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Wayland, Ted. "High risk modernism /". Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/9343.
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Medalie, David. "E.M.Forster and modernism". Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316896.
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Melberg, Arne. "Sara Danius, The Senses of Modernism. Technology, Perception, and Modernist Aesthetics. Uppsala 1998". Uppsala : Svenska Litteratursällskapet, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200754.
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Carney, Jason R. "The Shadow Modernism of Weird Tales: Experimental Pulp Fiction in the Age of Modernist Reflection". Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1396650887.
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Garcia, Luiz Fernando. "O idílio entre a tradição e a modernidade : uma releitura de Amar, verbo intransitivo, Mário de Andrade /". Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/152709.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Partindo de pressupostos teóricos do Comparatismo como forma de investigação que se situa "entre" os objetos que analisa, e dos conceitos de releitura tão característicos da Modernidade, este trabalho propõe o estabelecimento de relações entre o romance Amar, verbo intransitivo (1927) de Mário de Andrade (1893-1945), que tem como subtítulo a designação de "Idílio" e obras de Teócrito, Gessner e B. de Saint-Pierre, pertencentes ao mesmo gênero literário, tomando como ponto de partida a questão do gênero. Este procedimento tem como objetivos verificar não somente a procedência do ceticismo da crítica literária em relação a este subtítulo, como também as razões que levaram o autor a utilizá-lo e a mantê-lo até mesmo na versão final da obra. Neste percurso, o próprio gênero literário "Idílio" também se constitui como objeto de estudo deste trabalho, pois as obras acima citadas revelam não somente um gênero literário ativo e em evolução desde a Antiguidade greco-romana até o Sec. XX, mas também um gênero que se manifesta tanto na poesia quanto na prosa, mais especificamente , no gênero romance.
Based on postulates of comparative literature, that places itself between the objects analyzed, and new readings of traditional works, so dear to Modernity, this thesis aims at establishing relations between Mario de Andrade's (1893-1945) novel "Amar, verbo intransitivo" (1927), subtitle "Idílio", and works from Teocritus, Gessner and B. de Saint Pierre belonging to the same literary gender, at the same time that considers the questions involving this specific gender. This procedure aims at verifying not only why literary criticism has been so skeptical in relation to the subtitle "Idílio", but also the author's reasons in giving and mantaining it even in the final version of the work. In this way, also the literary gender "Idyll" becomes the object of study of the present thesis, as the works cited above reveal not only an active gender evolving from the Antiquity until the XXth century, but also a gender represented both in poetry and prose, in this case in the novel.
1040/13
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Long-Innes, Francis. "Freud : moments of modernism". Master's thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/22126.
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The word "moment" - from the Latin movere (to move) - can be understood in various senses. It is a point of time, an instant; it connotes importance, or weight; in 1666, according to the OED, it could be used to suggest a "definite stage or turning point in a course of events"; in 1691 it came to mean a "cause or motive of action, a determining influence or consideration" ... This dissertation stems from the conviction that the importance and weight of Sigmund Freud's "discovery" and elaboration of psychoanalysis - its impact as a turning point for western modes of intellectual activity, and as a determining consideration for western culture as a whole - has been so profound that it would be impossible to seek from within it the precise measure of its influence. Across modern philosophy, the human sciences, and the arts - from surrealism to pop art, from advertising to social welfare policies - Freud's psychoanalysis permeates the ways in which we live, and is one of the key elements of that experience of modernity we can loosely call "modernism". The dissertation locates a number of moments ·of modernism in and around Freud's work - with attention to Freud's relation to the reading and interpretive practices of the twentieth century: Chapter One examines some of the ways in which psychoanalysis and literary studies have met, intersected and, at times, bypassed one another over the past few decades, in a flurry of encounters which have yet to settle into any definitive shape. Chapter Two responds to Stanley Fish's recent attack on Freud's scientific integrity in the "Wolf-man". The chapter focuses, in other words, on one particular strand of the critical tradition defined in the second section of Chapter One. Chapter Three - which concerns the famous case of "Dora" - attempts, first, to restore some sense of the theoretical moment in Freud's work represented by the case, and second, to re-introduce the question of history into what has become the critics' story of Freud's failure to get to the bottom of Dora's hysteria. The aim of this chapter is to suggest a way beyond the contradiction in which Freud is persistently invoked, in feminist criticism, as both liberator and oppressor, hero and villain. Chapter Four turns back to the interface between psychoanalysis and literature. Its focal point is a different permutation from that manifested in the "Dora" case history of Freud's life-long quest to solve the "riddle" of femininity. The chapter examines some of the problems Defoe's novel Moll Flanders has posed to a tradition of patriarchal literary criticism. These problems, it argues, are inseparable from questions of representation, female identity and the notion of ''femininity" itself - the same questions which proved so intrusive in Freud's narrative of the case of Dora. This dissertation is concerned not only with the apparent "logic" of the arguments it confronts, but also with the· deeper constitution of that logic in and through the complex textures of writing. It aims to demonstrate that one of the most powerful moments of modernism in Freud's work lies in the stimulus it provides to an art of interpretation constantly attentive to the complexity of these textures.
