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Vladimir, Kirda Bolhorves. « Utopija u delu Herberta Džordža Velsa i Gabrijela Kosteljnika ». Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. https://www.cris.uns.ac.rs/record.jsf?recordId=101178&source=NDLTD&language=en.
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U ovoj disertaciji istražuju se mnogobrojni oblici utopije unekolikim, prvenstveno u književnim segmentima složenog i obimnogopusa H. Dž. Velsa, kao i u nekolikim, prvenstveno u književnimsegmentima ne tako obimnog, ali takođe složenog opusa G. Kosteljnika.Studiju čine trinaest poglavlja.Prvo je uvodno, te se u njemu najpre objašnjavaju predmet, cilj imetodologija istraživanja, a potom se razmatraju najfrekventniji pojmovi:opšta i naučna fantastika, i, iznad svih, glavni pojam, utopija. Osvetljavajuse i njena geneza, i njene karakteristike, i njene funkcije.U drugom poglavlju su najpre izloženi faktori nastajanja, postojanja inestajanja utopija, a u nastavku je prezentirana iscrpna tipologija utopija.U trećem i četvrtom poglavlju govori se o formiranju stvaralačkihličnosti H. Dž. Velsa i G. Kosteljnika.Narednih šest poglavlja ispunjeno je odeljcima putem kojih seosvetljava romaneskno, pripovedačko i diskurzivno (esejističko,sociološko, politikološko, naučnopopularno i publicističko) stvaralaštvo H.Dž. Velsa, kao i poetsko, pripovedačko, dramsko i diskurzivno (esejističko,teološko, književnokritičko, lingvističko i publicističko) stvaralaštvo G.Kosteljnika.Jedanaesto poglavlje je zaključno. U njemu je još jednom razmotrenznačaj utopije uopšte, a naročito u delu dvojice protagonista ove disertacije:H. Dž. Velsa i G. Kosteljnika.This thesis researches numerous forms of utopia in several, primarilyliterary segments from complex and comprehensive opus of H. G. Wells, aswell as in several, primarily literary segments of not so comprehensive, butalso complex opus of G. Kosteljnik.The study consists of thirteen chapters.The first chapter is introductory, where the subject matter, aim andmethodology of the research are explained, and the most frequent notionsare considered: general fantasy and science fiction, and, above all, the mainnotion, utopia. Some light is being shed on its genesis, its characteristicsand its functions.In the second chapter, the factors for its emergence, existence anddisappearance are presented, along with exhaustive typology of utopias.The tird and fourth chapter deals with formation of creativepersonalities of H. G. Wells and G. Kosteljnik.The following six chapters include the extracts through which Ithrow light on romanesque, narrative and discursive (essayistic,sociological, politicological, popular scientific and publicistic) artisticcreation of H. G. Wells, as well as poetic, narrative, dramatic anddiscursive (essayistic, theological, literary-critical, linguistic andpublicistic) artistic creation of G. Kosteljnik.The eleventh chapter is conclusion. It once again considers thenotion of utopia in general, and particularly in the works of the twoprotagonists of this thesis: H. G. Wells and G. Kosteljnik.
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Margot, Jean-Paul. « Raison et fiction chez Descartes ». Thesis, University of Ottawa (Canada), 1985. http://hdl.handle.net/10393/4846.
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Hart, Christopher. « 'Fiction is the mask of history' : contextual readings of Byron's poetry ». Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243001.
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Gallagher, Ron. « Science fiction and language : language and the imagination in post-war science fiction ». Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/90798/.
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This study examines the claims for a privileged status for the language of science fiction. The analysis of a series of invented languages, including 'nadsat', 'newspeak' and 'Babel-17', establishes that beneath these constructions lie deep-seated misconceptions about how language works. It is shown that the various theories of language, implicitly or explicitly expressed by writers and critics concerned with invented languages and neologism in science fiction, embody a mistaken view about the relation between language and the imagination. Chapter two demonstrates, with particular reference to the treatment of time and mind, that the themes on which science fiction most likes to dwell, reflect very closely the concerns of philosophy, and as such, are particularly amenable to the analytical methods of linguistic philosophy. This approach shows that what science fiction 'imagines' often turns out to be a product of the deceptive qualities of the grammar of language itself. The paradoxes of a pseudo-philosophical nature, in which science fiction invariably finds itself entangled, are particularly well exemplified in the work of Philip K. Dick. Chapter Three suggests that by exploiting the logically impossible, by making a virtue of the tricks and conventions which have become science fiction's stigmata (time-travel, telepathy, etc.), Dick indicates a means of overcoming the genre's current problems concerning form and seriousness. In conclusion it is demonstrated through the work of J. G. Ballard, that any attempt to throw off science fiction's 'pulp' conventions is likely to lead the genre further into the literary wilderness.
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Malka, Ruth. « Fonction auteur et auteur-fiction chez André Gide ». Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121561.
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Since its publication, André Gide's works mainly generated biographical analyses. As Gide's texts are first-person narratives and as the stories written recall the author's life experience, especially as far as homosexuality is concerned, it is tempting to think that each book he wrote is somehow autobiographical. The point of this thesis is to question those analyses which seem to forget an essential dimension: fiction. Instead of thinking that each text is a mirror reflecting Gide's image, we are going to see how the author set himself in his fiction. Gide takes a posture: through his literary work, he doesn't show himself as he is, neither as he thinks he is, but rather as he would likely to be seen. The author-function established correspond to the author's invention of his own character: the author is created through fiction. The role Gide would like to endorse consists in defending pederasty. He is the one who creates gidian immoralism, a new ethics both hedonist and antimoralist. As Gide writes against social conventions and protestant moral, he establishes himself the prophet of a new religion. The posture Gide takes frees him from the guilt he inherited from his protestant upbringing for being a homosexual, trying to persuade not only his readership but also himself that he is right of doing so.Depuis sa parution, l'œuvre d'André Gide a principalement suscité des analyses biographiques. Comme les textes gidiens sont écrits à la première personne et que les diégèses présentent des similitudes avec la vie de l'auteur, notamment en ce qui concerne l'homosexualité, il est tentant de penser que chaque ouvrage relève d'une forme d'autobiographie. L'objectif de ce mémoire est de montrer les limites de ces théories en s'appuyant sur une dimension qu'elles oublient, à savoir la fiction. Au lieu de voir dans chaque texte une projection de soi, il s'agit d'y déceler une mise en fiction de soi. Gide prend une posture : grâce à son écriture, il se donne à lire à son lectorat non pas tel qu'il est ni tel qu'il pense être, mais tel qu'il aimerait être perçu. La fonction auteur mise en place par Gide correspond à l'invention de son propre personnage : l'auteur est créé par la fiction. Le rôle que Gide cherche à endosser est celui du défenseur de la pédérastie. Il est celui qui établit l'immoralisme gidien, une nouvelle éthique hédoniste et antimoraliste. Se dressant contre les conventions sociales et la morale protestante, s'établissant prophète d'une nouvelle religion, la posture que prend Gide lui permet de se débarrasser de toute la culpabilité que lui a laissée son éducation puritaine en regard de l'homosexualité, à la fois aux yeux du lecteur et à ses propres yeux.
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Guest, Graham Emory. « 'Grass' ; 'Winter Park' ; &, Consciousness in fiction ». Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3500/.
