented in society juxtaposed with the experience of actually taking part in war. Vonnegut critiqued the American social, political and religious structures prevalent throughout his life. To Vonnegut, America had the possibility to become a blueprint for the rest of the world, a role model for the liberation and equality of all human beings, but it needed work.
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Duggan, Lucy. « Reading the city : Prague in Czech and Czech-German narrative fiction since 1989 ». Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3827cf9c-fa91-4fb5-aa7e-8942de885729.
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In the course of its history, Prague has been the site of many significant cultural confrontations and conversations. From the medieval chronicle of Cosmas to the work of contemporary writers, the city has taken shape in literature as a multivalent space where identities are constructed and questioned. The evolution of Prague's literary significance has taken place in an intercultural context: both Czech-speaking and German-speaking writers have engaged with the city and its past, and their texts have interacted with each other. The city has played a central part in many collective narratives in which myth, history and literature intertwine. Looking at contemporary prose fiction written in both Czech and German, this thesis explores continuities and contrasts in the literary roles played by Prague. It analyses two German-speaking emigrant authors, Libuše Moníková (1945-1998) and Jan Faktor (1951- ), viewing them alongside three Czech writers, Jáchym Topol (1962- ), Daniela Hodrová (1946- ), and Michal Ajvaz (1949- ). Through close readings of eight texts, the thesis approaches the imagined city from four angles. It discusses how contemporary authors portray the search for meaning in the city by imagining Prague as two contrasting realms (the 'real' city and the 'other' city), how the discontinuities of the city are reflected by the fragmentation of the authorial stance, how these authors assemble new Prague myths from the vestiges of older topoi, and how they confront the contradictory urges to uphold the boundaries of the city and to transgress them. In post-1989 Prague, authors explore the unstable spaces between continuity and discontinuity, constructing an authorial ethos in these areas of tension.
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MacLeod, Alexander. « Between a rock and a soft place : postmodern-regionalism in Canadian and American fiction ». Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19527.
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This study calls for a re-evaluation of contemporary regionalist literary theory. It argues that traditional models of the discourse have been too heavily influenced by nineteenth century realist aesthetics and political ideologies. Because most scholars continue to interpret regionalist texts according to a resolutely empirical reading of geography, literary regionalism has fallen out of touch with the new kinds of "unrealistic," generic landscapes that now dominate North American culture in the postindustrial era. Drawing heavily on recent work by postmodern geographers such as Edward Soja, David Harvey, Michael Dear and Derek Gregory, this project updates regionalist theory by "re-placing" the artificially stabilized reading of geography that dominated the nineteenth century with a more self-consciously spatialized reading of what Soja calls our contemporary "real-and-imagined" places. By grafting together traditional regionalism and postmodern spatial theory we improve on both contributing discourses. In a "postmodern-regionalist" literary criticism, traditional regionalism sheds its reputation for theoretical naivete, while the elusive abstractions of postmodern theory gain a real-world referent, and a specific geographical index. When we "read postmodernism regionally" - - when we aggressively interrogate where this kind of fiction comes from and the places it represents - - we realize that the canons of postmodern fiction in Canada and the United States have been influenced by two very different spatial epistemologies. Rather than being "determined" by their real geographies, Canadian and American postmodernism have been more directly influenced by two different readings of geography. Works by Thomas Pynchon, Toni Morrison, and Don DeLillo demonstrate that American postmodernism often interprets social space according to what Henri Lefebvre calls the idealistic "the illusion of transparency," while texts by Canadian postmodernists such as Robert Kroetsch, Wayne Johnston and Guy Vanderhaeghe tend to fall under Lefebvre's more materialistic "illusion of opacity." The ambiguous figure of Douglas Coupland - - a Canadian writer most critics treat as an American - - puts the spatial conventions of postmodernism in both countries in sharp relief. In an American postmodernism, dominated by generic suburban settings, regions will almost always be seen as imaginary projections, while in a Canadian postmodernism, dominated by the Prairies, regions will almost always retain some sense of their material reality.
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Shishkin, Timur. « Marginalized Characters in Contemporary American Short Fiction ». PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.
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The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
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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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Kerr, Matthew P. M. « With many voices : the sea in Victorian fiction ». Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:873709c4-cc2e-4679-a7c3-12ddcca7c02e.
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This thesis considers some of the ways in which the sea was written about and written with in English nineteenth-century prose fiction. It has become a commonplace of literary criticism that, in the century preceding modernism, prose fiction about the sea was unthinking and uninteresting: indentured to outworn generic codes, tied to certain clichés of national identity, Empire, or slipshod sublimity, and vaguely evoking some or all of them. This thesis does not attempt a general contradiction of this view. What this thesis does suggest is that Victorian fiction is not always naïve about its subject and, at times, displays an awareness of the generic and stylistic hazards attendant upon writing about the sea. To write about the sea was to risk writing vaguely. However, to Victorian novelists who wished to draw on vagueness, the sea offered a subject and a style that could be put to use. The introduction sets out the terms of my discussion both of vagueness, and of the attitudes of Victorian writers and readers to the sea as a setting and theme for fiction. The terms of philosophical vagueness are compared with the nineteenth century’s most influential aesthetics of obscurity: the sublime. The purchase of these theories is then tested, first in relation to Ruskin’s lifelong interest in representing the sea in painting and prose, and second with reference to novels by George Eliot, Thackeray, and Gaskell. Prior critical approaches are also considered, as is the topic of empire, which I explain is not my primary focus. The body of the thesis is devoted primarily to three author studies: Frederick Marryat, Charles Dickens, and Joseph Conrad. Each author wrote vaguely about the sea, though vagueness is shown to be, in all three cases, a resource that can be drawn upon with degrees of self-consciousness; if, by the beginning of the nineteenth century, vague language was considered appropriate to the sea, the linguistic resources that the sea in turn offered began to seem increasingly applicable to experiences characterised by uncertainty. I suggest that the sea establishes conditions that invite a rereading of the many repetitions in Marryat’s novels. These repetitions can be viewed, I argue, as traces of Marryat’s struggle to find a language appropriate to the ocean. In Dickens’s writing, the sea is often present as a source both of metaphor and of experience. I suggest that the slippery doubleness of the literary sea is a means by which both Dickens’s characters, and the individuals he encounters as a journalist, can be made to coexist with their ideal or literary doubles. In my chapter on Conrad, I argue that the sea forms a crucial element of the kind of literary impressionism Conrad recommends in his preface to The Nigger of the ‘Narcissus’ (1897) and elsewhere. Vagueness arises when the border between linguistic concepts becomes blurred. Two short interludes, on the subject of shores and depths respectively, consider such permeable thresholds. These interludes also provide a means of charting changes that occurred across the period, a counterpoint to the more temporally specific focus of the author studies. I conclude with a brief discussion of Virginia Woolf’s The Waves (1931). Critics have distinguished the high modernist sea from what came before; this coda insists that the sort of vagueness valued by Woolf has an earlier origin.
