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1
Green, Thomas Andrew 1953. "Irony and Indians: A collection of original fiction". Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291722.
Testo completoAbstract (sommario):
The last in a long line of Mesoamerican cultures, the Aztecs massed in the metropolis of Tenochtitlan-Tlatelolco and neighboring cities in the Valley of Mexico, with bureaucracies and royal houses as cosmopolitan as those of their eventual conquerors, the Spaniards. In North America, however, tribal cultures developed organizations based not on the state, but on kin and family relations. The basis of this paper is a comparison of the values fostered by tribalism and those propounded by bureaucracy, whether Mexican or European or even Ming Chinese. The method employed is that of a series of six short pieces of original fiction (one for each of the cardinal points, one for Father Sky, and one for Mother Earth), based on research into the world-views of North American Indian cultures and tribal experiences, and which may be construed as a critique of the notion of the universality of human values.
2
Lauen, Douglas. "Oedipus Fallen: Irony in the Fiction of Milan Kundera". Oberlin College Honors Theses / OhioLINK, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1397227893.
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Roienko, L. V. "Comicality and the nature of irony formation in the fiction texts". Thesis, Університет Григорія Сковороди в Переяславі, 2020. https://er.knutd.edu.ua/handle/123456789/16300.
Testo completoAbstract (sommario):
У статті досліджуються особливості комічного та певні його типи (іронія, сатира, сарказм) в тексті художньої літератури. Значна уваги приділяється аналізу основних аспектів іронії, її рис і фунцій у тексті. З’ясовуються засоби релізації іронії у текстах художньої літератури.
4
Merican, Fadillah Fatima. "The fiction of Ruth Prawer Jhabvala : irony within a dual philosophical framework". Thesis, University of Hull, 1990. http://hydra.hull.ac.uk/resources/hull:12767.
Testo completoAbstract (sommario):
The thesis examines how Ruth Prawer Jhabvala, writing from the ironic perspective of the rootless, displaced European writer, utilises a dual framework of Hindu philosophy and religious tradition, and Platonic thought on Love to augment the .ironic narrative of her Indian and Western novels. The framework is discerned in allusions as well as fluid suggestions and associations to the Bhagavad Gita, The Symposium, moral precepts, ideals, cultural norms, myth and folk-tales. Northrop Frye's schema for narrative fiction as developed in Anatomy of Criticism provides a useful theoretical basis for the study. In particular the phases or literary structures of the comic and ironic mythoi, together with the typical traditional characters of comedy and irony - the deceiving and self-deceived alazon, the self-deprecating eiron and the scapegoat, the pharmakos - facilitate a grouping of the novels that corresponds to Jhabvala's darkening ironic viewpoint. The moral paradigms that operate in each novel are integrated with the particular features of the ironic mythos it manifests,to highlight the discrepancy be tween i deal and reality, between what is hoped for and what is achieved. The analysis traces how the Hindu frame work enhances the workings of Jhabvala's irony in the first two groups of ironic comedies and comic ironies. In the group of later and darker ironies, Hindu and Platonic ideas are ironic foils t o the quests of Western spiritual seekers in India. Finally in the two Western novels the hopeless search for Love and Beauty features ironic parallels to and inversions of Platonic and classical ideals and archetypes. The thesis is thus primarily a close reading of Jhabvala's ironic fiction. It also offers a perspective on contemporary fiction; as the work of the initiated - outsider her Indian writing suggests a contrast to that of new literatures in English which call upon cultural and traditional heritage mainly to highlight national identity and vitality.
5
Geertsema, Johan Hendrik. "Irony and otherness : a study of some recent South African narrative fiction". Doctoral thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17592.
Testo completoAbstract (sommario):
Bibliography: pages 277-290.This study considers the relation between irony and otherness. Chapter 2 shows that there is little agreement on the politics of irony in critical discussions. Nevertheless, irony and otherness do appear to be linked in many of these discussions. Chapter 3 offers a consideration of Emmanuel Levinas's conception of ethics in terms of his understanding of the other as face and trace. The tendency of language to foreclose on otherness by reducing it must be interrupted, while otherness must, nonetheless, be Said. The chapter concludes with an attempt to relate Levinas's conception of otherness - as the interruption of conceptualising otherness - to Paul de Man's conception of irony as permanent parabasis in terms of the tropes of prosopopoeia and catachresis. Any representation of the other must be interrupted continually as it is a prosopopoeia of otherness (in that it gives otherness a face) and therefore a catachresis (for the other has no face and must be given one). The task with which the (reading) self is faced is ironic in that it consists at once of positing and interrupting the face given to the other. Chapters 4, 5 and 6 are attempts at reading the interplay of irony and otherness in selected recent South African fiction. Van Heerden's Kikoejoe, as an allegory of the refusal to narrativise otherness, is read as being caught in the double bind of irony; Matlou's Life at Home is read as a text intimating an otherness at the heart of domesticity and within the reader; and, finally, Coetzee's Age of Iron is read as a text in which confession is the nexus of the relation between irony and otherness. This study brackets the political in order to examine the relationship between irony and otherness from the vantage point of Levinas's 'conception' of the other. The task remains to consider whether it is possible to approach irony ethically, or ethics ironically, and to consider the political ramifications of the relation between irony and otherness postulated in this study.
6
Cattell, Victoria Fayrer. "Irony and alazony in the English Künstlerroman". Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65961.
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Sijnja, Jennifer. "Apprehensive Irony and Disappearing Communities in the War Fiction of Ernest Hemingway, Evelyn Waugh and Joseph Heller". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17740.
Testo completoAbstract (sommario):
This study seeks to excavate a certain line of irony running through the war fiction of Ernest Hemingway, Evelyn Waugh, and Joseph Heller. Bookended by brief engagements with Stephen Crane’s The Red Badge of Courage (1895) and Thomas Pynchon’s Gravity’s Rainbow (1973), the study of Hemingway’s The Sun Also Rises (1926) and A Farewell to Arms (1929), Waugh’s Put Out More Flags (1942) and Sword of Honour trilogy (1965), and Heller’s Catch-22 (1961) seeks to map out the emergence of a kind of irony that is best understood to function as a mode of apprehension. As the publication dates of these novels would suggest, my concern relates predominantly to the literature produced after the First and Second World Wars; all three men saw war firsthand, and in this way theirs is also a kind of experiential irony. At the same time as the work traces the emergence of this mode of irony, it also argues that a concurrent decline in the existence of sympathetic communities formed around shared experiences (what Linda Hutcheon calls “discursive communities”) took place – a decline which served to unsettle the successful transmission of irony. The fate of the individual in wartime at times appears to be closely bound to their participation in a series of these communities, and protagonists like Jake Barnes, Frederic Henry, Basil Seal, Guy Crouchback, and John Yossarian each demonstrate a different level of cohesion with the social group – with differing results. Woven through the analysis is a consideration of the inheritance of this line of irony, with an unexpected outcome being the emergence of the curious kinship of Hemingway and Waugh. Ultimately this project will contribute to the vastly dynamic area of irony studies. With its specific focus on the use of irony in war fiction born out of the two great global conflicts of the twentieth century, this thesis offers an exploratory reading of a historically contingent mode of irony that is used to such devastating effect in the novels listed above, and that underwrites the fraught and fractured character of ironic discourse in a postmodern world.
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S'hiri, Sonia. "Verbal irony in literary discourse : a pragmatic-stylistic study with particular emphasis on contemporary narrative fiction". Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/29363.
Testo completoAbstract (sommario):
This thesis attempts to shed new light on the functioning of verbal irony in literary discourse and contemporary narrative fiction in particular, adopting a pragmatic stylistic approach to the topic. It argues in favour of Sperber and Wilson's pragmatic account of verbal irony which it deems extendable and generalisable, despite its two main shortcomings concerned with the basically one-to-one situation analysis it offers and its disregard for components (of a psycho-sociolinguistic nature) which are essential for explaining and securing the existence of irony. The defence of this argument follows two steps. The first (Chs. I, II, III, IV) is concerned with the exploration of the potential that discourse as a whole and literary discourse in particular offer for warranting such a view of irony. Tremendous support has been unravelled from the notions of intertextuality, recontextualisation and re-attribution which readily accommodate the proposed view of irony and help to elucidate it. The second step explores irony in contemporary narrative fiction taking into consideration aspects of its discourse, and the way it can be reconciled with Sperber and Wilson's account. Chapter V singles out some paratextual elements (the title, the epigraph and the note) as instantiating intertextuality par excellence and therefore offering a fertile ground for the communication of irony, at the periphery of the body of the fictional text. Chapters VI and VII scrutinise the organisation of the narrative both as report of events and as report of speech in order to single out the potential each narrative technique offers for the generation and comprehension of irony. It is argued that the duplicity between 'story' and 'discourse' is at the heart of a great deal of the possibilities open for irony in narrative fiction given what it offers for the manipulation of the organisation of the events in terms of time, focalisation and narration as well as speech and thought presentation. This investigation is further accompanied by an exploration of the pragmatic or rhetorical purposes behind the use of irony through the manipulation of these techniques. Characterisation, thematic reinforcement and self-conscious criticism are found to be the elements of narrative that seem to benefit most from ironic communication.
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Barker, Debra Kay Stoner. "Ironic designs in the exotic short fiction of W. Somerset Maugham". Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/558342.