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This thesis is in four parts: a brief Introduction; a novella, Grass; a novel, Winter Park; and a critical essay, “Consciousness in Fiction”. The Introduction explains why Grass, Winter Park, and “Consciousness in Fiction” together form a cohesive and integrated thesis; the chief reason is a shared concern with consciousness, i.e., perception and reflection. Grass is a coming-of-age story about a boy and his lawnmower (and his edger) set in East Texas in the nineteen-seventies. It is written from the perspective of its protagonist, Henry, in first person present tense, but there are no moments of internal reflection, only perception, leading one to wonder whether there is something wrong with Henry. The story’s sparse style is inspired by Robbe-Grillet’s Jealousy and is intended to allow for maximum reader engagement and creativity. Grass is also supposed to be funny, albeit darkly. Winter Park is a tale of two unlikely friends: Eric Swanson - a drug-addled philosopher from Colorado who suspects he has committed some terrible misdeed, and Harris Birdsong - an epileptic, synaesthetic savant from the deep south who has memorized a dictionary. The two meet at a rodeo college penal camp in West Texas called Dude Ranch, where their friendship develops and their individual philosophic and romantic dreams begin to materialize. Part I of the novel is from Swanson’s perspective; Part II through the end, from Birdsong’s; both Parts are in first person present tense. The novel explores the relationships between perception and reflection; evidence and certainty; and words, concepts, definitions, and the external world. Winter Park, too, is supposed to be dark and funny. “Consciousness in Fiction” is an investigation into the structures of human consciousness and the various ways in which those structures appear in select literature. In the essay, I compare the various presentations of consciousness in Ulysses (Joyce), As I Lay Dying (Faulkner), Jealousy (Robbe-Grillet), and American Genius (Lynne Tillman) with a model of consciousness derived from philosophy (Heidegger and Merleau-Ponty), psychology (James), and contemporary cognitive science (Noë and Baars).
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Moran, Alexander James Paul. « Cultural reproduction in contemporary American fiction ». Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7683/.
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This thesis traces the ways in which David Foster Wallace, Jonathan Franzen, Michael Chabon, Jennifer Egan, and Colson Whitehead react against the historical, institutional, and formal limits imposed upon contemporary fiction and culture. It argues that in order to counteract such constraints, they embrace and co-opt older forms and values as enabling for their fiction. To map these processes and relationships, I read these five writers as engaging with and reflective of the concept of cultural reproduction. Building largely from Raymond Williams’s definitions, the lens of cultural reproduction acknowledges what Williams terms the ‘limits and pressures’ of the contemporary – such as the inheritance of postmodernism, creative writing programs, technological changes, and commercial demands – but also how these writers display agency in reaction to such limits. Chapter One uses pragmatist philosopher John Dewey’s theories of habit to suggest Wallace’s work explores the way culture is reproduced habitually. Chapter Two contends that Franzen’s attention to these processes is distinctly melodramatic, and his writing embodies melodrama, rather than his stated realism. Chapter Three examines Chabon, Egan, and Whitehead as representative of the ‘genrefication’ of contemporary American fiction, and how each embrace genre forms to respond to different elements and processes of cultural reproduction.
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De, Paul Lewis Stephen. « Self, sovereignty, and culture in the major fiction of Herman Melville ». Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/4907.
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Darroch, Fiona Jane. « Memory and myth : postcolonial religion in contemporary Guyanese fiction and poetry ». Thesis, University of Stirling, 2005. http://hdl.handle.net/1893/2618.
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In this thesis I investigate and problematize the historical location of the term 'religion' and examine how this location has affected the analytical reading of postcolonial fiction and poetry. The term 'religion' has been developed in response to a Western Enlightenment and Christian history and its adoption outside of this context should therefore be treated with caution. Within postcolonial literary criticism, there has been either a silencing of the category as a result of this caution or an uncritical and essentialising adoption of the term 'religion'. I argue that a vital aspect of how writers articulate their histories of colonial contact, migration, slavery and the re-forging of identities in the wake of these histories is illuminated by the classificatory term 'religion'. I demonstrate this through the close reading of Guyanese fiction and poetry, as critical themes are seen and discussed that would be otherwise ignored. Aspects of postcolonial theory and Religious Studies theory are combined to provide a new insight into the literature and therefore expand the field of postcolonial literary criticism. The way in which writers 'remember' history through writing is central to the way in which I theorize and articulate 'religion' throughout the thesis; the act of remembrance is persuasively interpreted in terms of 'religion'. The title 'Memory and Myth' therefore refers to both the syncretic mythology of Guyana, and the key themes in a new critical understanding of 'religion'. Chapter One establishes the theoretical framework to be adopted throughout the thesis by engaging with key developments made in the past decade by Religious Studies theorists. Through this dialogue, I establish a working definition of the category religion whilst being aware of its limitations, particularly within a discussion of postcolonial literature. I challenge the reluctance often shown by postcolonial theorists in their adoption of the term 'religion' and offer an explanation for this reluctance. Chapter Two attends to the problems involved in carrying out interdisciplinary research, whilst demonstrating the necessity for such an enquiry. Chapters Three, Four and Five focus on selected Guyanese writers and poets and demonstrate the illuminating effect of a critical reading of the term 'religion' for the analysis of postcolonial fiction and poetry. Chapter Three provides a close reading of Wilson Harris's novel Jonestown alongside theoretical and historical material on the actual Jonestown tragedy. Chapter Four examines the mesmerising effect of the Anancy tales on contemporary writers, particularly poet John Agard. And Chapter Five engages with the work of Indo-Guyanese writer, David Dabydeen and his elusive character Manu.
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Fisher, Mark. « Flatline constructs : Gothic materialism and cybernetic theory-fiction ». Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/110900/.
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Cyberpunk fiction has been called “the supreme literary expression, if not of postmodernism then of late capitalism itself.” (Jameson) This thesis aims to analyse and question this claim by rethinking cyberpunk Action, postmodernism and late capitalism in terms of three - interlocking - themes: cybernetics, the Gothic and fiction. It claims that while what has been called “postmodernism” has been preoccupied with cybernetic themes, cybernetics has been haunted by the Gothic. The Gothic has always enjoyed a peculiarly intimate relation with the fictional. Baudrillard's theories, meanwhile, suggest that, in a period dominated by (cybernetic) simulation, fiction has a new cultural role. By putting “theory” into dialogue with “fiction”, the thesis examines Baudrillard's suggestion that the era of cybernetics (what he calls “third order simulacra”) “puts an end to science fiction, but also to theory, as specific genres”. The version of the Gothic the thesis presents is one stripped of many of its conventional cultural associations; it is a material (and materialist) Gothic. The machinery for re-thinking the Gothic comes from Deleuze-Guattari’s A Thousand Plateaus. Deriving not from the familiar literary sources (the so-called Gothic novels of the late eighteenth- and early nineteenth century) but from Wilhelm Worringer’s work on “barbarian art”, Deleuze-Guattari’s version of the Gothic departs from any reference to the supernatural. The crucial theme in Worringer, Deleuze-Guattari establish, is that of nonorganic continuum. Following Deleuze-Guattari’s lead, the thesis analyses key cyberpunk texts such as Ridley Scott’s Blade Runner, David Cronenberg’s Videodrome and William Gibson’s Neuromancer in terms of what it calls this “hypematuralist” theme. While these texts have often been analysed in terms of “postmodernism” and “cyberpunk,” they have rarely been discussed in terms of the Gothic. Here, though, it will be shown that these texts, and important precursors, such as Ballard’s The Atrocity Exhibition, are centrally concerned with the breakdown of the boundary between the animate and the inanimate. (A theme that cybernetics has also confronted). The thesis aims to demonstrate that, in its fixation upon catatonic trance, bodies that do not end at the skin, and agency-without-subjectivity, cyberpunk or “imploded science fiction” converges the Gothic with cybernetics on what, following Gibson, it calls the flatline. The flatline has two important senses, referring to (1) a stale of “unlife” (or “undeath”) and (2) a condition of radical immanence. The thesis is divided into four chapters, each of which considers the flatline under a different aspect. Chapter 1 concerns the flatlining of cybernetics and postmodernism; Chapter 2 deals with the flatlining of the body, paying particular attention to the Deleuze-Guattari/Artaud concept of the Body without Organs; Chapter 3 focuses upon the flatlining of reproduction, opposing both sexual and mechanical reproduction to Deleuze-Guattari’s idea of (Gothic) propagation; Chapter 4 considers the flatlining of fiction itself in the context of (Baudrillard’s) hyperreality.