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Gott, Henry Michael. "Ascetic modernism in Eliot and Flaubert". Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/3906/.
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This thesis describes Eliot and Flaubert’s shared fascination for the figure of the ascetic saint, with special attention given to The Waste Land and La Tentation de saint Antoine. I examine how the structure, style and themes of these two works in particular show the authors updating into a modernist context the model of the trial they inherit from saintly literature. I explore in detail the varied connotations that the saint attracts, structuring my analysis on the basis of dialectical tensions which allow me to trace the relation of the saint’s experience to the theory and praxis of the two authors: the contrasting forms of discourse within each text, scientific and religious thought as distinct but potentially complicit approaches to knowledge, or the contrapuntal relationship of desert and city, allow me to illustrate the texts’ enactment of a central paradox of the ascetic’s via negativa – where the comprehensive vantage point to which they aspire is only achieved through loss. I give extensive attention to the techniques and structure of each work, in which I elaborate the operative significance of the saint’s emblematic status. My analysis culminates in a reading of the Tentation and The Waste Land that stresses their relation to an ascetic paradigm, which not only inheres through the recurrence of various motifs in the work of Eliot and Flaubert but is characteristic of modernism more generally. On the one hand expanding on undeveloped hints in Eliot criticism, regarding both the influence of Flaubert and The Waste Land’s relation to the saint’s trial, whilst on the other allowing Flaubert’s Tentation to benefit from the greater critical scrutiny given to its more canonical counterpart, the thesis enhances our understanding of both the individual authors and the broader intellectual climate to which they belong.
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Kelly, Theresa. "Pilgrimage and modernism". Thesis, University of York, 1987. http://etheses.whiterose.ac.uk/9834/.
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Waddell, Nathan Joseph. "Modernism and utopia, 1900-1920 : politics and social betterment in early modernist writing". Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/1377/.
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This thesis considers the early twentieth-century writings of four modernist writers – Joseph Conrad, Ford Madox Ford, D. H. Lawrence, and Wyndham Lewis – in relation to the problem of utopianism. The introductory chapter provides an overview of current scholarly debates concerning the nature and structure of utopian thinking, and establishes the broad context in which the above writers are considered in the argument that follows. The thesis works with an inclusive definition of utopianism that views it as an expression of the urge to better society, as opposed to an urge to realize social perfection. After a wide-ranging summary of late nineteenth- and early twentieth-century utopian discourses, a summary that attends to the pre-First World War criticism of T. E. Hulme and Ezra Pound, the thesis turns to individual, ‘case study’ chapters that focus on the above-mentioned quartet of writers. Each chapter looks at a key issue: Conrad in relation to political anarchism; Ford in relation to urban design; Lawrence in relation to utopian philosophies of labour; and Lewis in relation to the linkages between the historical avant-garde and the betterment of society. The main claims running throughout the thesis are that in the period under consideration the links between modernism and utopianism are: complex; multi-sided and author-specific; politically multifarious; and insufficiently acknowledged by contemporary critics.
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Angelella, Lisa. "Alimentary modernism". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/225.
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Modernism often reveled in the loss of control, the permeation of personal boundaries, the introduction of ambiguity, that evocation of the senses brings about. It strove to loosen the structures and categories culture inscribes. In this dissertation, I argue that food scenes constitute the crux of many pivotal moments in Modernist fiction and express a philosophy of the human subject. Modernists argue that, in eating, a person takes the outside world into him or herself. The senses that precede, imbue and follow eating threaten and transcend the integrity of the subject. I argue that by foregrounding such moments, Modernists posited a phenomenological view of subjectivity, one which can best be illuminated by the work of Maurice Merleau-Ponty. Guided by his theory of intersubjectivity, I explore the phenomenological presentation of particular sensual encounters with food in the work of Ernest Hemingway, Katherine Mansfield, Virginia Woolf, James Joyce and Willa Cather. I show how characters, in their encounters with sensual otherness, feel themselves overcome in poignant moments of ecstasy, disgust, or revelation of self-constitution through the alimentary. I also argue that Modernist fiction does not only display Merleau-Ponty's phenomenology, but also nuances his timeless and placeless presentation of the encounter between a universal subject and any object, by considering the sensual eating experience within various historical food conditions, such as the explosion of the canned food industry and the gradual dissolution of the formal meal, and from various subject positions, based on gender, ethnicity or relative political empowerment. In engaging phenomenology, my project deviates from the long tradition in scholarship of considering symbolic and structural meanings to the occlusion of sense. In each eating scene I explore I consider how gustatory, haptic, and aromatic properties of food objects--such as liquidness, sweetness, bloodiness and lightness--intervene in more cerebral human relations. Fundamental to the fascinating Modernist depictions of food and eating, is the idea that the senses have an undeniable impact on human affairs in their own right.