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齊曉楓 et Hsiao-feng Chi. « Patterns of husband selection in traditional Chinese fiction and drama ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.
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Steenkamp, Elzette Lorna. « Identity, belonging and ecological crisis in South African speculative fiction ». Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002262.
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This study examines a range of South African speculative novels which situate their narratives in futuristic or ‘alternative’ milieus, exploring how these narratives not only address identity formation in a deeply divided and rapidly changing society, but also the ways in which human beings place themselves in relation to Nature and form notions of ‘ecological’ belonging. It offers close readings of these speculative narratives in order to investigate the ways in which they evince concerns which are rooted in the natural, social and political landscapes which inform them. Specific attention is paid to the texts’ treatment of the intertwined issues of identity, belonging and ecological crisis. This dissertation draws on the fields of Ecocriticism, Postcolonial Studies and Science Fiction Studies, and assumes a culturally specific approach to primary texts while investigating possible cross-cultural commonalities between Afrikaans and English speculative narratives, as well as the cross-fertilisation of global SF/speculative features. It is suggested that South African speculative fiction presents a socio-historically situated, rhizomatic approach to ecology – one that is attuned to the tension between humanistic- and ecological concerns.
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李仕芬 et Shi-fan Lee. « The male characters in the fiction of contemporary Taiwanese women writers ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.
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Zheng, Baoxuan, et 鄭寶璇. « The theme of alienation in modern Chinese and Anglo-American fiction ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31206803.
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Calderón, Jorge. « Configurations aporétiques, fiction de l'histoire et historicité de la fiction : Simone de Beauvoir, Albert Camus et Jean-Paul Sartre ». Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85134.
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In this dissertation I explain the transition from modernism to postmodernism through the study of the French existentialist novel. I follow theories that demonstrate that the latter owes its success to historiographic metafiction. By setting off the aporias that deeply penetrate modern novels, I demonstrate the obsolescence of the prototype of the realist novel and I explain the impasses towards which the project of a committed literature lead, inscribed in the line of realism and aimed at an almost direct relation with society and history through the mediation of art between 1945 and 1955 in France.On one hand I consider literature as an object which can be described by the methodologies of history. On the other hand I suggest an analysis of the historicity of the text that is constituted by the dynamic system generated by the interaction, the interdependence, and the correlation of the poetic and aesthetic parameters and the factors of the historical context. My aim is to set off the poetic and aesthetic mecanism of stability and of transformation of literary creation according to the dynamic relation between the vector of the project associated to realism and the one of the prototype associated to the novel. I think that late modernism produces paradoxical configurations of the novel because it is the period in which the project of realism becomes lapsed and the prototype of the realist novel becomes dilapidated.
Among the works that are exemplary of the tension between fiction and history and between project and prototype in the framework of the representation of reality and of the inscription of history in novels, I identified Albert Camus' La Peste, Simone de Beauvoir's Les Mandarins and Jean-Paul Sartre's Les Chemins de la liberte . I conclude that the enterprise of committed literature was an aporias because it was generated from the impoverishment of the project of realism and the obsolescence of the prototype of the novel. Later literature was extricated, firstly, by the radically and extremely metafictional writing of the Nouveau Roman and, secondly, it was changed by postmodern historiographic metafiction. The crisis of history and of the writing of history was solved by works in which there is the acknowledgement and the use of sophisticated mediations to evoke and inscribe history in different ways.
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Proietti, Salvatore. « The cyborg, cyberspace, and North American science fiction ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0021/NQ44558.pdf.
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Kocela, Christopher. « Fetishism as historical practice in postmodern American fiction ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38213.