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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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Graves, Jesse, Paul Ruffin et William Wright. « Southern Poetry Anthology, VI : Tennessee ». Digital Commons @ East Tennessee State University, 2013. http://amzn.com/1937875458.
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The state of Tennessee is widely recognized as a home of great music, and its geographic regions are as distinct as Memphis blues, Nashville country, and Bristol old-time sounds. Tennessee’s literary heritage offers equal variety and quality, as home to the Fugitive Agrarian Poets, as well as a signature voice from the Black Arts Movement. Few states present such a multicultural panorama as does the Volunteer State. The poems in The Southern Poetry Anthology, Volume VI: Tennessee engage the storied histories, diverse cultures, and vibrant rural and urban landscapes of the region. Among the more than 120 poets represented are Pulitzer and Bollingen Prize-winner Charles Wright, Brittingham Award-winner Lynn Powell, and Agnes Lynch Starrett Prize-winners Rick Hilles and Arthur Smith. The book includes an introduction from renowned poet Jeff Daniel Marion, who in 1978 received the first literary fellowship from the Tennessee Arts Commission. Too, the book celebrates relatively young and gifted voices. This important anthology will stand for many years as the definitive poetic document for the state of Tennessee.https://dc.etsu.edu/etsu_books/1088/thumbnail.jpg
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Xiong, Wei. « Nothing Sweet Nothing : A Collection of Short Fiction ». Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1188308957.
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Lloyd, Nicola. « Sensibility, enlightenment and Romanticism : British fiction, 1789-1820 ». Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/61578/.
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This thesis is a study of the discourse of sensibility in Romantic-period fiction. It suggests that sensibility was not, as has often been assumed, merely a transient and fashionable mode that peaked in the mid eighteenth-century before its association with radicalism and subsequent demise in the 1790s. Instead, it was redirected and refashioned during the first decades of the nineteenth century, functioning in effect as a metanarrative for the Romantic novel. The discourse of sensibility was both a formative influence on and a central ideological component of literary Romanticism and this thesis reads it as a creative, protean and self-conscious force that is capable of challenging many of our assumptions about the Romantic period. Analysing representative fictions by Ann Radcliffe, Charlotte Dacre, William Godwin, Sydney Owenson and Walter Scott, each chapter traces the complex interactions of eighteenth-century discourses of moral philosophy and perception in the sub-genres of the gothic novel, the Jacobin novel, the national tale and historical fiction. In doing so, the evidence of sensibility’s pervasive influence destabilises any notion of discrete and fixed generic categories by suggesting widespread correlations and overlaps. Likewise, this generic assimilation and mutation that operates under the banner of sensibility proposes a challenge to conventional notions of Romantic aesthetic unity and spontaneity, suggesting instead a self-conscious and experimental engagement with genre. Finally, the novels considered depict a hybrid model of sensibility in which Enlightenment formations of feeling and perception as a means of social coherence coexist with Romantic models of alienated selfhood. As a result, the exploration of the discourse of sensibility in the Romantic novel provides an opportunity to reassess the complex and often contradictory relationship between the aesthetics of Enlightenment and Romanticism.
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Vigliotti, Cynthia L. « In the Middle of Things ». Youngstown State University / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1008362631.
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Venkatachalam, Shilpa. « Writing the self : case studies in phenomenology and fiction ». Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/12603/.
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Writing the Self: Case Studies in Phenomenology and Fiction explores the way in which the notions of self, being and consciousness find expression in works of literary fiction and philosophical texts. It raises the question of whether there are paradigmatic features that are distinctive to philosophy and imaginative literature in their engagement with ontology. Whilst discussing various works of imaginative literature and philosophy, this thesis concentrates on aspects of Husserlian phenomenology and Martin Heidegger's Being and Time (1962) from the philosophical tradition and focuses on three selected works of post-1900 literary fiction: Joseph Conrad's Heart of Darkness (1902), Virginia Woolfs The Waves (1931), and Saul Bellow's Dangling Man (1944). In an essay on "Literary Attestation in Philosophy", Robert Bernasconi asks, "Literary texts have a certain autonomy, but what happens to them when they are submitted to philosophically inspired readings?"(Bernasconi in Woods 1990: 24). This thesis argues that literary texts need not be "submitted" to philosophically inspired readings. Bernasconi makes an error by using the word "submitted". The texts themselves are not written with a view to supporting the philosophical claims made in a philosophical treatise. This is how both philosophy and literature retain their autonomy. This thesis will demonstrate how autonomy functions differently from insularity purporting that such a distinction is often overlooked. What is not being investigated in this thesis is whether or not philosophy can be used to prove fiction as an application of philosophical ideas. Rather, what is intended is to read them both as different enterprises but at the same time together. Coming together is not to be understood in the same way as dissolving the differences that exist between the two. Nor are the two fields to be understood as mutually dependant. Literature does not derive its conception of "literature" in opposition to the conception of philosophy nor vice-versa. Chapter I of this thesis is a discussion of the theoretical foundation upon which the remainder of this thesis will rest. Through the discussion of selected works of philosophy and literary fiction, this chapter will lay down the theoretical parameters of the issues under examination in the chapters that follow. In chapter II Conrad's Heart of Darkness (1902) is studied in conjunction with Heideggerean and phenomenological thought. Chapter III takes as its point of departure the question of essence and existence in The Waves (1922) in order to examine the exploration of the Heideggerean notions of the ontic and the ontological. Chapter IV focuses on Bellow's Dangling Man (1944) and examines the way in which the protagonist's struggle in it is explored as a battle between the particular and the universal, and consequently as a strife between notions of essence and existence and ontic and ontological. The conclusion to this thesis endeavours to provide a premise within which ontology and hermeneutics may be understood in imaginative literature and philosophical writing. The intention is never to prove that a work of fiction is phenomenological or Heideggerean but rather to highlight the treatment of Being, Consciousness and the Self in literary fiction and philosophical enquiry. This thesis aims to understand the manner in which the concepts of the ontic and the ontological are expressed in literary fiction and philosophical texts, and does so by raising the question of whether in fact the literary enterprise as opposed to the philosophical one is more adept at expressing either of the two concepts. Based upon such an examination, this thesis, strives to examine whether or not philosophy and literary fiction exist as two separate enterprises by traversing both the similarities and discrepancies that exist in the two fields.
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Udomlamun, Nanthanoot. « Materiality and memory in contemporary diasporic and postcolonial fiction ». Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/62784/.