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Charles, Alec. "James Joyce, modernism and postmodernism". Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284287.
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Thomaz, Paulo Cesar. "O dilaceramento da experiência: as poéticas da desolação de Bernardo Carvalho e Sergio Chejfec". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-09022010-124441/.
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Este estudo consiste na análise dos romances Onze (1995), Teatro (1998) e As iniciais (1999), do escritor brasileiro Bernardo Carvalho, e dos romances El aire (1992), Boca de lobo (2000) e Los incompletos (2005), do escritor argentino Sergio Chejfec. Nosso trabalho trata de demonstrar que essas duas práxis narrativas buscam configurar poéticas que discutem, no cenário latino-americano atual, as matrizes modernistas da literatura em um presente marcado pela desestabilização das categorias do literário. E fazem isso por meio de práticas discursivas literárias que ficcionalizam uma dilacerada experiência de desolação, isolamento e alienação. A lógica reificante do presente mercado neoliberal latino-americano encerra novos modos de entender e escrever a literatura, que não impedem estes escritores de preservar e estimar certa especificidade do campo literário. Ademais, penetram e configuram universos ficcionais antiliberais e antiutópicos associados ao corte com uma noção tradicional de experiência, entendida como fundamento de uma verdade, de um conhecimento. Corte causado por problemas histórico-sociais, ligados ao caráter problemático da ainda incipiente e incompleta modernização latino-americana.This study consists in the analysis of the novels Onze (1995), Teatro (1998) and As Iniciais (1999), of Brazilian writer Bernardo Carvalho, and of the novels El aire (1992), Boca de Lobo (2000) and Los incompletos (2005), of Argentinian writer Sergio Chejfec. Our work look forward to demonstrate that these two praxis narratives seek to setup poetic that are arguing, in the current Latin-American scenery, like head offices modernists literature in a present marked by destabilization of the literature categories. And they do that by means of literary discursive practices that fictionalize a lacerated experience of desolation, isolation and alienation. A reification logic does present Latin-American neoliberal market containing new manners of understanding and writing literature, that do not prevent these writers of preserving and being fond of certain specificity of literature field. Moreover, they penetrate and they setup ficticious, antiliberal and antiutopian universes associates to a break with a traditional notion of experience, wich is understood as foundation of a truth, of knowledge. That break was caused by historical-social problems, linked to the problematic character of still incipient and incomplete Latin-American modernization
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Barker, Jennifer. "The aesthetics of resistance modernism and antifascism /". [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3178431.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2208. Adviser: Thomas Foster. "Title from dissertation home page (viewed Nov. 27, 2006)."
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Yates, Juliet Rose. "Hands-on modernism : representations of the hand in Dorothy Richardson's Pilgrimage and modernist literature 1914-1939". Thesis, Keele University, 2012. http://eprints.keele.ac.uk/1186/.
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The fragmentation endemic to modernism poses the difficult question of how we read the modernist body. In this thesis, I propose a new critical approach in response to this question – theoretical partialism – whereby looking at the particular and reading the representation of the hand as a signifier offers further insight into wider concerns such as, female subjectivity, performativity, sexuality and societal positioning. Because the hand can be both male and female, it allows for an interpretation of the body which does not rely on biological determinism, masculine discourse or essentialist feminism but, instead, provides the site for a new understanding of the body and constructions of gendered identities. Theoretical partialism finds its origins in psychoanalysis, sexology and feminist discourse and suggests that the hand can be used as a starting point for a wider theoretical discussion of totality. The paradox of the hand’s power of unification and differentiation is explored and the fetishistic approach reveals that there is not necessarily one totality but the potential of understanding different interpretations of the total. Therefore, theoretical partialism is used not as a method of regaining conventional ideas of totality but rather as a means for gaining a reconstituted notion of the whole and of selfhood from the fragments of modernity. My thesis develops this approach through readings of six texts: predominantly Dorothy Richardson’s Pilgrimage; Arthur Munby’s material is also investigated in order to establish the hand’s significance in the Victorian imagination; and as a method of illustrating the extent to which the hand features as a signifier in modernism, I explore the fragmented form and gendered identities in James Joyce’s Ulysses, T. S. Eliot’s The Waste Land, Katherine Mansfield’s “The Little Governess” and Jean Rhys’s Voyage in the Dark.