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This study contends that postmodern American fiction dramatizes an important shift of philosophical perspective on the fetish in keeping with recent theories of fetishism as a cultural practice. This shift is defined by the refusal to accept the traditional Western condemnation of the fetishist as primitive or perverse, and by the effort to affirm more productive uses for fetishism as a theoretical concept spanning the disciplines of psychoanalysis, Marxian social theory, and anthropology. Analyzing the depiction of fetishistic practices in selected contemporary American novels, the dissertation utilizes fetish theory in order to clarify the unique textual and historiographic features of postmodernist fiction. It also emphasizes the way in which conventional ideas about history and teleology are necessarily challenged by an affirmative orientation toward the fetish. Part One of the dissertation, comprising the first two chapters, traces the lineage of Western thinking about fetishism from Hegel, Marx, and Freud to Derrida, Baudrillard, and Jameson, among others. Recognizing that traditional theories attribute the symbolic power of the fetish to its mystification of historical origins, Part One posits that poststructuralist and postmodernist contributions to the subject enable, but do not develop, an alternative concept of fetishism as a practice with constructive historical potential. Part Two of the study seeks to develop this historical potential with reference to prominent descriptive models of postmodernist fiction, and through close readings of five contemporary American authors: Thomas Pynchon, Kathy Acker, Robert Coover, John Hawkes, and Don DeLillo. The four chapters of Part Two each examine the fictional representation of fetishism within a different theoretical framework, focusing on, respectively: temporality and objectivity in postmodern fiction theory; the interrelation between psychoanalytic theory and female fetishism in novels by Pynchon and Acker
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Fung, Kit-ting, et 馮潔婷. « Decolonizing fictions : the subversion of 19thcentury realist fiction ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953001.
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Moeketsi, Solomon Monare. « Space and characterization in Sesotho novels ». Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53060.
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Thesis (PhD)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: This study examines space and characterization in Sesotho novels focussing on three main categories such as the space of travelling characters; the space of migrating characters; and the space as an abstraction. CHAPTER 1 introduces the aims of study as well as the theoretical framework which forms the basis on which the study is analysed. The notions of space and character are discussed within the theoretical framework of structuralism, and the focus is placed on narratology. CHAPTER 2 studies the travelling characters, focus is on Mofolo's novels, Moeti wa botjhabe/a and Pitseng which depict two types of space where one space is presented as traditional, and the other as a westernized space. The traditional and westernized spaces are symbolized by means of bad and good characters respectively. The good characters are depicted as angels, and the bad characters as monsters. CHAPTER 3 examines the space of migrating characters that leave their rural spaces for the urban spaces. Their characters are shown by means of changes that they experience at different spaces. In most of the novels examined, characters are motivated by certain desires to act in a particular way, and the change in them is the result of a crucial situation in life, hence we say characterization and space in those novels are reconciled in an appropriate way. CHAPTER 4 deals with the space as an abstraction which shows how the characters' personalities are affected by the political, psychological and socio-economic factors. Characterization in these novels is good except in Makappa's novel, Thatohatsi. In CHAPTER 5 we look as to whether the novels are good or bad in terms of literary appreciation and conclusion is drawn to the effect that it is not heredity that makes up a character, but the social environment. This is achieved through the literary aspects such as the way conflict is handled, types of characters and the portrayal of the space in which the characters live.
AFRIKAANSE OPSOMMING: Die navorsing wat hierdie proefskrif gedoen is het die soeklig op ruimte en karakterisering in Sesotho novelles laat val. Klem is op drie hoof-kateqorie gele. uimte wat deur rondreisende karakters ingeneem word, die ruimte wat deur nomadiese of rondtrekkende karakters beslaan word, en ruimte as n bepaalde begrip. Hoofstuk 1 stel die leser voor aan die doelwitte van die navorsing, sowel as die teoretiese raamwerk wat die grondslag waarop die studie berus, vorm. Die begrippe 'ruimte' en 'karakter' word binne die teoretiese raamwerk van die strukturalisme bespreek en die fokus word in hierdie geval op die vertelkunde geplaas. Hoofstuk 2 Ie klem op rondreisende karakters en ondersoek Mofolo se novelles Moeti wa botjhabela en Pits eng waarin twee soorte ruimtes uitgebeeld word; naamlik, tradisionele ruimte en verwesterse ruimte. Tradisionele en verwesterse ruimtes word onderskeilik deur slegte en goeie karakters versinnebeeld. Die goeie karakters word as engele uitgebeeld, terwyl die slegte karakters as monsters voorgestel word. In Hoofstuk 3 word die ruimte van die nomadiese karakters wat hulle plattelandse ruimte vir 'n stedelike ruimte verruil, ondersoek. Hierdie karakters word deur middel van veranderinge wat in verskillende ruimtes plaasvind, voorgestel. In die meeste novelles wat ondersoek is, het die karakters op n sekere manier opgetree omdat hulle deur bepaalde begeertes daartoe gedryf is. Die verandering in die lewens van hierdie karakters as gevolg hiervan, kan dan beskou word as die direkte gevolg van sekere deurslaggewende gebeurtenisse. Karakteriseering en ruimte word dus in hierdie novelles op n geskikte wyse met mekaar verbind. Hoofstuk 4 neem die begrip 'ruimte' onder die loep om sodoende aan te dui hoe die karakters se persoonlikhede deur politieke, sielkundige en sosio-ekonomiese faktore beinvloed word. Karakterisering in hierdie novelles is geslaagd, behalwe in Makappa se novelle Thatohatsi. In Hoofstuk 5, word aandag geskenk aan die beoordeling van die novelles in terme van die hulle literere waarde en daar word tot die gevolgtrekking gekom dat dit nie oorerflike eienskappe is wat gestalte aan 'n bepaalde karakter gee nie, maar veel eercer sy omgewing. Oit word veral duidelik as gelet word op bepaalde literere aspekete soos die manier waarop konflik uitgebeeld word, asook die beskrywing van die ruimte waarin die karakters hulle bevind.
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Van, Huyssteen Konstant. « Populêre vs. literêre grensverhale : twee beelde van die Angolese oorlog (1966-1989) ». Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/19512.