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This thesis is a materialist study of memory in contemporary writings. Situating itself in the emergent field of memory studies, this thesis is an attempt to go beyond the stretched horizon of traumatic recollection that is commonly regarded as part of contemporary postcolonial and diasporic experience. Apparently, in the contemporary world the geographical mapping and remapping and its concomitant sense of displacement and the crisis of identity have become an integral part of an everyday life of not only the post-colonial subjects, but also the post-apartheid ones. This interconnectedness between memory, place, and displacement as an outcome of colonisation, migration and the apartheid lays conceptual background for my study of memory in the literary works of four contemporary writers, namely Jhumpa Lahiri, Monique Truong, Kazuo Ishiguro, and Ivan Vladislavić. This study is a scrutiny of some key issues in memory studies: the working of remembrance and forgetting, the materialisation of memory, and the commoditisation of material memory. In order to restore the sense of place and identity to the displaced people, it may be necessary to critically engage in a study of embodied memory which is represented by the material place of memory - the brain and the body - and other objects of remembrance.
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Scarth, Katherine Ada. « Near London and Brighton : suburbs in fiction, 1780s-1820s ». Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/56240/.
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My thesis explores London’s and Brighton’s Romantic-period affluent residential suburbs as represented in fiction by Charlotte Smith, Medora Gordon Bryon, Elizabeth Helme, Jane Austen, and Elizabeth Sandham. While scholarship is still small in size and scope, literary critics, historians, geographers, and architects have increasingly recognized the importance of this period for understanding suburban histories and geographies more generally. At this time, the middling ranks began to move en masse to the suburbs, distinctly suburban architecture and developments proliferated, and unprecedented acceleration in the growth of suburban population and infrastructure occurred. My thesis is the first full-length assertion of the suburbs’ significant re-ordering of society and the built environment in this period, a transformation that anticipates today’s ubiquitous Anglo-American suburbs. I ground my study in Romantic-period suburbs by using the work of J.C. Loudon, whose The Suburban Gardener, and Villa Companion (1838) was the first in-depth treatise on explicitly suburban homes and gardens. Furthermore, I spatialize the suburb, extending current criticism on Romantic-period homes, suburbs, and cities, and applying the ideas of postmodern geographers and spatial theorists. I define the suburban by focusing on how characters experience domestic space’s geographical location, material features, and social spaces. These elements of space, along with the connections between time and suburban space, reveal how the suburb is implicated with the urban and the rural and with issues of management and power. Characters experience suburban space differently depending on factors such as socio-economic status, lifestyle, gender, and space of primary identification. Multiple and diverse versions of suburban homes emerge. Invariably, the novels all prize some kind of peaceful retreat—a space of reflection, emotional tranquillity, intimacy, or physical rest. I interrogate how and why fictional narratives condone or condemn particular strategies of suburban space-making in order to elaborate on wider cultural implications.
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Deininger, Michelle. « Short fiction by women from Wales : a neglected tradition ». Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/59447/.
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This thesis traces the emergence of a distinct literary tradition of female-authored short fiction in Wales. It knits together a range of theoretical frameworks, including travel writing theories, ethnography and auto-ethnography, and ecofeminism, in order to adequately describe, elucidate and critique the evolution of the form from the late 1830s to the present day. The Introduction looks at the history of the theory of short fiction, especially the work of Frank O’Connor and Clare Hanson, as well as European models. Chapter One explores the interrelations between an emergent short fiction form, the sketch and travel literature, through the lenses of imperial travel writing theories, home tour writing, the sketch and Sandra A. Zagarell’s ‘narrative of community’. Chapter Two looks at writers from the 1920s to 1950, examining the ways in which discourses of anthropology, specifically ethnography and auto-ethnography, combined with further elements of Zagarell’s theories, can shed light on narrative techniques and recurrent tropes. Chapter Three examines the politically volatile period of the 1960s and 1970s, focusing particularly on the ways in which short fiction is caught up in debates surrounding ecofeminism, the environment and women’s bodies. The final chapter looks at current trends in contemporary short fiction, especially language loss, devolution and a sense of belonging. This chapter also considers how recent prestigious competitions are shaping trends in short fiction, as well as uncovering recurring metaphors which tie into movements in wider feminist theory, such as Adrienne Rich’s work on salvage and recovery. The conclusion looks ahead to new directions in both theoretical stances and the form itself, such as electronic publishing and further avenues for recovering material.
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Brown, Niamh. « Devotional cosmology : poetry, thermodynamics and popular astronomy, 1839-1889 ». Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8230/.
Texte intégralRésumé :
The relationship between science and religion in nineteenth century Britain has been the focus of major recent interest from historians and critics, and was a source of anxiety for Victorians. This thesis uses a modified version of the ‘two-way traffic’ model used in literature and science studies, to consider a three-way exchange of ideas between science, literature and religion in the mid- and later nineteenth century. I use popular scientific treatises and religious poetry published between 1839 and 1889 to consider some of the ways in which some Victorian writers attempted to unite religious and scientific cosmologies to create an inclusive, coherent scheme in which God co-exists with scientific laws without contradiction. I argue that poetry, and particularly epic, played an important part in enabling some Victorians who were concerned about a potential incompatibility between science and religion, to explore and propose solutions to perceived conflicts. In addition to this intermediary role, poetry acts in its own right to exchange ideas, in the form of images, tropes and figurative devices, with both science and religion. I examine the poetry of Gerard Manley Hopkins and James Clerk Maxwell in relation to their attitudes to thermodynamics. In terms of epic poetry, I focus upon Philip James Bailey’s Festus and Edward Henry Bickersteth’s Yesterday, Today and Forever. I also consider the popular scientific treatise and use literary analytical methods, such as close reading, to trace instances of poetic and religious allusion, and I note affinities between epic poetry and popular scientific treatises. I make case studies of The Unseen Universe by Balfour Stewart and Peter Guthrie Tait, and the very public debate between William Whewell and David Brewster on the possibility of extraterrestrial life. Nearly all of the poems and treatises on which I focus in this thesis have been understudied, especially in the field of literature and science. I aim to reposition these texts as important routes for further study in this field. In order to investigate patterns of exchange between science, religion and poetry, I focus in my thesis upon three chief cosmological questions: the future of the universe in light of Victorian understandings of the laws of thermodynamics; the presence, or not, of a divide between the spiritual and earthly realms; and the existence or otherwise of extraterrestrial life. The project considers each of these questions as they are dealt with in poetry and in scientific treatises, and examines how answers to each question are developed, with each genre contributing to the development of ideas in the other.
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Tierney, John. « "Plunged Back with Redoubled Force" : An Analysis of Selected Fiction, Non-Fiction, and Poetry of the Korean War ». University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396829149.
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Simecek, Karen. « Experiencing lyric poetry : emotional responses, philosophical thinking and moral inquiry ». Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57957/.
Texte intégralRésumé :
To date, the most substantial accounts of our engagement with literature have focused on prose-fiction, in particular the novel, drawing on issues of plot, character and narrative in explaining our understanding of literary works. These accounts do not consider how the poetic features of a literary work may affect our reading experience and how this contributes to the meaning of the work. In this thesis I show the philosophical importance of the experience of reading poetry for the role it can play in inquiry, in particular, how such an experience can facilitate philosophical thinking and active inquiry. Adopting a reader-response view of our engagement with poetry, I argue that the experience of reading lyric poetry can make a valuable contribution to philosophical inquiry by enriching our conceptual understanding. The reading experience helps us to forge explicit awareness of our concepts and the networks of associations and beliefs that determine our use of them. Understanding poetry necessarily requires attending to the unity of form and content, and the particular perspectives on offer in the poem. This complex whole sustains perspectives and emotions where character and narrative are lacking. I argue that the perspectival nature of our reading experience is important for philosophical inquiry into aspects of human life. Encountering the perspectives of the poem helps to activate our own perspectives through our emotional and intellectual responses, bringing into focus what we value. I apply this argument to the moral domain, arguing that poetry can facilitate moral inquiry in particular by exposing moral significance in our concepts, helping us to feel what is at stake, and by testing our moral understanding. The way in which the poetic examples discussed engage us emotionally, imaginatively and cognitively (through the reading experience) help us address moral questions from distinctive and valuable perspectives, which provide us with moral insights of value in philosophical inquiry.