Testo completoAbstract (sommario):
This study analyzes the expression of Maugham's ironic vision in his short stories set in the South Seas and Southeast Asia. Through point of view, setting, character, and plot, Maugham explores the dialectic of expectation outcome, hope-disappointment, and illusion-reality. In the exotic short stories, not only do Maugham's characters confront this dialectic, but readers do as well. Using irony as a heuristic, Maugham prods his readers into rethinking unexamined assumptions about human nature and about the often disillusioning repercussions of clinging to ideals or having unrealistic expectations of life.The narrative voice in Maugham's stories, whether that of the omniscient or the dramatized first-person narrator, draws attention to the discrepancy between the ideal and the actual, using irony to highlight characterization as people are shown to be something other than they might be or what they are. Further, the narrators also establish a context for irony by inviting readers to share their insights on characters and conflicts, thereby emphasizing their distance from the characters who speak and act in ignorance of the actual state of affairs.Relying upon the conventions of realism, which assumes that man may find his destiny shaped by his responses to an environment, and using that environment to achieve artistic ends, Maugham demonstrates that setting generates irony as it precipitates tension, conflict, and sudden revelations of character. In other instances, the irony grows from Maugham's explorations of his characters' expectations of the exotic settings, suggesting that the tropical paradises are places of nightmares, as well as dreams.The volatile combination of setting and character often erupts in shocking plot reversals that have become the hallmark of Maugham's narrative techniques. The ironies of plot surface as characters and the first-person narrators confront realities that have been hidden or that have been denied. In many cases, the characters and the narrators have allowed their ideals or expectations to mislead them or cloud their judgment. Other plot ironies occur with the frame stories, as the narrators connect the fictive world of the story to the factual world of the reader, thus juxtaposing the ironic dialectic of reality and fiction.Throughout the exotic short stories, the designs of Maugham's narrative technique suggest that irony effectively expresses his philosophic stance on the ambiguity of human motives and the futility of idealism.Department of English
10
Uddén, Anna. "Veils of irony : the development of narrative technique in women's novels of the 1790s /". Uppsala : S. Academiae Ubsaliensis : Distributor, Uppsala University Library, 2000. http://bibpurl.oclc.org/web/31295.
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Heinimann, David. "A portrait of the young man as a failed artist /". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66151.
Testo completo
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Little, Michael Robert. "Novel affirmations: defending literary culture in the fiction of David Foster Wallace, Jonathan Franzen, and Richard Powers". Diss., Texas A&M University, 2004. http://hdl.handle.net/1969.1/366.
Testo completoAbstract (sommario):
This dissertation studies the fictional and non-fictional responses of David Foster Wallace, Jonathan Franzen, and Richard Powers to their felt anxieties about the vitality of literature in contemporary culture. The intangible nature of literature's social value marks the literary as an uneasy, contested, and defensive cultural site. At the same time, the significance of any given cultural artifact or medium, such as television, film, radio, or fiction, is in a continual state of flux. Within that broad context I examine some of the cultural institutions competing with literature for public attention, as well as some of the cultural developments impacting the availability of public attention for literary concerns. With Wallace, I study his efforts in fiction and essays to establish an anti-ironic mode of literary rebellion, in opposition to the culturally pervasive tone of self-protective irony modeled by television. Franzen opens discussion about the transience of cultural authority, a situation in which the imprimatur of the academy, for instance, confers a cultural significance different in kind but not degree from the imprimatur of a popular televised book club. My study of Franzen in particular demonstrates the impact of proliferating sites of cultural authority, addressing the emergence of middlebrow culture and audiences from contested space to authoritative cultural arbiter. The chapter on Franzen also examines the increasing role of corporate interests in the production of cultural artifacts with an eye toward their financial viability more than their cultural impact. And finally, my study of Powers focuses on the animosity between the sciences and the humanities. Powers produces fiction that serves as an indispensable tool for communicating between disparate and otherwise isolated disciplines, and for helping those specialized fields synthesize their information with others.
13
Picq, Elisabeth. "Popular fiction in France and England, 1860-1875 : convention, irony and ambivalence in the novels of Paul Féval and Wilkie Collins". Thesis, University of St Andrews, 2000. http://hdl.handle.net/10023/11112.
Testo completoAbstract (sommario):
This thesis is a comparative study of two popular nineteenth-century writers, Paul Feval and Wilkie Collins, and by extension, of their respective traditions, the Roman-Feuilleton and the Sensation novel. At the same time, the thesis seeks to provide new insight into the nature and function of popular fiction as a genre. This study argues that, contrary to common assumptions, popular fiction is a complex and dialogic form. As a comparative project, this thesis underscores similarities and differences between the two writers. Chapter I looks at the narrative structures of the novels. It demonstrates that the use of archetypal story-patterns and characters leaves room for 'both thoughtful and ironically playful narrative experiments, resulting in a surprising degree of self-reflexivity. Chapter Il emphasises the dialogic nature of the texts by examining the ways they evoke and rework different genres and registers. It argues that the mingling of tones and moods serves both to stimulate readers' pleasure and to convey criticism of contemporary society. Making use of Mikhaïl Bakhtin's theories on popular culture, this section highlights the carnivalesque nature of the texts. Chapter III addresses in detail the formal influence of the theatre on the two sets of texts and investigates the use of theatrical metaphors in the novels as a way to explore the workings of society. Chapter IV sets out to redress common assumptions about the conservatism of Féval's narratives and the radical nature of Collins' novels by highlighting the existence of two contrary discourses, one manichean and conservative, the other rebellious and immoral. Chapter V makes use of René Girard's theory of the scapegoat. By showing how the two discourses articulate around a scapegoat figure, it draws a parallel between the mechanisms of popular fiction and social mechanisms. Finally, this section argues that both Féval and Collins were aware of the ideological charge of the form they were using and of its limitations.
14
Costa, Yasmin Serafim da. "Prenúncios de uma revolução: feminino, masculino e sociedade em O número dos vivos". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-09062015-132219/.
Testo completoAbstract (sommario):
O segundo livro publicado por Hélia Correia, O número dos vivos, em 1982, faz uma crítica aos modelos sociais da sociedade portuguesa da década de 40 do século XX. Essa crítica é alcançada no romance através do uso de estratégias narrativas como a ironia e a paródia, responsáveis por desencadear questionamentos no leitor. O romance tem como modelo a ser parodiado o cânone da literatura realista principalmente, Madame Bovary, de Gustave Flaubert, e O primo Basílio, de Eça de Queirós. Como resultado, há concomitantemente uma crítica aos ideais defendidos pelo realismo e à opressão sofrida pelas mulheres sob o sistema patriarcal português. A ironia, por sua vez, surge em conjunto com o modelo de masculinidade criado na segunda metade do século XIX e perpetuado até meados dos anos 50 do século seguinte. A análise das personagens masculinas parte da relação entre essa imagem do homem e as bases da sociedade portuguesa para criticar as instituições fundamentais para a manutenção da ditadura salazarista: Família, Igreja e Estado. Como forma de libertação dessa situação opressora, no romance, são encontrados prenúncios de uma transformação que estaria próxima e que traria uma nova configuração para a sociedade portuguesa, na qual seriam revistos os papéis das mulheres e dos homens na sociedade, além da redemocratização do país.The second novel published by Hélia Correia, O número dos vivos, in 1982, critics the social standards in Portuguese society in the 40s of twentieth century. This critic is achieved in the novel through strategies as irony and parody. The novel has as the model for the parody the realist literature mainly, Madame Bovary by Gustave Flaubert and O primo Basílio by Eça de Queirós. As a result, there is at the same time a critic to the ideals endorsed by the Realism and to the oppression suffered by women under the patriarchy. Irony is studied in combination with the standard of masculinity created in the second half of 19th century and preserved until the 50s of the next century. The analysis of the masculine characters is based in this relation between the image of man and the foundations of Portuguese society in order to criticize the fundamental institutions of Salazars dictatorship: Family, Church and State. As a way to get rid of the oppression, in the novel, are found predictions of an imminent change that would bring a new configuration to the Portuguese society, where the roles of women and men would be revised, in addition to the return of the democracy.
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Silva, Felipe Bastos Mansur da. "O bruxo e o ilusionista: Machado de Assis e seu leitor Woddy Allen". Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3080.
Testo completoAbstract (sommario):
Fundação de Amparo à Pesquisa do Estado do Rio de JaneiroA presente tese tem como intuito investigar as relações entre as narrativas de Machado de Assis e de Woody Allen, autores de épocas e culturas bastante distintas. No entanto, através da análise do papel da ironia na obra de ambos tornou-se possível aproximar Memórias póstumas de Brás Cubas, romance de 1881 de Machado, e Stardust Memories, filme lançado em 1980 pelo diretor Woody Allen. A investigação divide-se em três etapas. No primeiro capítulo, analisa-se a aproximação entre os dois autores através de uma mesma visão sobre a ficção presente tanto na obra de Machado quanto na de Allen. Esta visão encontra-se fundamentada através de uma tradição literária burlesca que rompe com o primado realista na narrativa ficcional. No segundo capítulo, procura-se demonstrar como a perspectiva não realista escapa a uma regra moralizante na ficção, para valorizar uma postura ética, isto é, para se definir o ethos da narrativa. A ironia, assim, será a morada da ficção de ambos os autores, que problematizam o mundo incluindo nele a própria narrativa. E no terceiro e último capítulo, analisa-se a relação ficcional nas duas obras com a memória. A memória, elemento constituinte da identidade humana, revela-se uma linguagem própria e opressora aos narradores memorialistas, impondo-lhes a inexorabilidade do tempo. Dessa forma, suas ficções seriam uma luta incessante do homem contra o seu caminhar para a morte
16
Joubert, Lucie 1957. "L' ironie dans la prose fictionnelle des femmes du Québec: 1960-1980". Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41624.