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Bibliography: pages 198-207.In this dissertation, a study is made of two bodies of fiction documenting the South African soldier in Angola. The fiction was limited to Afrikaans short stories, as this genre is believed to best reflect the fragmentary, explosive experience of combat. This demarcation also served as a way of limiting the body of fiction for the study. A cut-off year of 1990 was taken. The rationale for this is that the late seventies and eighties was the golden age for the publication of border fiction, and that Southwest AfricaNamibia gained independence in 1990 with a SWAPO (South West Africa People's Organisation) government, thus largely defeating the purposes of South African military involvement in Namibia and Angola. The collections of short stories that were analyzed in this study, were divided into two categories. The stories published in popular family magazines such as Die Huisgenoot were considered to be popular fiction. These stories are overtly accepting of South Africa's involvement in Namibia and Angola, and are highly propagandistic. The collections Ses Wenverhale (1988) by Maretha Maartens and others, and Verby die wit brug (1978) by Johan Coetzee, were analyzed as examples of this category. In the category of literary short stories, Wie de hel het jou vertel? (1988) by Gawie Kellerman and 'n Wereld sonder grense (1984) by Alexander Strachan were analyzed. It is important to note that the texts were selected thematically i.e. the criterium was that they had to have the South African soldier in South West AfricaAngola as main theme. Analyses of the texts are based on the thesis formulated by H P van Coller in his article "Afrikaanse literatuur oor die gewapende konflik in Suider-Afrika sedert 1963 - 'n voorlopige verslag". In this report, Van Coller mentions that studies comparing the literary border fiction with the popular border fiction, have been left behind. The study aims at examining this unexplored territory and looks extensively at how these two bodies of fiction differ. It was found that two radically different images of the border war emerge from the two bodies of fiction: the popular fiction is uncritical, war is presented more as an exciting game in the popular fiction, whereas it is presented as deadly, yet addictive, in the literary fiction. The ideological backgrounds from which the stories are written, are fundamentally opposed: the popular fiction often sees the war as a continuation of the white man's struggle for survival on a violent continent, and God is assumed to be on the South African side. The literary fiction documents a loss of God and criticises the government, censorship and apartheid. The literary fiction also fulfills a function of reporting - that which has not been said in the media due to censorship by government. The scope of the popular fiction is much narrower than the literary fiction, ignoring issues such as homosexuality in the army, torture and atrocities. Finally, the conclusions differ, with a sentimental "all will be well" in the popular fiction, as opposed to the fundamental pessimism in the literary fiction.
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Pelletier, Valérie. « Etude sur l'entremêlement des concepts d'histoire et de fiction dans la littérature historique et fantastique en Chine ». Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79969.
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The fantastic stands as an important part of Chinese culture. It is in fact through its literature that it has been made possible for us to enjoy this heritage. With the study of fantastic tales and anomaly accounts, this thesis tackles the problem of rationalism in relation with supernatural. It attempts to understand the mechanisms of the intermingling of the concepts of fiction and history, through the comparison of Chinese historical and fictional texts, as well as parallels between China and Europe. It will also deal with the concepts of nature, in both the perspectives of China and Europe, and the Enlightenment.
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Jorgensen, Darren J. « Science fiction and the sublime ». University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0116.
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[Truncated abstract] This thesis makes three assertions. The first is that the sublime is a principal pleasure of science fiction. The second is that the conditions for the emergence of both the sublime and science fiction lie in the modern developments of technology, mass economy and imperialism. Maritime and optical technologies; the imagination that accompanied imperialism; and the influence of capitalism furnished the cognition by which the pleasures of both science fiction and the sublime came into being. The third claim is that a historical conception of the sublime, one that changes according to the different circumstances in which it appears, offers privileged insights onto changes within the genre. To make such extensive claims it has been necessary to make a cognitive map of the development of both the sublime and science fiction. This map reaches from the Ancient Romans, Lucian and Longinus; to Thomas More, Jonathan Swift, Johannes Kepler, Voltaire and Immanuel Kant; to Edgar Allan Poe, Mary Shelley, Jules Verne and H.G. Wells. This thesis then examines how the features of these fictions mutate in the twentieth-century fiction of A.E. van Vogt, Clifford Simak, Philip K. Dick, Arthur C. Clarke, Ivan Yefremov, the Strugatsky brothers, J.G. Ballard, Pamela Zoline, Ursula Le Guin, Vonda McIntyre, Octavia Butler, Kim Stanley Robinson, Stephen Baxter, William Gibson, Ken MacLeod and Stanislaw Lem. These writers are considered in their own specific periods, and in their national contexts, as they create pleasures that are contingent upon changes to their own worlds. In representing these changes, their fictions defamiliarise the anxieties of the reading subject. They transcend the contradictions of their times with a sublime that betrays its own conditions of transcendence. The deployment of the sublime in these texts offers a moment of critical possibility, as it betrays the fantasies born of a subject's relation to their world
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Hutchison, Lorna. « Strategies of the grotesque in Canadian fiction ». Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100627.
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In this study of narration, feminist theory, and grotesque Canadian fiction, my aim is to provide a narrative model with which to read characters portrayed as both female and monstrous in a way that criticism on the grotesque does not. I provide two systems for the methodology of this study: via negativa, a well-established philosophical system of definition by negation, which shows the strength of the grotesque to represent a subject that is inherently paradoxical; and a narrative model called the "middle voice," which I developed to examine narratives that confuse or render ambiguous the identity of subjects. Through these distinct but complementary frameworks I illustrate a literary phenomenon in fiction of the grotesque: that authors develop and reveal the subjectivity of characters by confounding identities.Although I provide a concise definition of the term "grotesque," my focus is on feminist theoretical approaches to the grotesque. However, whereas feminist theory on the grotesque examines the binary opposition of woman to man, this study shows that the grotesque bypasses the "male/female" dichotomy in the representation of fictional characters. Instead, the sustained contradiction of the central opposition "woman/monster" works to undermine the notion of fictional characterization.