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Turcotte, Gerry D. « The Merlin tradition in Tennyson a study of the mantic infrastructure of Tennyson's poetry ». Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/5256.
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Mahasneh, Anjad. « The Translatability of Emotiveness in Mahmoud Darwish's Poetry ». Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28619.
Texte intégralRésumé :
This study addresses the translatability of emotive expressions in the poetry of the distinguished Palestinian poet Mahmoud Darwish. The study gives translators and readers an example of how to look at emotiveness in the Arabic poetry by studying main sources of emotiveness like cultural expressions, figures of speech such as rhetorical questions and repetitions as well as expressions of direct emotiveness such as proper names. The ambition of this study is to enrich the literature on translation with new examples of emotiveness by pointing out the expected problem areas when translating emotive expressions. Furthermore, this study is significant since it attempts to answer the question of whether emotiveness constitutes a problem when translating from Arabic into English and whether the meaning and the musicality of poetry are translatable or not.
The English translations are selected from: 1. Unfortunately, It Was Paradise translated and edited by Munir Akash and Carolyn Forche with Sinan Antoon and Amira El-Zein (2003) e 2. The Butterfly's Burden translated by Fady Joudah (2007). The original poems can be found in Darwish's most recent poetry collections included in the 2009 edition of The Complete Recent Works by Mahmoud Darwish, published in Beirut.
The emotive expressions selected from the English collections and compared to the Arabic original are divided into three categories: the cultural expressions, the linguisticexpressions, and the political expressions. The study highlights different emotive devices used in the selection of poems, by carrying out an analysis of the English translation as well as the Arabic original text. The emotive expressions selected are carefully analyzed to show how the translation was able to render the emotive meaning expressed and intended by the poet in the text in its original form.
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Cook, Victoria Maria. « Transnational space and the discourse of multiculturalism : contemporary Canadian fiction ». Thesis, University of Central Lancashire, 2010. http://clok.uclan.ac.uk/2962/.
Texte intégralRésumé :
This thesis engages in a study of the construction of identity as “process” in four contemporary English-Canadian novels. The novels under discussion are: Cereus Blooms at Night, by Shani Mootoo; Life of Pi, by Yann Martell; Fugitive Pieces, by Anne Michaels; and Childhood, by Andre Alexis. It offers a transnational model of analysis in relation to each of the novels, which enables the investigation of the “multiple” and “fluid” cultural identities in the four examples of contemporary Canadian fiction under scrutiny.
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Smith, Mark Bryan Bridger. « The posthuman : hostis humani generis ? : science fiction allegories/social narratives ». Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/4117/.
Texte intégralRésumé :
Whether in the guise of the novel or non-print media such as film and television, fin-de-millennium science fiction has provided opportunities to envisage a posthuman stage of evolution. The academic response to this has been polarized. Certain elements have embraced the genre as integral to the sociocultural relationship between unfettered biotechnological advance and the limitation of the human flesh. Others have treated the topic as fanciful entertainment, leading them to ignore and sometimes ridicule research on the posthuman. The thesis seeks to utilise the contemporary science fiction allegory as an aid in developing a critique of the emerging posthuman discourse, facilitating the analysis of its socio-political dynamic, and questioning whether discourse advancement necessitates the rejection of the humanist metanarrative. The thesis is divided into six chapters. The first chapter differentiates the posthuman from established biotechnological discourses, e mg the discontinuities in global location, temporal engagement, and participant ideology. The second reflects on the contemporary human condition associated with man's technological ingenuity being a credible threat to his own existence. It then outlines the epochal technoscience of the posthuman and introduces the diametrically opposed standpoints of the posthuman as amelioration, or autoextinction. The third chapter draws upon utopian visions of the future to contextualise and assist in the critical analysis of narratives advocating posthuman technoscience. The fourth chapter reverses this, by utilising dystopian imagery as an entree into the rationale of those opposing human alteration, facilitating its critique. The fifth chapter sees the science fiction allegory as a postfoundationalist narrative, offering up a discursive mirror to the influences of providence and progress on the posthuman debate. The final chapter examines whether an a-humanist account of man's relationship with technology might help to advance the posthuman debate.
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Phelps, Catherine Margaret. « [Dis]solving genres : arguing the case for Welsh crime fiction ». Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/60053/.
Texte intégralRésumé :
Walter Benjamin’s suggestion that great literary works not only add to canonical literature but also ‘dissolve’ genres may not seem apt in an examination of crime fiction, a genre noted for its rigidity and structured form. Though much of this mass-marketed, populist fiction cannot be perceived as great literature, nonetheless, some do work to dissolve genres, to re-shape them to different ends. This is especially true of Welsh crime fiction written in English. This thesis posits that there is a wealth of undiscovered Welsh crime fiction written in English and that those neglected works are necessary to the study of both crime fiction and Welsh writing in English. Central to this argument is my assertion that Welsh crime fiction (as it will henceforth be referred as) is a separate genre that contains its own specific tropes and paradigms, markers that are indicative of a certain Welsh cultural identity. As this study also acts as a survey of a previously unexamined area, of necessity, the works under question are the product of a extensive period: from the late-nineteenth century to the present day. While the chapters are arranged thematically, I have also tried to keep a sense of a chronological order with a sense of authors writing against or responding too previous generations of crime writers. In this manner, a tradition can be seen to be forming, one which re-imagines Welsh identity over this protracted period. As this literature springs from a nation that has frequently been defined as ‘other’, the Introduction starts with an examination of the so-called Blue Books and how they came to define the Welsh character for those outside Wales. Following this, Chapter I discusses how English crime writers absorbed these discourses and played out their ensuing anxieties in their work. Chapter II then explores an emergent Welsh crime fiction, one which both mimics and subverts anglocentric paradigms. This subversion is also played out in socialist crime fiction, the focus of Chapter III. Interestingly, these re-workings and re-imaginings of anglocentric norms are dealt with in different ways by male and female authors so Chapters IV and V will deal with male and female appropriations of genre respectively. This thesis concludes by asserting that Welsh identity is influential in forming a new genre, one that takes a rigid and hierarchical structure and adapts it to its own ends.
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Shaw, Kristian. « A unified scene ? : cosmopolitanism in contemporary British and American fiction ». Thesis, Keele University, 2016. http://eprints.keele.ac.uk/3261/.
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The twenty-first century has been marked by an unprecedented intensification in globalisation, transnational mobility and technological change. However, the resulting global interconnectedness reveals the continuation of deeply unequal power structures in world society, often exposing rather than ameliorating cultural imbalances. The emergent globalised condition requires a form of narrative representation that accurately reflects the experience of existing as a constituent member of an interconnected global community. This study of cosmopolitanism in contemporary British and American fiction identifies several authors who demonstrate a willingness to forge new and intensified dialogues between local experience and global flows, and between transnational mobilities and networks of connectivity. Various theories of cosmopolitanism will be examined in order to assess their efficacy in providing direct responses to ways of being-in-relation to others and answering urgent fears surrounding cultural convergence. The five chapters of the study will examine works by David Mitchell, Zadie Smith, Teju Cole, Dave Eggers and Hari Kunzru, and Philip Pullman. By envisioning how society is shaped by the engendering of shared fates brought about by globalisation, the selected fictions by these authors imagine new cosmopolitan modes of belonging and the development of an emergent global consciousness founded on the cross-cultural interdependencies of the post-millennial world. Despite providing unique and divergent perspectives on the contemporary moment, the fictions indicate that cosmopolitical concerns and crises weaken calls for more progressive and productive forms of harmonious global interconnectedness, and retain a scepticism of more utopian discourses. Cultural relations are increasingly mediated through the awareness of inhabiting a shared, but not unified, world. The study will conclude by arguing that the selected fictions point towards the need for an emergent and affirmative cosmopolitics attuned to the diversity and complexity of twenty-first century globality.