Testo completoAbstract (sommario):
This thesis explores the various manifestations of irony in prose-fiction by women in Quebec from 1960 to 1980. Traditionally used by men, irony is gradually becoming more widespread in women's writing, which in itself is an interesting reversal: more often "objects" of irony, women now reverse the rules of the game and become ironizing "subjects". The first part of the thesis investigates explicit irony; that is, irony which is duly identified and already decoded for the reader; for example, the author might emphasize an ironic fate or destiny for her characters, or might invest a character with an attitude, a smile, or remarks that are ironic. Explicit irony most often appears in works published during the first decade of our corpus; use of this form of irony constitutes a critical initial phase in women's writing because it enabled women authors to learn about the resources of irony and employ them in their work.Explicit irony, therefore, operates within the text and requires minimal competence in the reader for its decoding; the decoding of the text will play a central role in implicit irony, which will be focus of part two of the thesis. Implicit irony manifests itself in the text in three principal forms: rhetorical, structural, and chromosomic. Rhetorical irony emerges from knowledge of the language and requires the reader to identify occurrences of antiphrases, innuendoes, metaphors, and other types of word-games in the text; structural irony depends upon the inner-workings of the text and demands an aptitude for discerning instances of parody, structural paradox, or intertextuality; that form of irony which we have named chromosomic requires a specific decoding that is effected in function of the author's feminine gender.
Following part two, which highlights the reader's role in the process of interpreting irony, the third and final part reveals the principal targets of irony in these women's writings. This tableau of "victims" completes our study by identifying the types of persons, institutions, or ideas that provoke the criticism of women writers. Such a broad range of types, comprising the clergy, education, the family, and foreigners, among others, tends to point toward a common denominator: Power. The authors scrutinize power relationships in all their forms; inspired by their "collective destiny", that persists, even today, in excluding them from positions of decision-making, women now propose a different vision of the world. Irony in the feminine permits an original reading of their struggle and their demands.
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Gelas, Nicolas. "Fiction et humanisme dans l'oeuvre de Romain Gary : s'affranchir des limites, s'éprouver dans les marges". Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20123/document.
Testo completoAbstract (sommario):
Récusant à la fois les déterminismes naturels et les représentations d’un ordre politique ou moral, l’œuvre de Gary est marquée par une aspiration au dépassement des limites et par une posture de résistance. Face à la haine ou à la barbarie, elle défend les vertus de la dérision et le pouvoir de l’imaginaire et s’engage dans une double démarche de mise à distance et de réenchantement du monde. Nourrie par le traumatisme de la seconde Guerre Mondiale, elle soutient l’idée que l’humain est à réinventer, qu’il n’est pas une donnée préalable mais un fiction à construire, un idéal à atteindre. Artistes et créateurs se doivent donc de contribuer à l’invention d’une nouvelle mythologie de l’homme qui vienne réaffirmer un principe inaliénable de dignité et qui instille dans l’esprit de chacun la force de ne pas désespérer. Mais l’humanisme n’est pas seulement une valeur abstraite ou un horizon à conquérir : il met aussi en question une façon d’être au monde dans le présent. Il s’agit de se prémunir de ce que la réalité peut avoir d’envahissant et de dogmatique en privilégiant des « marges » où l’humain se trouve reconnu dans ses paradoxes et sa fragilité. Loin de l’idéalisme prophétique, ces refuges deviennent un espace propice à l’expression de l’intime et permettent à la fois de se dérober au regard de l’autre et d’échapper à l’injonction des discours de vérité. Façonnés autour des valeurs de l’affectif, ils incitent chacun à se rendre sensible à l’humanité latente du monde. Ils viennent rappeler que, face aux certitudes inflexibles et au principe aliénant de transparence, l’approximation et le mystère ouvrent des espaces de liberté et conditionnent bien souvent la possibilité d’être heureuxChallenging both apparent determinism and political or moral representations, Gary's work is defined by its predilection for off limit situations and contentious attitudes. Confronted with hatred or barbarism, it will always stand for irony and the power of creativity, involved both in the process of getting detached as well as enrapturing the world anew. Fed on the World War II trauma, it sustains the concept of humanness needing reinvention, not being a set notion but a fiction to be built, an ideal to achieve. Artists and creators owe their contribution to such foundation of a new human mythology upholding the unalienable principle of dignity, thus implanting everyone's spirit with the strength to resist despair. However, humanism cannot be seen just as an abstracted value or some shore to reach, it also implies the actual manner of living in the world. One has to keep clear from whatever overwhelming dogmas reality can impose, by favoring “margins” that will accept human contradictions and frailty. Away from any prophetic idealism, these dedicated spaces become shelters for intimate expression, allowing one to avoid onlookers and escape compelling truth assessments. Shaped around affective values, they bring one to become sensitive to a potential world humanity. Against rigid certitudes and the alienating principle of transparency, they help remember that approximation and mystery can give access to freedom and oftentimes condition the possibility of happiness
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Farouk, May. "Les Tribulations de la fiction chez Jean Echenoz : le retour du roman d'aventures : formes et enjeux contemporains". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030128.
Testo completoAbstract (sommario):
Vers le début des années 80, on assiste, sur la scène littéraire française, à un renouveau romanesque que le Nouveau Roman, trop centré sur les jeux de langage, semblait avoir démodé. On assiste également à une résurgence du roman réaliste, social, musical, policier et d’aventures. C’est précisément cette problématique du retour, notamment celui du roman d’aventures, que cette thèse tente d’exposer et surtout d’interroger à travers l’étude de l'oeuvre très représentative d’Echenoz. En renouant avec le genre classique, notre auteur n’hésite pas à en modifier la configuration et les enjeux. La mise au jour de ceux-ci nous permet d’élaborer une poétique du récit d’aventures postmoderne. Telle est la finalité de cette étude : revisiter les lieux d’un genre traditionnel ressuscité pour en dégager les formes et les enjeux contemporains. Mais à cet objectif, s’en ajoute un autre de plus large envergure : parcourir via l’étude du genre, les tribulations de la fiction échenozienne qui n’hésite pas à bifurquer d’un genre à l’autre, à chavirer entre deux espace-temps et à se thématiser dans une écriture elle-même périlleuse, toujours prête à malmener son lecteur totalement démuni face à l’audace débridée de son auteur et aux déroutantes perturbations de la narration et de l’œuvreSince 1980, the literary scene in France has witnessed a revival of romance once made obsolete by the New Novel (Nouveau Roman). Realistic, social, musical, crime, spy and adventure fiction has thus sprung up again. The current study examines and questions the problematic of “return” especially the return of adventure fiction in the very representative work of Jean Echenoz. Thought reviving a classical genre, the author does not shy away from modifying and remodeling that genre’s configurations and issues. Thus, this survey elaborates a poetic of the postmodern fiction of adventures, revisiting a traditional genre to extract contemporary forms and issues, so to speak. But from a broader perspective, the study underscores the tribulations of Echenoz’s fiction, work which does not mind to collapse plots, oscillate from one genre to another or sway between two space-times, at the risk of presenting itself in a turbulent mode of writing confounding the reader - who fells helpless in the face of the unbridled audacity of the author and his narrative perturbations
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Aubague, Mathilde. "Ambiguïtés du récit sério-comique de Rabelais à Fielding : formation du personnage, mystification du lecteur". Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL017.
Testo completoAbstract (sommario):
Notre étude se propose d’analyser les enjeux et les formes de la représentation d’une figure d’auteur dans la fiction narrative comique du XVIe au XVIIIe siècle en Europe. Cette figure, extérieure à la diégèse ou appartenant au personnel narratif, exhibe un discours d’auteur, mime un dialogue avec le lecteur, instaurant une communication narrative fictive avec le lecteur. Cette communication apparaît paradoxale, elle représente une parole orale, problématique dans un texte écrit, et la présence réelle de l’auteur est insituable dans le texte, la figure auctoriale appartenant déjà à l’univers fictionnel. Le dialogue avec le lecteur repose sur une fiction de présence et sur un dispositif rhétorique séducteur dont les enjeux sont pragmatiques. Le récit est donné comme porteur d’enseignements. Il thématise une formation du héros souvent sujette à caution, dont le lecteur doit démêler les enjeux. La structure comique du récit et de l’énonciation contribue à une mystification du lecteur, appelé à interpréter un texte ludique, à la fois comique et sérieux, qui refuse de livrer son sens de façon univoque. Du XVIe au XVIIIe siècle se mettent en place, en relation avec leur contexte d’écriture, les formes d’un genre sério-comique, qui repose sur la parodie et le détournement des codes et des formes de la littérature contemporaine, sur l’instauration d’une attitude intellectuelle ironique et critique et d’une communication fictive avec le lecteur. Nous analyserons les formes de l’ambiguïté énonciative et narrative chez Rabelais, chez l’auteur anonyme du Lazarillo, chez Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux et Henry FieldingOur study intends to analyse the stakes and forms of a figure of author’s representation in the comical narrative fiction in Europe from 16th to 18th century. Such figure, either external to the diegesis or belonging to the narrative characters, produces the speech of an author, mimes a dialogue and by doing so, establishes an imaginary narrative communication with the reader. This kind of communication seems paradoxical. It represents oral speech, which is problematic in a written text; the actual presence of the author cannot be placed within the text whereas the auctorial figure already belongs to the fictional world. The dialogue with the author is set on an imaginary presence and on a seducing rhetorical device with pragmatic stakes. Lessons are expected to be drawn from this narrative. It topicalizes the forming of the hero, which is often questionable, and it is up to the reader to untangle the stakes. The comical structure of the narrative and of the enunciation contributes toward a deception of the reader who is expected to give an interpretation of an entertaining text which is both comical and serious, and which refuses to deliver its meaning in a univocal way. From 16th to 18th century forms of a serio-comic gender are established within their writing context. They rely on parody and diversion of the forms and codes of contemporary literature, on the introduction of an ironic and critical intellectual attitude as well as an imaginary interaction with the reader. We will analyse the different forms of enunciative and narrative ambiguity in Rabelais, in the anonymous author of Lazarillo to Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux to Henry Fielding
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Northcraft, Teresa Ann. "E Unibus Omnem: New Sincerity and Transcendence in David Foster Wallace’s Infinite Jest". University of Toledo Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1544614667543305.