Specifically, this study focuses on the grotesque as a narrative strategy and examines the use of the grotesque in the portrayal of female narrators. The prevalence of female grotesque characters in recent Canadian fiction combined with the rapid growth of interest in the critical concept of the "female grotesque" requires a theoretical analysis of the literature.
In the fiction I examine by Canadian authors Margaret Atwood, Lynn Coady, Barbara Gowdy, Alice Munro, and Miriam Toews, narrators are contradictory. As subjects, they have doubled identities. Authors situate identity ("subjectivity") in the realm of paradox, rather than in the realm of clarity and resolution. As a result, readers and critics must rely on ambiguity and subversion as guides when posing the ultimately irresolvable question "who is speaking?" Through analysis of this fiction, then, I argue for nothing short of a new conceptualization of subjectivity.
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Pinson, Guillaume 1973. « Fiction du monde : analyse littéraire et médiatique de la mondanité, 1885-1914 ». Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102151.
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This work proposes a double analysis of the mundane society representations between 1885 and 1914, in the press and the novel. This analysis separates these two categories of media to insist on their particularities, and tries to think of them in terms of an interaction.A first part explores the organisation of the topics and the main genre of the mundane society in the press, applying the social discourse theory. The analysis is based on the perusal of a set of representative daily newspapers (Le Gaulois, Le Figaro) and of weekly and monthly publications (Le Grand monde, La Vie parisienne, Femina notably, as well as around thirty other titles). It shows that the mundane society in the newspaper is constrained by a poetics stemming from the characteristics of press writing: collective writing, periodicity of the publication, text length limitation and reference to reality. Some texts are tempted by fiction, even though they keep a reality-based referential, whereas other texts that are openly fictitious, fit the mundane fiction into the newspaper.
The second part is based on the general conclusion of the first part: the mundane society in the newspaper is a represented society, made of for a distant and anonymous public. With the advent of the medias in the 19th century, the mundane society has entered into the era of mediations and "industrial writing". Some writers, from Bourget to Proust, take these upheavals into account and present the mundane society as a metaphor of the mass media society. This is done following three main axes: the temptation of withdrawal of the fiction into a closed world (psychological and mundane movement impulsed by Goncourt with Cherie, prolonged by Bourget and Hervieux notably); the games of exchange between the novel and the newspaper (Maupassant, Toulet, Legrand, amongst others); and finally, the isolation of the mundane world and the aesthetic work on mediations (Rolland, Colette, Mirbeau, Lorrain et Gide notably). All these writings address the question of sociability at the era of the triumph of mediations: what room is left for the mundane society, for direct encounter, for exchange, in a world of mediation and mass media coverage? for immediate connections in a society of mediated ties? The epilogue proposes a journalistic reading of A la recherche du temps perdu, synthesis-work which inaugurates a modern and sociological perception: it is in the world of the imagined mundane society, distant and represented in the mass media, that the narrator draws the resources for his observation of the world.
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Wagenaar, Peter Simon. « The shadowed corners of sunlit ruins : Gothic elements in twentieth century children's adventure fiction ». Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002293.
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This thesis examines the way in which children's adventure fiction makes use of Gothic features, how these features have been modified for a younger audience and how these modifications have been influenced by other developments in children's and popular fiction: Chapter One sets out to define the nature of Gothic and isolate those aspects of it relevant to the proposed study. It puts forward a theory to account for the movement of Gothic trends into later children's fiction. Chapter Two examines the use of landscape, setting and atmospheric effects in Gothic and the way in which children's fiction has used similar trappings to create similar effects. Children's fiction, emphasising pleasurable excitement rather than fear has, however, muted these effects somewhat and played down the role of the supernatural, so intrinsic to Gothic. Chapter Three emphasises the Gothic's use of stereotypes, focusing on the portrayal of heroes and heroines. Those of children's fiction are portrayed very similarly to those of Gothic and the chapter compares and, on occasion, contrasts them noting, inter alia, their adherence to rigid moral codes and narrowly defined norms of masculine and feminine behaviour. Chapter Four looks at the portrayal of villains and the way in which their appearance defines them as such (as, indeed, does that of heroes and heroines). It examines in some detail their relationship to and interaction with the heroes and heroines, noting, for example, the 'pseudo-parental' role of villains who are characteristically older and in socially approved positions to exert power over heroes and heroines. The Conclusion addresses the fantasy aspect of these novels,referred to several times in passing in the course of earlier chapters, and comments on how the features detailed in Chapters Two, Three and Four all operate within the conventions of a fantasy.
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Eckstein, Simon J. « The shadow of the past : fantasy, modernism, and the aftermath of a world at war ». Thesis, Swansea University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678625.
Texte intégralRésumé :
This study constitutes a single strand of a wider argument for a thorough-going reassessment of the place of fantasy literature within the canon. In particular, it aims to redress a marked lack of critical attention paid to the distinct movement towards fantastic modes of representation in the mid-twentieth century.
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Kwan, Wing-ki Koren, et 關詠琪. « Experiments in subjectivity : a study of postmodern science fiction ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B3681250X.
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Moore, Richard. « Christianity and paganism in Victorian fiction ». Thesis, University of Wales Trinity Saint David, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683121.
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Boettcher, Anna Margarete. « Through Women's Eyes : Contemporary Women's Fiction about the Old West ». PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4966.