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Simpson, Kim. « The 'little arts' of amatory fiction : identity, performance, and process ». Thesis, University of Kent, 2014. https://kar.kent.ac.uk/48720/.
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From its initial publication until the feminist recovery project, amatory fiction was mostly depicted as a popular, but immoral, trivial, and aesthetically underdeveloped genre in comparison to the emergent realist novel. More recently, the genre’s feminocentric treatments of gender difference, erotic love, seduction and betrayal have been discussed in terms of their proto-feminism, whilst its thematic explorations of duty and disobedience have been recognised as evidence of the genre’s Tory-oriented intervention in partisan politics. Tracing the origins of some of today’s critical perspectives on femininity, writing, performativity, and the body, ‘The “Little Arts” of Amatory Fiction: Identity, Performance and Process’ argues that these texts are characterised not so much by their proto-feminism or political alignments, as by their proto-queer strategies. The structure of the chapters works from the outside of amatory texts – their reception and their construction in chapters one and two – to their content in chapters three and four, and then back outwards again in the final chapter which considers their lasting influence. The chapters redefine the genre according to its self-conscious and theoretically sophisticated engagements with identity, authorship, materiality, power, and desire, and suggest that such a redefinition serves to widen the pool of amatory texts for consideration. Chapter one explores the interrogation of prescriptive gender constructions in amatory texts and the feminist readings that this interrogation has provoked, suggesting that a reading that attends to the queerness at work in amatory fiction can yield a clearer understanding of the genre’s ambiguous ideological position, which goes beyond transgression. Chapter two identifies the ways in which self-conscious textuality, evasive strategies of authorship, and (dis)embodiment function within these texts to posit a constructivist understanding of identity, and as demonstrations of artistry and agency. It argues that identifying amatory fiction according to its play with notions of authorship, rather than as author-based, allows for the inclusion of lesser known writers such as Mary Hearne, writers not traditionally considered amatory, such as Penelope Aubin and Jane Barker, and anonymous and pseudonymous amatory texts, within an amatory canon traditionally constituted by Aphra Behn, Delarivier Manley, and Eliza Haywood. Chapter three reads amatory fiction alongside Judith Butler’s work on performativity, and charts the way in which amatory fiction experiments with the possibility of disrupting processes of identity construction using masquerade and mimicry, and creating its own discursive forms of repetition and performativity in ways that prefigure Butler. Chapter four examines how amatory texts subject these configurations to the material effects of passion and power, using materialist feminist theory to posit that the body is recognised in these texts as a place of excess beyond the limits of discursive performance. The final chapter outlines the afterlife of amatory fiction, demonstrating the ways in which intertextuality and borrowings are used to create a community of readers and writers working in an amatory tradition both within the early eighteenth century and beyond. At a time when some scholars are turning away from the popular fiction by women unearthed during the recovery project in favour of revisionist formalist approaches, this work is both crucial and timely, demonstrating amatory fiction as formally innovative, theoretically engaged, and vital both to understandings of the queer eighteenth century, and to genealogies of feminist and queer theories.
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Hodgkinson, Amanda. « Spilt milk : memory, real life, and knowing the past in historical fiction ». Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34587/.
Texte intégralRésumé :
This PhD by Publication comprises two of my novels, 22 Britannia Road and Spilt Milk, accompanied by a reflective and critical exegesis which investigates the process and context of writing my internationally published historical fiction novel Spilt Milk. Drawing on Paul Ricoeur’s theoretical approaches to memory and narrative as a means to consider the borderlines between lived life and fiction, I consider the ways in which historical fiction can represent versions of real life which contain human truths and emotions. With this in mind, I argue that my novel writing (and reading) practice stem from the shared potential in what I term ‘creative memory.’ This site of potentiality is where worldliness and collaborative knowledge between writer and reader in response to the text exists, illustrating my own belief in the imagination as a place of creative communality. In examining this, I establish my own contribution to the ways in which memory and the imagination impact on the practice of creative writing, and reading fiction. Reflecting on my creative practices offers original and wider ways of understanding how literature represents, or even is, ‘real life,’ and thus has an important role in our lives today.
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Graves, Jesse, Paul Ruffin et William Wright. « Southern Poetry Anthology, VII : North Carolina ». Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1937875873.
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Robert Morgan and Kathryn Stripling Byer, Al Maginnes and Cathy Smith Bowers, Thomas Rain Crowe and Michael McFee, as well as many new voices. . . Indeed, the variegation of the Tar Heel State's landscapes, as well as its rich history, is reflected through the myriad voices of its contemporary verse. As with other volumes of The Southern Poetry Anthology, this book--full of a wide gamut of poetic styles and approaches--will appeal to many readers, prove an excellent teaching resource for North Carolina students of literature, and serve as the definitive poetic document for North Carolina for many years. Conceived by Series Editor William Wright in 2003, The Southern Poetry Anthology is a projected twelve-to-sixteen volume project celebrating established and emerging poets of the American South, published by Texas Review Press. Inspired by single-volume anthologies such as Leon Stokesbury's The Made Thing, Gil Allen's A Ninety-Six Sampler, and Guy Owen and Mary C. Williams' Contemporary Southern Poetry: an Anthology, The Southern Poetry Anthology aspires to provide readers with a documentary-like survey of the best poetry being written in the American South at the present moment. Specifically, the editors' goals are twofold: first, to re-establish poetry of the South as a major presence in American literature, and second, to include a greater range of poets from the South to introduce a new poetic geography, a fresh corpus of what we understand to be "Southern Poetry."https://dc.etsu.edu/etsu_books/1019/thumbnail.jpg
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Waage, Fred. « This Mortal Earth : A Year of Beginnings and Ceasings ». Digital Commons @ East Tennessee State University, 2015. http://amzn.com/168114008X.
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The poems in this collection were written one-a-day, during the course of the author's sixty-seventh year. They seek to express an ecological awareness, the "intense consciousness of land" (Aldo Leopold), a consciousness of the Earth's land and of that essence that composes the writer's being.https://dc.etsu.edu/etsu_books/1010/thumbnail.jpg
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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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Shepley, Elinor. « Ageing in Welsh fiction in English, 1906-2012 : bodies, culture, time, and memory ». Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/114562/.