Testo completo
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Costa, Rafael Martins da 1987. "Um escritor em déficit : cinismo, linguagem e afeto em João Gilberto Noll". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270092.
Testo completoAbstract (sommario):
Orientador: Maria Eugênia da Gama Alves BoaventuraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-23T14:50:12Z (GMT). No. of bitstreams: 1 Costa_RafaelMartinsda_M.pdf: 923501 bytes, checksum: a99c60c076936718a497de165bbad0a8 (MD5) Previous issue date: 2013
Resumo: Este trabalho tem por objetivo propor uma leitura do livro Berkeley em Bellagio, de João Gilberto Noll, publicado em 2002. Para tanto, acompanha a trajetória do protagonista que, ao contrário do que ocorre em outros textos do autor, é um ser nomeado, portador de uma feição social e, além disso, um escritor prestigiado internacionalmente. A análise parte, então, para as figurações desse escritor em contato com importantes instituições financiadoras norte-americanas as quais o convidam para temporadas nos EUA e na Itália. Mais do que simplesmente representar o escritor em seu meio de atuação, a obra se estrutura a partir de uma dicção irônica e caricatural que termina por inviabilizar qualquer interpretação unívoca dessa relação entre o escritor e os demais atores do meio literário. Daí também a dificuldade de se tratar a questão da autobiografia na narrativa: embora o percurso do personagem se assemelhe às viagens empreendidas por João Gilberto Noll, e não obstante à homonímia, torna-se, pelo modo como tudo é contado, totalmente problemático entender o livro como uma confissão autobiográfica do autor. É por isso que se procura, aqui, identificar o cinismo que permeia a atuação desse homem e que condiciona o discurso narrativo. A seu momento, será dito que o narrador não quer se comprometer com uma ou outra verdade. Mas, se, por um lado, a nomeação do personagem e a atribuição de uma profissão a ele indicam que as questões políticas e contextuais são tratadas, na obra, de forma explícita, por outro, não se oculta aquilo em que o autor parece ser melhor: a evidenciação dos abismos do Ser, o déficit em relação à linguagem, o idealismo em torno de uma comunicação redentora, sem a intervenção dos condicionantes sociais. Dessa maneira, este texto pretende mostrar que, em seu desfecho, o livro aposta em relações afetivas mais pacificadas, menos furiosas se comparadas às dos outros romances de Noll. Desde já, recusa-se a ideia de que essa aposta corresponda a um triunfo do herói ou a uma resposta assertiva aos questionamentos existenciais dispersados durante a narrativa. Ao contrário, o livro acaba por sinalizar que "tudo o que vinga na vida vem em duplo". Talvez esse seja um posicionamento crítico ainda desejável quando o cinismo advindo de uma vontade de verdade parece contaminar mesmo os discursos mais bem intencionados
Abstract: This dissertation aims to propose a reading of Berkeley em Bellagio, by João Gilberto, published in 2002. Thus, it follows the path of the protagonist that, on the contrary to what occurs in other texts of the author, is a named character with social face and an internationally prestigious writer. The analysis goes towards this writer-protagonist which is in contact with the main American funding institutions that invite him to seasons in the U.S.A. and Italy. The reading intends to show that, beyond the mere representation of the writer in his current acting environment, the book is structured by an ironic and grotesque diction which ends to derail any univocal of the relationship between the writer and the other actors in the literary field. Therefore, there is also the difficulty of leading with the issue of autobiography in the narrative: although the character's route resembles the journeys undertaken by João Gilberto Noll, and despite the homonymy, it is fully problematic to understand the narrative as an author autobiographical confession. Thus, the present work aims to identify the cynicism that permeates the actions of the character and conditions the narrative discourse. The novel's narrator does not want to be committed to one truth or another. On one hand, the nomination of the character and his job assignment indicate that political and contextual issues are explicitly treated in the work. On the other hand, one does not hid what the author seems to be better in: the disclosure of the depths of Being, the deficit in relation to language, or the idealism around a redemptive communication, without the intervention of social conditioning. This dissertation demonstrates that, in its end, the book bets on more pacified relationships, less furious if compared to other novels by Noll. The interpretation rejects the idea that this wager corresponds to the protagonist's triumph or to an assertive response to existential questions scattered during the narrative. Instead, the book signals that "everything that stays in life comes double". Perhaps this is a still desirable critical position in a moment in which the cynicism arose from a desire for truth seems to contaminate even the most well-intentioned speeches
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Vauthier, Bénédicte A. B. "Arte de escribir e ironía en la obra narrativa de Miguel de Unamuno: indagación en el taller artístico-ideológico de Amor y Pedagogía". Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211466.
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Rolley, Anne-Maree. "Cast iron and making fiction : a novel and critical essay /". [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19339.pdf.
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van, Malssen Hubertus Marinus George. "Redefining xia : reality and fiction in Wang Dulu's Crane-Iron Series, 1938-1944". Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/redefining-xia-reality-and-fiction-in-wang-dulus-craneiron-series-19381944(d3a0ba60-c193-4fa1-bebd-b1697f37c7c9).html.
Testo completoAbstract (sommario):
This thesis aims to shed new light on the Chinese character xia 侠 and the literature and history of the Republican Era (1912-1949) that revolves around it. Xia refers to either a concept (identifiable with kindness, altruism, righteousness, etc.) or to a person who practices this concept. Ever since its arrival in Chinese texts in the sixth century BC, it has created controversy for some and sympathy for others. In Modern China, xia became the central aspect of a literary genre that reached its zenith in production and consumption in the Republican Era, i.e. wuxia fiction 武侠小说, which can be translated as “using martial arts (wu 武) to obtain xia”. The concept of xia was an integral part of presumably the most widespread literary genre of the time, but why were Republican-era readers so interested in it? Why did they relate to xia and what do the themes of these novels say about the chaotic Republican Era? To answer these questions, this thesis presents a case study of a wuxia pentalogy written by Wang Dulu at the end of the Republican Era and attempts to identify the topics and aspects most reflective of that historical period, showing that, despite the heavy criticism of intellectuals of that time, these “easy” popular novels contain innovative and modern aspects and can become today of great historical importance. The thesis starts with two literature reviews. The first determines that the term xia has not received enough scholarly attention, calling for a reassessment. The second literature review focuses on Republican Era wuxia fiction, showing how there is a gap in scholarship on this period. This is followed by a discussion of the methodology used for the analysis of the case study on Wang Dulu’s Crane-Iron Series written in Qingdao (1938-1944), presented in the final three chapters of the thesis. Chapter one analyses the origins of the term xia in texts from the Warring States Period (475-221 BC) and Han Dynasty (206 BC-AD 220), presenting new interpretations for a more comprehensive understanding of the term. Chapter two gives a historical overview of xia¬-related literature and addresses the historical reasons for the changes that xia underwent throughout Chinese history. Chapter three includes a historiography of the Republican Era in combination with the life of the author Wang Dulu and identifies the aspects of the author’s life that will become important in the textual analysis in the chapters to follow. Chapter four focuses on xia in the Crane-Iron Series. After having collected the terms and identified the semantic spheres that include the Chinese character xia, the chapter demonstrates how the story of one of the series’ protagonist can be seen as an personification of Republican-era China, proving the historical dimension and value of these novels. Chapter five analyses yi 义 (righteousness) and represents the virtuous aspect of xia, concluding that, according to Wang Dulu, for the concept of xia, virtue is more important than being trained in martial arts (wu). Chapter six focuses on the literary figure of the baobiao 保镖 (protector) and is seen as the commercialisation of martial arts not necessarily linked to xia, showing how entrepreneurship and violence were characteristics of the time.
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Williamson, David. "The Iron Rage Plus One". Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/742.
Testo completoAbstract (sommario):
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfBachelors
Arts and Sciences
English; Creative Writing
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Alcalá, Anguiano Fabiola. "Lo irónico-sublime como recurso retórico en el cine de no-ficción de Werner Herzog. El caso The Withe Diamond, Grizzly Man y The Wild Blue Yonder". Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7266.