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The myth of the West is still very much alive in contemporary America. Lately, there has been a resurgence of new Western movies, TV series, and fiction. Until recently the West has been the exclusive domain of the quintessential masculine man. Women characters have featured only in the margins of the Western hero's tale. Contemporary Western fiction by women, however, offers new perspectives. Women's writing about the Old and New West introduces strong female protagonists and gives voice to characters that are muted or ignored by traditional Western literature and history. Western scholarship has largely been polarized by two approaches. First, the myth and symbol school of Turner, Smith, and followers celebrated American exceptionalism and rugged male individualism on the Western frontier. Second, the reaction against these theories draws attention to the West's legacy of racism, sexism and violence. The purpose of the present study is to collapse these theoretical fences and open a dialogue between conflicting theoretical positions and contemporay Western fiction. Molly Gloss's 1989 The Jump-Off Creek and Karen Joy Fowler's 1991 Sarah Canary selfcritically re-write the Old West. This study has attempted to explore the following questions: How can one re-write history in the context of a postmodern culture? How can "woman," the quintessential "Other" escape a modernist history (and thus avoid charges of essentialism) when she has not been in this history to begin with? In this study I analyze how these two contemporary feminist authors, Molly Gloss, and Karen Joy Fowler, face the dual challenge of writing themselves into a history that has traditionally excluded them, while at the same time deconstructing this very historical concept of the West. Fowler's and Gloss's use of diverse narrative strategies to upset a monolithic concept of history-- emphasizing the importance of multiple stories of the Old West-- is discussed in detail.
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Langston, Jessica. « Writing herself in : mother fiction and the female Künstlerroman ». Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79957.
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This project examines the 'mother-writer problem' within contemporary Canadian fiction by women. Using three novels that tell the story of a mother who is also a writer, Margaret Laurence's The Diviners, Audrey Thomas' Intertidal Life and Carol Shields' Unless, I will outline the manner in which the roles of mother and writer are negotiated by the authors and their central characters. Further, I will investigate how creating a narrative about a female artist who is also a mother challenges and changes the structure and content of the standard female kunstlerroman. Finally, this thesis will attempt to determine how or if such challenges and changes improve the portrait-of-the-female-artist novel.
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Jenkins, Jennifer Lei. « Failed mothers and fallen houses : Gothic domesticity in nineteenth-century American fiction ». Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186122.
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This study examines the relation between gender and genre in four novels that chart the development of American domestic life from the Colonial to the Gilded Age. In these novels, the presence in the house of women--mothers, daughters, sisters, servants, slaves--often threatens the fathers' dynastic ambitions and subverts the formal intentions of the narrative. These women represent familiar but strange forces of the uncanny which lurk beneath the apparently placid surface of domestic narrative. In "house" novels by Hawthorne, Stowe, Alcott, and James, interactions of the uncanny feminine with dynastic concerns threaten not only the novel's social message of destiny and dynasty, but the traditional form of the novel itself. In The House of the Seven Gables, Hawthorne constructs a narrative in which patrician fathers and domestic daughters struggle for control of the House and its story. Slavery disrupts domestic life in Uncle Tom's Cabin, inverting and thereby perverting traditional notions of home and family and producing monstrous mothers and failed households. Alcott details the abuses and dangers of reified gender roles in family life, while depicting a young woman's attempt to reconstruct domesticity as a female community in Work. Finally, James displaces domestic concerns entirely from The Other House, portraying instead the violent nature of feminine desire unrestrained by tradition, community, or family. Story and telling work at cross-purposes in these novels, creating a tension between Romantic structures and realistic narrative strategies. These authors depart from the tropes of their times, using gothic devices to reveal monstrous mothers, uncanny children, and failed or fallen houses within the apparently conservative domestic novel. Such gothic devices transcend literary historians' distinctions of romance and sentimental fiction as respectively male and female stories and reveal the fundamentally subversive nature of domestic fiction. For these writers, the uncanny presence of the feminine produces a counternarrative of gender, class, and race, redefines the cultural boundaries of home and family, and exposes the fictive nature of social constructions of gender and domesticity.
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Dobozy, Tamas. « Towards a definition of dirty realism ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56533.pdf.
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James, Sarah J. « Not without my body : feminist science fiction and embodied futures ». Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14613.
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This study explores the interaction between feminist science fiction and feminist theory, focusing on the body and embodiment. Specifically, it aims to demonstrate that feminist science fiction novels of the 1990s offer an excellent platform for exploring the critical theories of the body put forward by Judith Butler in particular, and other feminist/queer theorists in general. The thesis opens with a brief history of science fiction's depiction of the body and feminist science fiction's subversions and rewritings of this, as well as an overview of Judith Butler's theories relating to the body and embodiment. It then considers a wide range of feminist science fiction novels from the 1990s, focusing on four key areas; bodies materialised outside patriarchal systems in women-only or women-ruled worlds, alien bodies, cyborg bodies and bodies in cyberspace. An in-depth analysis of the selected texts reveals that they have important contributions to make to the consideration of bodies as they develop and expand the issues raised by theorists such as Butler, Elisabeth Grosz, Luce Irigaray and Julia Kristeva.
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程雲峰 et Wan-fung Ching. « The images of peasants in modern Chinese fiction ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31209166.
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Hill, Colin. « The modern-realist movement in English-Canadian fiction, 1919-1950 ». Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19471.