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This thesis examines the proliferation of ageing characters to be found in twentieth and twenty-first-century Welsh fiction in English and argues that older people have a special significance in this body of literature. The study employs a mixed methodology, combining close comparative analysis of fictional texts with theoretical perspectives taken from cultural and literary theory, philosophy, sociology, psychoanalysis, and postcolonial studies. The introduction situates my work alongside the fields of literary gerontology and Welsh writing in English, giving focus to strands of research which have synergies with this thesis. Chapter 2 examines the influence of stereotypes of ageing on older characterisations in Anglophone Welsh fiction and argues that writers undermine and complicate these stereotypes. Representations of gossips, burdens, those with dementia, wise older people, inspirational grandmothers, older men and grandfathers, and unmarried women are analysed. Chapter 3 focuses on renderings of older subjectivity, considering protagonists’ experiences of physical ageing, alongside tensions between the changing older body and a more constant self within, and texts which represent changes in experiences of time and memory. Writers are argued to give voice to the frail and the marginalised and to reveal the influence of socioeconomic and cultural factors on experiences of ageing. Chapter 4 asserts that intergenerational relationships involving older characters tend to symbolise societal change and to reflect class and linguistic divisions between generations. Ageing characters, particularly older women, are shown to become links to the past and to act as remembrancers of local and national histories. They also signify a conception of Welsh identity grounded in speaking Welsh, devotion to Nonconformist worship, and a stoic determination to survive. These characters often perform the role of storyteller, passing on suppressed knowledge and traditional values. It is argued that, despite their regard for the past, the novels and short stories discussed avoid the dangers of nostalgia through the ambivalence of younger characters to the identities they are bequeathed, the self-reflexivity of several texts, and older characters who are grounded in the present and concerned about the future.
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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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Ryan, Mike. « "no hope, just / booze and madness"| Connecting Social Alienation and Alcoholism in Charles Bukowski's Autobiographical Fiction ». Thesis, University of Louisiana at Lafayette, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557574.
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The prevalence of alcoholic writers in 20th-century American literature reached what has been called epidemic proportions. Many of these writers wrote autobiographical accounts of their alcoholism through alter egos in their literary works. Of these, perhaps none is as extensive and detailed as Charles Bukowski's persona Henry Chinaski. This thesis is a case study of Chinaski's alcoholism through five of Bukowski's autobiographical novels. In it, I explore the complexities of Chinaski's alcoholism and make the claim that social alienation is a driving force for the onset and the intensity of his alcohol addiction. The novels span Chinaski's life from youth to old age, and factors such as childhood abuse and labor conditions in the post-Depression era work to alienate him. Through close, contextual reading of Bukowski's novels aided with sociological and medical scholarship on addiction, the relationship between alienation and alcoholism is explored.
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Gubernatis, Catherine. « The epistolary form in twentieth-century fiction ». Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1184950116.
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Stripe, Adelle. « Writing Andrea Dunbar : framing the non-fiction novel in the literary north ». Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/31560/.
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Black Teeth is a novel based on Andrea Dunbar, a young woman with an extraordinary talent for writing who becomes famous by accident. She is propelled into the London theatre establishment via a Women’s Aid refuge and an adapted screenplay of two of her early plays brings her wealth, accolades and notoriety. Rita, Sue and Bob Too! is a national scandal upon its release, and its tagline ‘Thatcher’s Britain with Her Knickers Down’ ensures it is a box office sensation. Fame brings her great anxiety and she is unable to cope with the media attention of the national press who elect her a poster girl for the underclass. Dunbar slowly succumbs to the pitfalls of drink and spends her last days in her local pub The Beacon, where she writes her final script based on a gang of unscrupulous debt collectors. In 1990, aged 29, she collapses in the pub from a fatal brain haemorrhage. This creative work reflects the harsh realities of working-class life during the 1980s and reveals the story of Andrea Dunbar, a remarkably stubborn ‘genius straight from the slums’. Through a cast of real and imagined characters the novel explores how her portrayal of the Buttershaw Estate revealed levels of poverty within her own community that were previously unknown to the outside world. Her black-witted comedies included themes of domestic violence, underage sex, alcoholism and the declining status of men. By using frank and expletive-ridden dialogue Dunbar gave a no-holds-barred account of the working-class North composed in the tradition of social realism. This is the first time an account of Dunbar’s life and work has appeared in novel form and offers a unique insight into one of the North’s lost literary greats. It places her work within the social and historical context of the Thatcher era and re-asserts her position within the cultural heritage of West Yorkshire. By drawing connections to recent works in contemporary Northern literature the research also explores representations of West Riding in the 1970s and 80s. It examines the work of Gordon Burn and David Peace and shows how they utilised the non-fiction novel and New Journalism forms to create fact-based fiction set in the region.
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Maaloum, Mohamed. « The loss of the referent : identity and fragmentation in Richard Wright's fiction ». Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/62501/.
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This thesis explores forms of fragmentation that characterize black male subjectivity in Richard Wright’s fiction and considers their relationship to the demise of the social anchors and referents which are supposed to allow black men to develop as coherent and whole. It argues that the physical and psychic disfigurement and political and social marginality to which these men are consigned are a direct result of a humanist worldview imposed on them by the two main entities that define them as marginal, namely, white society and black community. To address this relationship, the thesis deploys a poststructuralist approach to question the two societies’ humanist grounding of subjectivity in terms of its conformity to the social whole and its attendant stress on homogeneity and sameness. Wary of this humanist and Enlightenment positioning of the subject as a conscious and thinking individual who is at home with the social totality, the thesis illustrates that the experience of splitting and disjuncture undergone by black men is a corollary of societal modes of subjection that disavow difference and heterogeneity. Probing black male identity from this perspective reveals as much about its decentered nature as it does about the two societies’ humanist view of identity as a closure determined by the ostensibly stable categories of race and community. The formation of black male identity as fractured thus helps map out the instability and anxiety at the heart of collective identities, showing that both white and black societies deny black manhood in the name of preserving their own racial fixity and cultural purity. It exposes the mythical and ideological character of the two societies’ humanist pretentions of safeguarding the values of freedom, equality and the right to agency and shows how such high moral values are politically mobilized in order to maintain racially-sanctioned forms of identity and banish black men as different and inferior.
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Blomberg, Miranda. « "Should Fiction be Safe Places?" : Neil Gaimans novellsamling Trigger Warning som metafiktion ». Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-412454.
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Pawlak, Solange. « A Work of Speculative Fiction : Intertextuality in Margaret Atwood’s The Handmaid’s Tale ». Thesis, Högskolan Dalarna, Engelska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30479.
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Morse, Andrew. « "A new discipline of vision" : the synthesis of poetic and scientific epistemologies in contemporary speculative verse / ». view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102180.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 232-241). Also available for download via the World Wide Web; free to University of Oregon users.
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Dunst, Maura. « "Such genius as hers" : music in New Woman fiction ». Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/46493/.
Texte intégralRésumé :
This thesis examines music and its relationship to gender and the related social commentary woven throughout New Woman writing, putting forth the New Woman musician figure for consideration. In contrast to the male-dominated world of Victorian music, New Woman fiction is rife with women who not only wish to pursue music, but are brilliantly talented musicians and composers themselves. These women are the focal point of this thesis. The primary texts used are Kate Chopin’s The Awakening (1899); Sarah Grand’s Ideala (1888), The Heavenly Twins (1893), and The Beth Book (1897); George Egerton’s Keynotes (1893), Discords (1894), Symphonies (1897), and Fantasias (1898); George Moore’s Evelyn Innes (1898) and Sister Teresa (1901); and Mona Caird’s The Daughters of Danaus (1894); with George du Maurier’s Trilby (1894) (and, to a lesser extent, the Moore texts) offered in contrast to the foregoing. This thesis seeks to answer the following question: what is music’s function in New Woman fiction, and to what end? Each chapter offers an answer to this question using different areas of women’s musicianship: stifled musicians, performers, composers, and auditors. In addition, the penultimate chapter works toward a theory of “melopoetic composition,” or the blending of literary and musical composition, and discusses the role of mirror neurons in creating a unique reading experience which is visual, aural, and neural. Ultimately, this thesis illustrates that the sister arts of music and literature were woven together by the sisterhood of the New Woman writers, who used fiction as a medium through which to assert their multi-layered creative capabilities.