Testo completoAbstract (sommario):
El objetivo de esta Tesis es el estudio de lo irónico-sublime como figura retórica en tres filmes de no-ficción de Werner Herzog: The White Diamond, Grizzly Man y The Wild Blue Yonder. El texto esta dividido en dos partes: la primera, en la que se plantea un recorrido por los distintos contextos históricos, teóricos y artísticos que nos permiten reconocer cuáles son las características de este tipo de cine de no-ficción; una propuesta en la que lo real juega un papel más poético, y en la que la verdad que se persigue no es una verdad congruente con unos hechos determinados sino con una estética más universal.
En la segunda parte, se analiza de qué forma opera lo irónico-sublime (la principal característica del cine de no-ficción de Werner Herzog) en las distintas partes que conforman las tres películas que nos ocupan. Humor y belleza serán la clave para interpretar estas tres historias sobre el hombre, la naturaleza y sus límites.
The objective of this Thesis is to study the ironic-sublime as a rhetorical figure in three nonfiction films by Werner Herzog: The White Diamond, Grizzly Man and The Wild Blue Yonder.
The text is divided in two parts: the first one, is a review for different historical, theoretical and artistic contexts that allow us to recognize which are the characteristics of this type of non-fiction cinema; an offer in which the real plays a more poetical role, and the truth that is prosecuted is not true with a few certain facts but with a more universal aesthetics.
In the second part, it is analyzed how works the ironic-sublime (the principal characteristic of the non-fiction cinema of Werner Herzog) in the different parts that shape three movies that occupy us. Humor and beauty will be the key to interpret this three histories about man, nature and his limits.
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McGuire, Matthew C. "Pig Iron: Stories of Appalachia". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429180352.
Testo completo
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Bell, Anita. "Re-visioning a "novel concept" : beyond vision and revision to advanced editing strategies". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/36431/1/Anita_Bell_Thesis.pdf.
Testo completoAbstract (sommario):
This thesis is a work of creative practice-led research comprising two components. The first component is a speculative thriller novel, entitled Diamond Eyes. (Contracted for publication in 2009 by Harper Collins: Voyager as the first in a trilogy, under the name AA Bell.) The second component is an exegesis exploring the notion of re-visioning a novel. Re-visioning, not to be confused with revision, refers to advance editing strategies required when the original vision of a novel changes during development.
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Bompaire, François. "Ironie et communication littéraire, à partir des fictions d’André Gide". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL075.
Testo completoAbstract (sommario):
Face à l’incohérence apparente de la notion d’ironie, cette thèse vise, non à valoriser l’impossibilité de la définir et le protéisme de la notion, mais à construire une définition sur des principes alternatifs : attention aux traits communs plutôt qu’aux variations, aux processus longs qu’à la succession des significations, définition de l’ironie comme acte communicationnel plutôt que comme mécanique formelle. L’ironie, à partir du monde grec, est tenue pour un acte de communication, non réductible à la linguistique pragmatique : comment contrôler la socialisation en contexte dangereux, en se tenant au plus près de l’ennemi ? La résolution de ce problème dans l’échange passe par l’invention de formes, dont certaines, antiphrase en tête, s’autonomisent et deviennent des formes fixes, parmi d’autres, de l’ironie. Je m’efforce ensuite de suivre la façon dont se maintient cette définition non formelle en étant attentif, jusqu’au romantisme d’Iéna, à l’analyse de la communication à l’œuvre dans les réflexions sur l’ironie. L’œuvre fictionnelle d’André Gide, déployant une grande variété de formes d’ironie et habitée par le secret, biographique et sexuel, est relue comme remettant en jeu ce contrôle de la socialisation dangereuse et comme déployant, derrière la notion de collaboration, une réflexion sur la communication littéraire. D’autre part, l’œuvre d’André Gide est ressaisie dans la perspective d’une histoire de l’ironie au dix-neuvième siècle. L’antiphrase n’est alors pas centrale : à la figure de Voltaire s’attache l’idée de raillerie de l’idéal, qui constitue un poids sémantique déterminant l’adaptation des différentes traditions ironiques au cadre françaisFaced with the apparent inconsistency of the notion of irony, this PhD does not suggest to enhance the impossibility of defining the notion or its proteism, but to build a definition on alternative principles: the focus on common features instead of variations, on long term processes instead of the succession of meanings and the definition of irony as an act of communication rather than as a formal mechanic. Irony, ever since the Greek world, appears as an act of communication which cannot be reduced to pragmatic linguistics: how to control socialisation in a dangerous context, in staying as close to the enemy as possible? Solving this problem by exchanging supposes the invention of forms, some of which – first and foremost the antiphrasis – get autonomous and are fixed forms – but among others – of the irony. I then strive to follow the way in with this non formal definition is maintained by paying attention – until Jena romanticism – to the analysis of the communication at work in the reflexions on irony. André Gide’s fictional work displaying a great variety of forms of irony and being imbued with secret, both biographical and sexual, is read as questioning this control of dangerous socialisation and as laying out, beneath the notion of collaboration, a reflexion on literary communication. On the other hand André Gide’s work is reinterpreted in the perspective of a history of irony in the nineteenth century. The antiphrasis is the centre of perception of irony: to the figure of Voltaire is attached to the idea of taunting the ideal, which constitutes a semantic weight conditioning the adaptation of different ironic traditions to the French framework
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Hogarth, Claire Milne. "Epistolary constructions of identity in Derrida's "Envois" and Coetzee's Age of Iron". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38204.
Testo completoAbstract (sommario):
In this thesis, I argue that identity construction is a postal effect: it results from a transmission of some sort, received or sent. I examine three instances of postal effect. In a chapter on Jacques Derrida's "Envois," a collection of fragments presented as if transcribed from a one-way love letter correspondence, I explore the performative force of relayed address. Working from Derrida's account of the literary performative, I point out that the "Envois" letters are addressed to "you" in the singular, which implies an address reserved for a particular subject, but that the postal relay of the collection enacts a repetition of their address. For the reader of the book, this repetition has evocative force which I compare with the force of transference in the context of the psychoanalytic situation. In a second chapter on the "Envois" letters, I examine their haunting effect. The "Envois" letters have an I/we signature that intimates pluralities in the writing subject. I argue that this signature is the effect of a postal relay of another order: a phantom, which Nicolas Abraham and Maria Torok define as a gap in the psychic topography of the subject caused by a secret unwittingly received along with a legacy. To a certain extent, the "Envois" letters are written by Plato's "in-voices." In a chapter on J. M. Coetzee's epistolary novel Age of Iron, I explore the gift effects of a posthumous letter. Age of Iron is an epistolary novel consisting exclusively of a single letter written by a dying South African woman, Mrs. Curren, to her daughter, a political objector who has emigrated to the United States. Writing her letter in the knowledge that her death is imminent, Mrs. Curren anticipates her daughter's mourning. Working with J. L. Austin's doctrine of illocutionary forces and Derrida's analysis of the gift event, I postulate two effects of Mrs. Curren's letter, one that annuls the gift in a circular return and another that surpasses this circuit with textual diss
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Gazeau, Matthieu. "Le tombeau de Cynthia : mythes, fictions et ironie dans le livre IV des Elégies de Properce". Paris 3, 2008. https://eu03.alma.exlibrisgroup.com/view/uresolver/33UFC_INST/openurl?u.ignore_date_coverage=true&portfolio_pid=53188741650006657&Force_direct=true.
Testo completoAbstract (sommario):
En inscrivant au cœur du livre IV et de la Rome virgilienne le tombeau de Cynthia, Properce détourne, au profit d’une femme légère, le motif traditionnel de l’immortalisation par la poésie et renverse la dialectique romaine du poète et du grand homme. Le recueil est l’épilogue d’une œuvre qui repose sur une poétique de la recusatio, refus dramatisé du grand genre, et affirme la légitimité de la subjectivité littéraire, incarnée par Cynthia. Dénouement emblématique de cette recusatio, l’apothéose de Cynthia est l’ultime fragment d’une déclaration amoureuse qui est authentique sans être sincère : elle n’obéit pas au code moderne de l’effusion spontanée d’une subjectivité idéalement transparente mais, dans un rapport dramatisé à une réalité problématique, est l’expression d’un sujet qui s’avance masqué derrière les formes et les rôles littéraires stéréotypés que sont la recusatio, le paraclausithyron, le fallax seruus de la comédie ou l’épigramme - dont le genre élégiaque est une mise en scène. Au terme de cette épopée paradoxale du poète amoureux qui doit se battre pour défendre la légitimité de son amour et de sa poésie, le drame est projeté dans la mémoire fantasmée de Rome : les variations étiologiques révèlent la contingence du récit fondateur, légataire d’une histoire produite par l’action héroïque de quelques uns, et la relativité des normes éthiques, gage de l’ironie de l’Histoire et des dieux. Le livre IV, cimetière symbolique où se côtoient la tombe de Cynthia et celle de Mamurius, l’artiste exilé pour avoir sculpté l’œuvre dangereusement équivoque qu’on lui avait commandée, est la réponse du poeta caelator au Vates horatien utile à la Ville et à ses PrincesBy placing Cynthia’s tomb at the centre of book IV and of Virgilian Rome, Propertius perverts, for a woman of small virtue, the traditional motif of immortalisation through poetry, and turns the Roman dialectics of the poet and great man upside down. The collection of poems comes as the epilogue to a work based on the poetics of recusatio, the marked refusal of the lofty style, and asserts the legitimacy of literary subjectivity embodied by Cynthia. Emblematical outcome of this recusatio, Cynthia’s apotheosis is the last fragment of a declaration of love which is authentic without being sincere. It does not follow the modern code of a spontaneous emotional demonstration poured forth from ideally transparent subjectivity. It is rather, in a staged reaction to a problematical reality, the expression of a subjectivity sheltered behind the persona of stereotyped literary forms and parts such as the recusatio, the paraclausithyron and the fallax seruus of the Comedy or epigrams, staged in the elegiac genre. At the end of this paradoxical epic written by an amorous poet who must fight to assert the legitimacy of his love and poetry, the drama is projected into the fantazied memory of Rome. The etiological explanations reveal the founding tale’s contingency, heir to a history created by the heroic acts of a few, and also the relativity of ethical norms, proof of the irony of History and the Gods. Book IV, the symbolical churchyard where the tombs of Cynthia and Mamurius, the artist who had been exiled for sculpting a dangerously equivocal work of art, stand side by side, is the response of the poeta caelator to the horatian Vates, useful to Rome and its princes
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Rödholm, Siegrist Helena. "„Nichts ist verschwunden“ : Eine Analyse des Zusammenwirkens von Dokumentarischem und Literarischem in Martin Jankowskis Roman Rabet oder Das Verschwinden einer Himmelsrichtung". Thesis, Uppsala universitet, Institutionen för moderna språk, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448006.