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This dissertation offers the first comprehensive examination of realism in English-Canadian fiction of the early twentieth century. It argues for the existence of a "modern-realist" movement that is Canada's unique and unacknowledged contribution to the collection of international movements that makes up literary modernism. This argument involves a detailed analysis of the aesthetics, aims, preoccupations, and techniques of the modern realists, a reexamination of the oeuvres of the movement's most prominent writers, and a critical reevaluation of the "modernity" of Canada's three most significant realist sub-genres—prairie realism, urban realism, and social realism. This study also provides a literary-historical overview of the movement as a whole, which begins with the inauguration of the Canadian Bookman in 1919, and concludes with the emergence of a contemporary Canadian fiction in the 1950s. The conclusions arrived at in this work are based upon a reading of dozens of novels and works of short fiction, many of them unpublished and/or critically neglected and forgotten. The findings in this study are also based on original research into archival materials from seven institutions across Canada.
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Nash, Andrew. « Kailyard, Scottish literary criticism, and the fiction of J.M. Barrie ». Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15199.
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This thesis argues that the term Kailyard is not a body of literature or cultural discourse, but a critical concept which has helped to construct controlling parameters for the discussion of literature and culture in Scotland. By offering an in-depth reading of the fiction of J.M. Barrie - the writer who is most usually and misleadingly associated with the term - and by tracing the writing career of Ian Maclaren, I argue for the need to reject the term and the critical assumptions it breeds. The introduction maps the various ways Kailyard has been employed in literary and cultural debates and shows how it promotes a critical approach to Scottish culture which focuses on the way individual writers, texts and images represent Scotland. Chapter 1 considers why this critical concern arose by showing how images of national identity and national literary distinctiveness were validated as the meaning of Scotland throughout the nineteenth century. Chapters 2-5 seek to overturn various assumptions bred by the term Kailyard. Chapter 2 discusses the early fiction of J.M. Barrie in the context of late nineteenth-century regionalism, showing how his work does not aim to depict social reality but is deliberately artificial in design. Chapter 3 discusses late Victorian debates over realism in fiction and shows how Barrie and Maclaren appealed to the reading public because of their treatment of established Victorian ideas of sympathy and the sentimental. Chapter 4 discusses Barrie's four longer novels - the works most constrained by the Kailyard term - and chapter 5 reconsiders the relationship between Maclaren's work and debates over popular culture. Chapter 6 analyses the use of the term Kailyard in twentieth-century Scottish cultural criticism. Discussing the criticism of Hugh MacDiarmid, the writing of literary histories and studies of Scottish film, history and politics, I argue for the need to reject the Kailyard term as a critical concept in the discussion of Scottish culture.
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Tagore, Proma. « The shapes of silence : contemporary women's fiction and the practices of bearing witness ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36793.
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This dissertation examines the complex and multi-faceted ways in which contemporary minority women's fictions may be thought of, both generically and individually, as practices of bearing witness to silence---practices of giving testimony to the presence of lives, experiences, events and historical realities which, otherwise, have been absented from the critical terrain of North American literary studies. For the most pact, the texts included in this study all tell tales of various, and often extreme, forms of sexual, racial, gender, colonial, national and cultural violence. Through readings of select works by Toni Morrison, Shani Mootoo, Arundhati Roy, Louise Erdrich, M. K. Indira, Mahasweta Devi and Leslie Feinberg, I argue for the ways in which these fictions may be understood as situated within the bounds of a genre---a genre that attempts to provide an account of what we might call "the half not told." I examine these fictions, both generically and specifically, as texts which have the ability to make several important critical interventions in the field of literary studies. Firstly, these texts have the potential to negotiate the impasse that feminist and postcolonial literary scholarship finds itself in around debates about the relationship between theory, activism and experience---as well as in debates about the relationship between violence, beauty, culture, subjectivity and desire. Secondly, the fictions under study help to challenge our very definitions of witnessing. Witnessing, in these works, is not simply a matter of "speaking out" against violence, but rather the issue of making space for the affective and emotive dimensions of various kinds of silences and silencings. Finally, in attempting to chart more precise vocabularies with which to assume readings of these narratives, my thesis also helps to think about the ways in which reading, writing and storytelling may, themselves, be seen as profoundly ethical undertakings that seek to give evidence
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Shezi, B. K. « Vernuwing van maatskaplike norme as tema in afrikaanse jeuliteratuur vanaf 1985 tot 1995 ». Thesis, University of Zululand, 1999. http://hdl.handle.net/10530/1189.
Texte intégralRésumé :
Dissertasie ingehandig by die Faculty of Arts ter vervulling van die vereistes vir die graad Magister Artium in Afrikaans aan die Universiteit van Zululand, South Africa, 1999.Hierdie studie behels ‘n ondersoek na jeugliteratuur, wat gesien word as verhale met eiesoortige kenmerke wat moet voldoen aan die sielkundige behoeftes van die tiener. Die doelwit is 'n ondersoek na die vernuwing van maatskaplike norme in Afrikaanse jeugliteratuur vanaf 1985 tot 1995. Hoewel maatskaplike norme ‘n sisteem vorm wat as gehee! deur die lede van die samelewing beheer moet word, kan die verhouding tussen verskillende rassegroepe uitgesonder word as die maatskaplike norm wat vir dekades ln groot bron van probleme in die Suid-Afrikaanse samelewing was, en nog steeds nie volkome opgelos is nie. Daar word dan in hierdie studie gekyk na die uitbeelding van die verhouding tussen verskillende rassegroepe in Afrikaanse jeugliteratuur, en die hipotese wat getoets word, is dat die veranderde norme in die samelewing gereflekteer sal word in literatuur vir jongmense ten einde hulle te help om as volwaardige volwassenes op te tree. Daar word tot die gevolgtrekking gekom dat daar nie in enigeen van die verhale wat ontleed is, enige negatiewe rassistiese voorstellings van swart of ander karakters op grand van rasseverskille voorkom nie. Die Suid-Afrikaanse samelewing word uitgebeeld as ongemtegreerd en daar word ook erkenning gegee aan die feit dat daar grense en ongelykhede bestaan tussen mense op grand van politieke en sosiale faktore. Daar word egter ook aan die ander kant erkenning gegee aan die nadelige gevolge van hierdie politieke stelsel, en dit is vera! belangrik dat karakters uit verskillende rasse- en sosiale groepe as innerlik gelykwaardig uitgebeeld word. Daar word klem gele op die sielsgenootskap tussen mense en die feit dat ons almal op die psigiese vlak dieselfde probleme en behoeftes het, en dat mense, ongeag hulle velkleur, mekaar kan help in die groeiproses tot groter lewenskennis en selfinsig.