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Coban, Osman. « Reading choices and the effects of reading fiction : the responses of adolescent readers in Turkey to fiction and e-fiction ». Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30686/.
Texte intégralRésumé :
In surveying the cultural context of modern-day Turkey it must be acknowledged that, historically, there have been critical problems between different ethnic (Turkish and Kurdish) and religious groups in Turkey arising from prejudice, intolerance and leading to hatred and conflict. One way of easing the tension between these groups could be by challenging prejudice through developing empathy, understanding and respect. Among a number of ways this could be done, researchers in the field of literacy and children’s literature have stressed the positive effects of reading books that emerge from the transaction between the reader and the text which have the potential to raise awareness about prejudice (Arizpe et al., 2014b; Farrar, 2017). However, research suggests that young people’s amount of reading books is low in Turkey (OECD, 2009; OECD, 2012); in addition, the Board of National Education in Turkey (BNET) and education policies in Turkey have not paid attention to young people’s reading interests or their reading for pleasure (BNET, 2011a and b). Based on the theoretical tenet that reading fiction can affect readers’ thoughts and emotions, the wide aim of this study was to explore the potential of reading fiction for developing empathy and understanding. Given that young people’s reading interests have not been considered in Turkey in detail, this thesis had to begin by investigating what kind of books were preferred and what effects they had on adolescent readers in that country. In order to accomplish this, a case study method with a mixed method design was employed and it was decided that an approach using the Transactional theory of reading as well as Cognitive Criticism would help to achieve this goal. In total, 381 students (aged between 16 and 18) responded to an online questionnaire and 10 of these students participated in interviews and reading activities. The data was analysed using the IBM SPSS 22 statistical analysis program and NVivo qualitative analysis software. The findings of the study identified the significant impact that gatekeepers and facilitators (government, publishers and social community) have on Turkish adolescents’ reading attitudes and choices. It was also found that, although young people liked reading contemporary fiction and online texts, so far this has not been taken into account in the Curriculum and in the promotion of reading in Turkey. The study has identified a major gap between what schools offer and what students read (or between in-school and out-of-school practices), a key aspect in reducing students’ interest in reading books and therefore a missed opportunity for raising awareness about prejudice. Finally, this study provides strong evidence about the potential of reading and discussing books with a small group of adolescent readers, an activity that enabled them to express their thoughts about serious issues and thus supported them in developing self-understanding and understanding of others.
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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/.
Texte intégralRésumé :
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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New, Rachel. « 'Half' : a novel, and the corresponding thesis, Between memoir and fiction ». Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7860/.
Texte intégralRésumé :
'Half' is a dual narrative following the stories of sisters Sadie and Hannah on a less than harmonious trip round the Western States of America, and Olive Oatman, a fourteen-year-old girl captured by Native Americans in 1851. Olive’s account of servitude and acculturation with the Mohave Indians is in fact the fictionalisation of a memoir, told through a journal Sadie acquires. While the modern narrative in 'Half' is also based extensively on biographical content, the resulting novel is most definitely fiction. The accompanying research explores the point at which memoir and fiction intersect, asking if there is ever absolute truth or absolute fiction when utilising one’s own experiences as a framework for a narrative. Using evidence from historians it examines the extent to which the key texts discussed in the Thesis, classified as Memoir or Fiction, can be seen to occupy the middle ground between both tropes. It also looks at how the novel 'Half' incorporates a complex range of personal experience and imaginative explorations through its key themes of otherness, sisterly relationships and the role of fathers – and how the two narrative strands dovetail in both obvious and unpredictable ways to express the dark subtext of the novel.
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Stewart, Michael. « Rebooting the lyrical story : structure, viewpoint and aspects of realism in short fiction ». Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/26895/.
Texte intégralRésumé :
This project contains a collection of original short fiction due for publication by Valley Press (January 2016). In addition to the publication of the single collection, most of the stories have been previously published separately in magazines, journals and anthologies. A full publication list is provided. The commentary which accompanies the collection explores my own research into structure and viewpoint. In the commentary, I will show my development from a scriptwriter for theatre, radio and television to short fiction writer; from epical story structures to more lyrical ones. I will explore structure in short fiction from my wide reading of the various theorists, such as John Gerlach, L Michael O’Toole, Paul March-Russell, and J Berg Esenwein; practitioners such as Anton Chekov, Katherine Mansfield, Raymond Carver and Helen Simpson; and broad practice-based experience as a professional writer. I will examine my own experiments with form, viewpoint and aspects of realism in short fiction. The contemporary literary short story favours lyrical over that of epical structure. As a result of my background in scriptwriting, my stories combine epical and lyrical elements. The lyrical story has largely been associated with realism. My collection uses the lyrical story structure in combination with non-naturalistic elements, in order to ‘reboot’ the lyrical form. In addition, choice of viewpoint and an innovative approach to its novel use, form a thematic thread throughout my work. This exegesis outlines aspects of craft and technique pertinent to my background as a writer, which will demonstrate the distinctiveness of my short story collection.
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LaPadula, Brent. « A life both public and private : expressions of individuality in Old English poetry ». Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/40834/.
Texte intégralRésumé :
By looking at a representative sample of Old English poetry, this thesis questions the long-held notion that the individual, or personal-self, was not a reality in the western world until the Renaissance. This research makes use of a variety of recent and past methodological approaches to the self, so that we may apply these theories to a study of the individual in Old English literature, and by extension Anglo-Saxon culture more generally. The four-chapter layout showcases how we may approach and answer the question of self in a variety of Old English verse—from elegies and didactic religious, to the heroic. Each study is unique yet complements that which preceeds and follows it, so as to highlight how the study of self is really an inquiry of only seemingly disparate concepts. The outcome of this analysis demonstrates that the individual, or personal self-concept in Anglo-Saxon England was a reality, and consequently challenges past beliefs that the individual is a relatively modern notion. Thus opening the dialogue once more, my research ultimately asks how we may proceed with the question of self in different contexts, historical eras, and eclectic methodological avenues of inquiry, that we may further develop our understanding of one of the most important and ancient questions in humankind’s story.
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Taft, Alison. « Feminist noir or chick noir ? : protagonist, voice, tone and sexuality in female-led contemporary noir fiction ». Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34729/.
Texte intégralRésumé :
This exegesis is a critical and reflexive commentary on my first novel (Taft, A.J. (2011) Our Father, Who Art Out There ... Somewhere, Caffeine Nights: Kent) and my struggle to fit my writing to pre-existing or newly-emerging genres. At the time Our Father was published (September 2011) a new publishing category was seeking to establish itself in the marketplace. Chick Noir first emerged as a feminist reinvention of the traditionally male noir genre with stories centred around a criminal story question. However, following the phenomenal commercial success of chick noir books like Before I Sleep (Watson, S.J. 2011), Gone Girl (Flynn, Gillian, 2012), and Girl On The Train (Hawkins, Paula, 2015) our understanding of what constitutes a chick noir text has changed. This exegesis examines my attempts to contextualise Our Father within the framework of Chick Noir, both as it existed in 2011 and as it has developed since. It has led to me looking at other possible categories for my writing including Feminist Crime Fiction and Feminist Noir.
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Frater, Anne Catherine. « Scottish Gaelic women's poetry up to 1750 ». Thesis, Connect to e-thesis, 1994. http://theses.gla.ac.uk/701/.
Texte intégralRésumé :
Thesis (Ph.D.) - University of Glasgow, 1994.Ph.D. thesis submitted to the Department of Celtic, Faculty of Arts, University of Glasgow, 1994. Includes bibliographical references. Print version also available.