Testo completoAbstract (sommario):
Diese Analyse von Martin Jankowskis Roman Rabet oder Das Verschwinden einer Himmelsrichtung untersucht die Konstruktion einer literarischen Fiktion, die durch die dokumentarische Schilderung der friedlichen Revolution in Leipzig 1989 einen korrigierenden Beitrag zum Erinnerungsdiskurs leistet. Im Aufsatz werden Themen beschrieben, die durch das Fiktive, Metaphorische und Dialogische der Romanerzählung für die Gegenwart relevant gemacht werden. Dazu wird die Anwendung von literarischen Stilmitteln wie Metaphern, Ironie, Verschweigen, intertextuellen Referenzen und Transformationen analysiert. Neben der Interpretation des fiktionalen Erzählens, werden im Roman hervorgehobene und angedeutete Vorkommnisse untersucht, die noch heute sowohl auf gesellschaftliche Prozesse als auch auf private Beziehungen einwirken.This analysis of Martin Jankowski’s Rabet oder Das Verschwinden einer Himmelsrichtung explores the construction of a literary fiction, which consists of a documentary and corrective contribution to the remembrance discourse of the Peaceful Revolution in the German Democratic Republic in 1989. Along with a description of themes which gain relevance through the fictional, metaphorical and dialogical features of the narration, the study undertakes an analysis of stylistic devises such as metaphors, irony, concealment, intertextual references and transformations. Besides an interpretation of the literary narration, the study examines the novel’s emphasis on the influence of past events on contemporary society and private relationships.
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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'". Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.
Testo completoAbstract (sommario):
Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.
34
Shaklan, Steven. "Doomed to Irony, Condemned to Laughter: The Structure and Function of Irony in the Prose Fiction of Nikolai Gogol". Thesis, 2013. https://doi.org/10.7916/D8RJ4RQD.
Testo completoAbstract (sommario):
This dissertation characterizes the particular brands of irony at work in Gogol's fiction over the course of his career and analyzes how they are generated, how they act upon readers, and how they relate to the broader aesthetic and ideological project to which Gogol ultimately dedicated himself - namely, his attempt to rid Russian literary efforts of their dependence upon narrative as their organizing principle. This dissertation also argues that Gogol's use of irony is so extreme in form that it provides an excellent case study for an evaluation of the nature of irony itself. Thus, Gogol's fiction is analyzed with an eye toward how the concept of irony illuminates the structure and function of his prose, and conversely, how the operations of that prose challenge received notions of how irony functions in a literary work. Taking as a starting point Wayne Booth's notion that the perception of irony is dependent upon the image of the narrator, the first part of this dissertation traces the development of the Gogolian narrator in chronological fashion, tracing a distinct evolutionary pattern. Through close readings of the short stories contained in Volume I (1831) and Volume II (1832) of Evenings on a Farm Near Dikanka -- "The Fair at Sorochintsy," "St. John's Eve," "A May Night, or the Drowned Maiden, "The Lost Letter," "Christmas Eve," "A Terrible Vengeance," "Ivan Fyodorovich Shponka and His Auntie," and "A Bewitched Place" - the first stage of that evolution is mapped out. Here Gogol's initial narrators challenge our innate tendency to assume that one integrated speaker is responsible for a given tale, but ultimately, they accommodate that tendency by revealing themselves as convincing character-narrators with unorthodox, but perceptible, profiles. As a result, these works constitute a series of "ironic portraits." By the time Gogol has reached the apex of his creative powers in the latter half of the 1830s he learns to manipulate the various discourses he includes in his tales such that we sense the lurking presence of Gogol himself (as implied author). Once we recognize this we interpret the massive abrogations of narrative sense he weaves through his tales as being intended by the "speaker." The result is the emergence of "ironic discourse." This transition is illustrated through close readings of the "Petersburg Stories" -- "Nevsky Prospect" (1835), "The Nose" (1836), and "The Overcoat" (1842). The place of Mirgorod (1835) as an anomalous experiment in "sincere" prose forms is also addressed. By the time of the publication of the first volume of Dead Souls (1842), ironic discourse allowed Gogol to both mock the expectations his readers brought (and continue to bring) to the experience of reading a "story" and provide a structure that would let them in on the joke. According to Michael Kaufer, solidarity is built by the very process through with the reader recognizes that the author is "being ironic." In recognizing that there is irony at work, the reader feels himself part of a select few, at one with the author, and essentially "in the know," even if the butt of the literary joke is the reader himself. The final part of this dissertation considers the implications of a brand of irony that seems resistant to received notions of irony that posit it as a means of generating some form of resultant meaning. Gogol's use of irony is significant not in terms of what it means, but in terms of what it does to the reader. Donald Davidson's formulation of the concept of metaphor is invoked as a useful means of re-characterizing irony. According to Davidson, a metaphor enjoins the reader to view seemingly disparate things comparatively, to hold the disparate elements in his or her field of vision. As Gogol demonstrates, an ironic utterance enjoins the reader to view the textual and extra-textual incongruities the utterance presents. The qualitative nature of metaphoric vision and of ironic vision are different, but both depend on the "use" of language, and not upon the development of resultant meaning. Irony, like metaphor, is not concerned with what an author eventually means beyond what is literally said, but how he or she means what is literally said and what this does to the reader in terms of his or her relationship to the text.
35
Iafrancesco, Maria Cristina. "Irony and the portrayal of immigrant and ethnic protagonists in Canadian fiction". Thesis, 1986. http://spectrum.library.concordia.ca/3530/1/ML32259.pdf.
Testo completo
36
Pierobon, Ermenegilda. "Trasgressione e consenso nella vocazione realistica di una scrittrice ottocentesca : Itinerario Artistico della Marchesa Colombi (Maria Antonietta Torriani, 1840-1920)". Thesis, 1994. http://hdl.handle.net/10500/15782.
Testo completoAbstract (sommario):
Il presente lavoro si propane di portare un contributo critico
all'opera della Colombi, delineandone quegli aspetti salienti che
caratterizzano la sua partecipazione alla scena letteraria come donna e
come professionista.
Le sue scelte poetiche, basate sull'ideale di un'intima,
inscindibile unita donna-parola-lingua e sull'armoniosa corrispondenza
vita-arte, contribuiscono ad acuire il confl itto con il repressivo e
misogino ambiente ottocentesco. Si crea una continua tensione tra la
tendenza all'adeguamento impasto dalla priorita di difendere la propria
presenza e l'altrettanto forte spinta alla trasgressione come necessita
di salvaguardare la coerenza a se stessa. L'ambivalenza vissuta verso
il padre, depositario dell 'ordine sociale, si riflette, coerentemente con
le premesse poetiche, nelle polemiche condotte nei confronti dei padri
della letteratura. Se queste ultime tendono a rimanere contenute a
livello metatestuale, in genera le, il genuino ed autentico messaggio
letterario viene soprattutto espresso attraverso il gusto antifrastico
dell'ironia ea livello metaforico e simbolico.
La messa in luce della repressione e della morte dei valori
femminili, la creativita intellettuale e fisica, che costituiscono la
vera essenza dell'individuo e della stessa esistenza umana, va di pari
passo con la maturazione di un sofferto compromesso con le dure leggi
imposte dalla vita. Dalla crudelta di lavori alienanti alla brutale
caduta degli ideali e dell'amore, si raggiunge, con le opere maggiori,
un rinnovato equilibrio vita-arte che, nella sublimazione delle
esperienze di morte, eleva l'espressione artistica a piano ultimo di
salvezza e di realizzazione individuale. Nell'affermazione di un'arte firmata al femminile e posta al servizio della giustizia e della verita,
si consuma cosi la disobbedienza nei confronti di ogni forma arbitraria
di potere. Connotato al maschile, esso viene evidenziato nei suoi
effetti deleteri ed alienanti anche nella connivenza e mancanza di una
reale autenticita delle stesse donne, in particolare le madri.