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Anandan, Prathim. « Child/subject : children as sites of postcolonial subjectivity and subjection in post-Independence South Asian fiction in English ». Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711768.
Texte intégral
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Ganofsky, Marine. « Night in eighteenth-century French libertine fiction (1730-1789) ». Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610662.
Texte intégral
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Elbaum, Henry. « Rhetoric and fiction : interaction of verbal genres in the Soviet literature of the twenties and thirties ». Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75698.
Texte intégralRésumé :
Soviet literature of the twenties and thirties is examined in the present study in its relationship to other verbal genres, primarily, the speeches of Party leaders, newspaper rhetoric and political posters. The first four chapters of the dissertation focus on such topics as the reception of Marxist-Leninist discourse by peasants and workers as well as its representation in fiction; the refraction of official discursive formulas in characters' speech and the dialogization of Party rhetoric; the integration of political documents into fiction and their structural function. Particular attention is paid to the way the contamination of Party rhetoric by substandard language and its contextual defamiliarization lead, depending on the overall authorial intention, either to a parodic subversion of official cliches or to the internalization of didactic discourse and the enhancement of its communicative effectiveness.The theme of industrialization is examined in the last two chapters of the thesis in its dialectic interaction with various Neo-Rousseauist conceptions, which either reflect the authors' own ambivalence about socialist construction, or constitute a rhetorical device used in order to reinforce dialogically industrialist ideology.
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Hales, Barbara. « Dark mirror : Constructions of the femme fatale in Weimar film and Hollywood film noir ». Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187445.
Texte intégralRésumé :
The femme fatale is a marker for the past is evident in the film noir work of German exile directors. These directors created a femme fatale character similar to Weimar examples of the sexual woman icon, using Weimar cultural constructions as a template for their work in Hollywood. The femme fatale figure in film noir is specifically an enigma or duplicitous mystery, a woman with a gun who threatens the male protagonist. She represents a piece of the male character's past often seen through the structure of the voice-over and flashback. These narrative devices enable the male protagonist to rework this jaded past vis-a-vis his relationship to the femme fatale and his fatal attraction to her. The film noir femme fatale is linked to German exile directors' desire to review a past that has been lost and cannot be recuperated. In the case of the Weimar femme fatale, she is a sign for the trauma of World War I and the ensuing political/social crises of the Weimar republic. The femme fatale in her castrating capacity is a marker for historical upheaval and male subjectivity in flux. She is ultimately the scapegoat for male questions of self and a split subjectivity brought on by historical events such as war and the experience of exile. Her various guises include the criminal woman, the technological entity, and the double.
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Hoogbaard, Sherrilyn. « 'n Ondersoek na die armoede-diskoers en die uitings patriargie, bloedskande en apartheid in Triomf van Marlene Van Niekerk ». Thesis, University of the Western Cape, 1996. http://etd.uwc.ac.za/index.php?module=etd&.
Texte intégral
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Hall, Karen Peta. « Discovering the lost race story : writing science fiction, writing temporality ». University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0216.
Texte intégralRésumé :
Genres are constituted, implicitly and explicitly, through their construction of the past. Genres continually reconstitute themselves, as authors, producers and, most importantly, readers situate texts in relation to one another; each text implies a reader who will locate the text on a spectrum of previously developed generic characteristics. Though science fiction appears to be a genre concerned with the future, I argue that the persistent presence of lost race stories where the contemporary world and groups of people thought to exist only in the past intersect in science fiction demonstrates that the past is crucial in the operation of the genre. By tracing the origins and evolution of the lost race story from late nineteenth-century novels through the early twentieth-century American pulp science fiction magazines to novel-length narratives, and narrative series, at the end of the twentieth century, this thesis shows how the consistent presence, and varied uses, of lost race stories in science fiction complicates previous critical narratives of the history and definitions of science fiction.
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Wright, Charlotte M. « Plain and Ugly Janes : the Rise of the Ugly Woman in Contemporary American Fiction ». Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278032/.
Texte intégralRésumé :
Women characters in American literature of the nineteenth century form an overwhelmingly lovely group, but a search through some of the overlooked works reveals a thin but discernible thread of plain, even homely, heroines. Most of these fall into the stereotypical "old maid" category, and, like their real-life counterparts, these "undesirable" women are considered failures, even if they have money or satisfying careers, because they do not have boyfriends, husbands, or children. During the twentieth century, the old maid figure develops into someone not just homely, but downright ugly; in addition, the number of these characters increases, especially in the latter half of the century. In many works written since the 1960s, the woman's ugliness is such an intrinsic part of the story that it could not take place if she were beautiful. In subtle ways, these "ugly woman" stories begin to question the overwhelming value placed on beauty, to question the narrow definition of beauty in American society as a whole, and to suggest that the price for such a "blessing" might indeed be too high. Rather than settling for being a mere "heroine"—which still carries feminine connotations of passive behavior and second-class status—the ugly woman's increase in power over her own life and the lives of others, allows her to achieve a status more in keeping with the more "masculine" and active role of hero.