Dall'analisi dell'opera della Colombi emerge l'immagine di una
scrittrice che si distingue non solo per la sua originalita e
complessita, ma anche per l'indubbia modernita sia di stile che di
problematicheThe aim of the present study is to offer a critical contribution on the writings of the Marchesa Colombi by tracing and developing those aspects of her work which best characterise her personality as a woman and as a writer. Her poetical choices, based on the ideal of an intimate, indivisible unity of woman-word-language and on the harmonious correlation between life and art, focus sharply on her conflict with the repressive and misogynist ambience of nineteenth-century Italy. Her works reveal a constant tension between the need to adapt in order to defend her own presence (as a writer) and the urge to transgress as a means to safeguard her inner, personal coherence. The author's ambivalence towards the father, depositary of the social order, is further reflected, in keeping with her poetical vision, in the polemical debates held with the fathers of Italian literature. Whereas these debates remain embedded within a metatextual discourse, the genuine and authentic message of her works is generally expressed on the metaphorical and symbolic levels and by an extensive antiphrastic use of irony. The need to stress the repression and death of feminine values, the intellectual and physical creativity which constitute the true essence of the individual, goes hand in hand with the artist's achievement of maturity as a painful compromise with the hard rules imposed by life. From the cruelty of a alienating labour to the brutal collapse of her ideals and of love, Colombi is able to achieve in her major works a new form of balance between life and art which, by sublimating the experience of death, elevates the artistic expression to the heights of personal salvation and of self-realization. By affirming her art as a product of the feminine mind at the service of justice and truth, she plays out her disobedience against all arbitrary forms of power. This study of the works of the Marchesa Colombi reveals the image of a writer who distinguishes herself not only for her originality and complexity but also for the marked modernity both in her style and in her choice of subject
Department of Classics & Modern European Languages
D.Litt. et Phil. (Italian)
37
Gama, Carolina Vanessa Pereira. "O universo narrativo de Maria de Menezes: paródia e transformação da realidade". Master's thesis, 2019. http://hdl.handle.net/10400.13/2292.
Testo completoAbstract (sommario):
O estudo incide sobre a obra de Maria de Menezes a partir de Três Histórias com Final Feliz e Contos Místicos e reflete sobre o modo como a autora utiliza a literatura humorística e fantástica, com características críticas, instaurando a paródia. A autora reivindica a relevância da literatura e da leitura para o campo da consciência crítica que permite transformações éticas, de acordo com a modernidade. Neste percurso de abordagem, realiza-se uma revisão da literatura com o propósito de compreender a emergência do Fantástico e da Ficção Científica na produção ficcional da autora e na ligação que estabelece com a Ficção Especulativa. Ao analisarmos as fronteiras do Fantástico, ser-nos-á possível observar as diferenças entre cada género, o fantástico, o maravilhoso e o estranho. A obra de Maria de Menezes tem como ponto fulcral pensar o quotidiano, empregando o recurso a figuras do maravilhoso, tais como o vampiro, a fada-madrinha, a fim de mostrar o humor e ironia existentes no nosso mundo.This study focuses on the books os short stories Três Histórias com Final Feliz and Contos Místicos by Maria de Menezes and it will reflect on the manner the author handles the humorous and fantastic literature, with critic features, setting up parody. Maria de Menezes defends the significance of literature and reading with a critic consciousness extent, which can go affect ethic changes according to modernity. Throughout this approach a review in literature occurs with the intent of understanding the emergence of The Fantasy and Science Fiction on the author´s fiction work and on the connection with Speculative-Fiction. The analysis of the Fantasy boundaries will lead to the consideration of the dissimilarities between each genre, the fantasy, the marvellous and the strange. Maria de Menezes work has its main focus on the telling of the her everyday life using items of the marvellous, such as the vampire, the fairy godmother, with the purpose of displaying the humour and irony in our world.
38
Maungedzo, Avhurengwi Edward. "The detective story in Venda : an analysis with special reference to Bono la mboni and Nwana wa mme anga". Thesis, 1999. http://hdl.handle.net/10500/23246.
Testo completoAbstract (sommario):
Summary in EnglishThe purpose of this research is to make a literary appreciation of the detective story in Tshivenda. Chapter 1 is the introductory chapter which discusses the aim of study, the definition of detective story, methodology, detective noels in Tshivenda, background information regarding the authors, summaries regarding selected novels and the scope of research. Chapter 2 is devoted to the plot structure of the two detective novels, and outlines the diegetic and meta-diegetic stories. The elements of mystery and dramatic irony are also discussed. Chapter 3 concentrates mainly on the setting of the two selected detective novels and its influence on the crimes committed, the lives of the characters and the tools that are used. Chapter 4 deals with the depiction of the victims, suspects and detectives in the selected detective stories. Chapter 5 concludes the study and summarises the main findings of the appraisal.
African Languages
M. A. (African Languages)
39
Castro, Fernanda Gonçalves de. "Utopia e distopia: testemunhar o mundo em Pepetela (estórias de cães, montanhas e predadores)". Master's thesis, 2014. http://hdl.handle.net/10400.13/1480.
Testo completoAbstract (sommario):
A literatura angolana tem um importante papel de consciencialização e (re)construção nacional, explorando a busca pela unificação e afirmação das identidades de países outrora colónias, tanto no período colonial, como na pós-revolução. Como mecanismos de desconstrução, a ironia e a utopia/distopia atravessam o discurso histórico-cultural e literário em O Cão e os Caluandas (1985), A Montanha de Água Lilás: uma fábula para todas as idades (2000) e Predadores (2005), de Pepetela. Estas obras repensam a complexidade da realidade pós-colonial em Angola sob o signo da relação e do percurso de utopia/distopia/utopia.
Os romances pepetelianos desempenham um papel fulcral na asseveração da literatura angolana e na busca pela angolanidade. Através da reflexão sobre os ‘nãoditos’ da História oficial, Pepetela alegoriza a desconstrução do herói e a (des)crença das utopias fracassadas através da poética do desencanto irónico e subversivo. Podem reconhecer-se várias dinâmicas na escrita pepeteliana que se alicerçam na reescrita da História e no papel reflexivo do leitor perante uma sociedade ficcionada que pode ser real. Assim, perspetiva-se uma vertente autorreflexiva do passado e do presente que a própria literatura promove.
É no sentido da consideração destes aspetos que esta dissertação se direciona, partindo da definição e do estudo da utopia, distopia e os mecanismos da ironia, passando pela inter-relação entre o real e a ficção. Nesse sentido, procede-se à análise dos retratos pepetelianos desapiedados, relativamente à utopia socialista e à deceção perante a decadência dos heróis-ícaros da revolução. Estas personagens simbolizam a distopia, marcando negativamente o período pós-independência.
Finalmente, será fulcral estudar Pepetela como um crítico social e humanista, ‘ainda’ crente na Humanidade, que constrói utopias-esperanças a partir de distopias, subsidiando o real com recurso à literatura como instrumento de intervenção.The Angolan literature has an important role in national awareness and (re)construction, exploring the quest for unification and affirmation of countries formerly colonies during colonial and post-revolution periods. Used as deconstruction mechanisms, irony and utopia/dystopia permeate the cultural-historical and literary speech in O Cão e os Caluandas (1985), A Montanha de Água Lilás: uma fábula para todas as idades (2000) and Predadores (2005), by Pepetela. These narratives consider the complexity of postcolonial reality in Angola under the sign of the relationship and the journey of utopia/dystopia/utopia. The Pepetelian novels play a crucial role in making a statement of Angolan literature and Angolanity search of identity. Choosing an attitude of reflection about the 'unspoken' official History, Pepetela allegorizes the deconstruction of the hero and the (dis)belief of failed utopias through the poetics of subversive and ironic disenchantment. There are several lines of thought and dynamics in Pepetelian narratives which have its basis in the rewriting of History and in the reflective role of the reader in considering the fictional world as a portrait of its own reality. Thus, it is expected an attitude of selfreflection about the past and present that the literature itself promotes. It is towards the consideration of these aspects that this thesis is directed, starting with the definition and study of utopia, dystopia and mechanisms of irony, and passing by the inter-relationship between reality and fiction. As a result, there shall be an analysis of the merciless Pepetelian portraits, regarding the socialist utopia and disappointment. For this study, it is considered essential to analyze the postrevolutionary political ideology and its frustration, since the author rewrites History showing the decay of the Icarus type of heroes. These characters symbolize the dystopia, portraying negatively the post-independence period. Finally, it is crucial to study Pepetela as a social critic and humanist, one who still believes in Humanity and builds utopian-hopes from dystopias, subsidizing the reality using literature as an instrument of intervention.
40
Antunes, Madalena Sofia Salgado Lobo. ""De tanto pensar-me": a consciência no Livro do Desassossego de Fernando Pessoa"". Doctoral thesis, 2019. http://hdl.handle.net/10362/68131.
Testo completoAbstract (sommario):
Esta investigação pretende analisar como se formula a consciência no Livro do
Desassossego de Fernando Pessoa. Aproxima, por isso, a grande obra em prosa de
Fernando Pessoa a outras narrativas da consciência, nomeadamente aos romances de
stream of consciousness de Virginia Woolf e James Joyce. Enquanto proposta
romanesca, o Livro do Desassossego invoca formulações pessoanas sobre autoria e
personagem também examinadas nos seus textos críticos. Este estudo articula a ideia
de consciência de Fernando Pessoa com a sua ideia de personagem psicologicamente
complexa e com as técnicas literárias que utiliza para simular a consciência através da
linguagem; em que a primeira garante uma tentativa romanesca e a segunda uma
experiência nítida de exploração literária da consciência. Por fim, esta investigação
aborda a ironia por detrás das recontextualizações que a consciência literária permite
criar.This study aims to analyze how consciousness is formulated in Fernando Pessoa’s Book of Disquiet. It likens, therefore, Fernando Pessoa’s great prose work to other narratives on consciousness, namely the stream of consciousness novels by Virginia Woolf and James Joyce. As a novelistic proposal, the Book of Disquiet invoques pessoan examinations on authorship and character that are also observed in his critical texts. This thesis articulates Fernando Pessoa’s idea of consciousness with his idea of psychologically complex characters and with his use of literary techniques to simulate consciousness through language: wherein the first guarantees a novelistic attempt, and the second a clear experiment of the literary exploration of consciousness. Finally, this study takes on the irony behind the recontextualizations that literary consciousness allows for.
41
Randlemon, Daniel E. "David Foster Wallace's communal middle ground". Thesis, 2012. http://hdl.handle.net/1957/30341.
Testo completoAbstract (sommario):
Throughout the course of this thesis, I argue that the prose of David Foster Wallace, specifically his posthumously published novel The Pale King, inhabits a middle ground between universal sincerity and the particularized authenticity of postmodern irony. I examine Lionel Trilling's definitions of sincerity and authenticity before moving toward an examination of the diverging critical response to Wallace's work, which, I argue, suggests that because so many critics have read his work as either inherently sincere or inherently authentic, his work inhabits a communal middle ground somewhere in between. To explain, I analyze Wallace's so-called manifesto of sincerity, "E Unibus Pluram: Television and U.S. Fiction," as well as other instances in interviews and conversations to develop a clearer understanding of what this middle ground consists of. Further, I analyze two passages in The Pale King in which characters seek to communicate moments of profound revelation. Though these characters finally fail to truly communicate these revelations, I argue that it is the communication itself that allows both communicator and listener, and thus both reader and writer, to experience a moment of, as Wallace puts it in The Pale King, "value for both sides, both people in the relation" (227).Graduation date: 2012
42
Harrison, Zoia. "On the iron gatepost / Zoia Harrison". Thesis, 2004. http://hdl.handle.net/2440/22141.
Testo completoAbstract (sommario):
"July 2004"Includes bibliographical references (leaves 65-68)
257, 68 leaves : ill. (some col.), map ; 30 cm.
Thesis (Ph.D.)--University of Adelaide, School of Humanities, Discipline of English, 2004
43
Harrison, Zoia. "On the iron gatepost / Zoia Harrison". 2004. http://hdl.handle.net/2440/22141.
Testo completoAbstract (sommario):
"July 2004"Includes bibliographical references (leaves 65-68)
257, 68 leaves : ill. (some col.), map ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, School of Humanities, Discipline of English, 2004
44
Jacob, Mark Christopher. "Constructions of identity in Marguerite Poland's Shades (1993) and Iron Love (1999)". Thesis, 2003. http://hdl.handle.net/10413/10539.
Testo completoAbstract (sommario):
In this thesis I will examine Marguerite Poland's two novels, Shades (1993) and
Iron Love (1999) in terms of how they provide constructions of identity in a
particular milieu and at a particular time. In order to do this; the thesis will focus
on Poland's historical context and that of her fiction as represented in these two
works. My primary aim is not to present a particular interpretation of colonial
history, but rather to put into perspective personal, social and cultural identities
that emerge from particular periods in South African history, especially as
pertains to the Eastern Cape and Kwa-Zulu Natal, and particularly as illustrated
in Poland's fiction.
My approach would be to look at constructions of identity from a feminist as well
as a Marxist perspective: "To Marx, man was a being whose identity and nature
arose out of his purely practical attempts to make his livelihood in what amounts
almost to a struggle with a hostile, physical environment" (Robertson 1985:204).
This implies that socio-historical conditions are largely responsible for forming
ideology and consciousness, which I will argue, is true for Poland's fiction under
discussion. Poland's own position as a broadly liberal feminist will also be
discussed.
I have chosen the above-mentioned novels of Marguerite Poland not only
because she is one of South Africa's leading contemporary writers of children's
literature and adult fiction and has received numerous awards for her books and
stories; but also because she is a most inspirational and perceptive writer
meriting serious academic study. Her novel Shades (1993) - a matric setwork in
1998, 2001 and 2002 - proved highly successful as a setwork and was
nominated for the MNet Fiction Award. Shades deals primarily with love,
dispossession and identity, and the title itself refers to the spiritual manifestation
of those gone before. Poland chose the title because she was writing about her
own 'shades', her ancestors and the role they played in the small valley of the
Mtwaku River in the Eastern Cape at the end of the nineteenth century (Poland
2000). Her core source was her great-grandmother's diaries, which related
anecdotes about life at the St. Matthew's Mission. In 1999, Poland wrote Iron
Love, again using her great-grandmother's diaries, but she insists that this book
is not a sequel to Shades (Jacob 2002). Furthermore, the main character, Charlie
Fraser, is a descendant of Poland's ancestors. In Iron Love (1999) Poland depicts
the role of colonial private schools in indoctrinating young colonial leaders. The
book \\ subtly questions the humanity inherent in a system teaching the
suppression of emotions, sexuality, individuality, freedom"(Webster 2000:8).
The thesis will open with an introduction outlining reasons for my choice of
writer, her novels to be discussed, and the theoretical approaches I intend using.
I will discuss the life and works of Marguerite Poland in an historical context and
discuss the factors that influenced her in the writing of her novels. In this
chapter I will also discuss identity construction in terms of feminist and Marxist
ideology on patriarchy, religion, and capitalism. Chapter Two and Chapter Three
will focus on a literary analysis of Shades (1993) and Iron Love (1999)
respectively. Both novels demonstrate how identity is shaped by socio-historicaI
forces, which I will analyse in depth in this thesis. Chapter Four will conclude my
thesis further confirming the importance of socio-economic forces in determining
ideology as manifested in Poland's fictional characters and in her own life.Thesis (M.A.)-University of Durban-Westville, 2003.
45
Finnegan, Lesley. "‘The Old Iron Cooking Pot of Europe’ Storytelling, Sleuthing and Neo-colonialism in the Botswana novels of Alexander McCall Smith". Thesis, 2006. http://hdl.handle.net/10539/1592.
Testo completoAbstract (sommario):
Student Number: 0307561M
Master of Arts
School of Literature and Language Studies
Faculty of HumanitiesIn this study I will interrogate some of the issues and contradictions raised by Alexander McCall Smith’s Botswana novels. These texts feature a black African woman protagonist in a developing society, and have achieved huge popular and commercial success, but they are written by a white European man. I will examine briefly whether the books can be considered as ‘African Literature,’ and how the author has negotiated the interface between history and literature to convince readers and critics in ‘the West’ that he is portraying ‘the real Africa.’ I will investigate the strategies used by the author to create this ‘authentic’, ‘traditional’ effect, how he writes convincingly as, about and on behalf of women, and the use he makes of the detective fiction mode. Ultimately I will consider whether these novels represent a restorative ‘writing back’ or whether they constitute a continuing appropriation of African history, culture and identity, a further re-invention of Africa by and for ‘the West’.
46
Mitchell, Euan Wallace. "Making noises: contextualising the politics of Rorty’s neopragmatism to assess its sustainability". Thesis, 2005. https://vuir.vu.edu.au/1462/.
Testo completoAbstract (sommario):
This creative thesis is written in two parts: Volume 1 is a novel and Volume 2 is the accompanying exegesis which explains the process of contextualising a school of philosophy’s politics within the novel. These volumes combine to build a new window onto contemporary theoretical debate regarding the sustainability of so-called liberal democracy. Volume 1, the novel, provides a fictionalised account of federal government involvement with the popular music industry in Australia during the 1990s. The story is told from the point of view of a newcomer to a music industry organisation funded by the federal government called the ‘Oz Rock Foundation’. This organisation is run by a former federal politician who maintains close links with his political colleagues still in government. When the newcomer discovers a young Aboriginal prisoner with exceptional musical talents, the former politician seizes this opportunity to help launch the Oz Rock Foundation in the ‘Year of the Indigenous Person’. This venture, however, has unexpected consequences which emerge as the story develops. Volume 2, the exegesis, employs a narrative framework to explain the process by which an analysis of philosopher Richard Rorty’s version of neopragmatism fed into the creation of the novel. Political issues raised by neopragmatism are thematically linked to fictional contexts informed by the history of government experimentation with the Australian music industry. The process is guided by questions designed to assess whether a neopragmatic version of liberal democracy is sustainable in this form. The novel is further shaped by its attempt to extend a particular tradition, within the genre of the political novel, that contextualises themes related to ‘natural rights’ as the foundation of liberal democracy. The exegesis, in its discussion of issues raised by the completed novel, then draws on existing research into the sustainability of democracy in order to synthesise an overall perspective. NOTE: Due to copyright arrangements with the publisher of Making Noises, the text of the novel (Volume 1) is not available as part of the digital version of this thesis. The novel was published in November 2006 by OverDog Press (Melbourne, Australia). The ISBN is: 9780975797921