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Toivonen, Pirjo-Maija. "Aila Meriluodon varhaislyriikan modernismi ja sen tausta tekstianalyyttinen tutkimus modernismin estetiikasta ja historiasta /". Jyväskylä : Jyväskylän yliopisto : Jakaja, Jyväskylän yliopiston kirjasto, 1986. http://catalog.hathitrust.org/api/volumes/oclc/16467820.html.
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Carvalho, Lais Iaci Mirallas de. "Os mortos de sobrecasaca, de Álvaro Lins : a formação do cânone modernista brasileiro /". Assis, 2018. http://hdl.handle.net/11449/180370.
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Orientador: Marcio Roberto PereiraBanca: Rosane Gazolla Alves Feitosa
Banca: Regina Célia dos Santos Alves
Resumo: Álvaro Lins (1912-1970) foi um importante crítico literário do movimento modernista brasileiro que marcou o século XX pela grande influência de seus artigos e ensaios publicados nas páginas de diversos jornais. Por ter exercido ao longo de sua carreira a crítica de rodapé, Lins acabou sendo excluído do panteão literário da academia por não se ajustar às novas vertentes dos estudos críticos brasileiros: o uso do método para realizar a análise literária. Este trabalho pretendeu desmistificar a conotação de "impressionista" atribuída a ele, demostrando que possuía uma concepção ampla de métodos literários. Para tanto, foi feito um estudo aproximando os conceitos de crítica de Álvaro Lins com os conceitos de Erich Auerbach e o seu método da "explicação de textos". E para a comprovação de que Álvaro Lins foi um crítico essencial para a formação de nossa história literária modernista, objetivou-se estudar uma de suas maiores produções bibliográficas, a antologia Os mortos de sobrecasaca: obras, autores e problemas de literatura brasileira. Ensaios e estudos 1940- 1960, em que reuniu diversos artigos oriundos de seus estudos anteriores para realizar um exame da poesia, do romance, do teatro e da posição de intelectuais e críticos para o estabelecimento de um cânone que consolida vinte anos de produção literária modernista. Entende-se que o estudo da personalidade crítica de Álvaro Lins e o estudo de sua antologia são essenciais para a avaliação de um período tão prolífico de nossa história literária, o movimento modernista brasileiro
Abstract: Álvaro Lins (1912-1970) was an important literary critic of the Brazilian modernist movement that marked the twentieth century by the great influence of his articles and essays published in the pages of several newspapers. For having exercised the footnote critique throughout his career, Lins ended up being excluded from the literary pantheon of the academy for not adjusting to the new strands of Brazilian critical studies: the use of the method to perform the literary analysis. This paper aims to demystify the rating of "impressionist" attributed to him, demonstrating that he had a broad conception of literary methods. Therefore, a study was done approximating the critical concepts of Alvaro Lins with the concepts of Erich Auerbach and his method of "explication de texte". And to prove that Álvaro Lins was an essential critic for the formation of our modernist literary history, the objective was to study one of his greatest bibliographical productions, the anthology Os mortos de sobrecasaca: obras, autores e problemas de literatura brasileira. Ensaios e estudos 1940-1960, in which he collected several articles from his previous studies to carry out an examination of poetry, novel, theater and the position of intellectuals and critics for the establishment of a canon that consolidates twenty years of modernist literary production. It is understood that the study of the critical personality of Alvaro Lins and the study of his anthology are essential for the evaluation of such a prolific period of our literary history, the brazilian modernist movement
Mestre
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Curry, Elizabeth. "Refiguring the Animal: Race, Posthumanism, and Modernism". Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24546.
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This dissertation explores the entanglements of racialized histories and experiences in America with conceptions of animals and animality and examines how African American and Native American writers render these intersections in early-twentieth-century American literature. While animals, with their physical and behavioral features and subordinate status within Western cultural frameworks, were fundamental figures in the US racial imaginary, which relied on dehumanization as a weapon of control, animals (and conceptions about them) also curiously offered a way around and outside of the categorically demeaning declarations of “the human.” Through literary explorations of the nonhuman, the writers in this project reveal forms of interspecies affinity and understanding that affirm biotic connection and also make fantastically strange creatures with whom humans share domestic and proximal space. The figure of “the human” as separate, above, and radically distinct from other life becomes not only strange as well through these readings, but becomes visible as a prominent obstacle to social egalitarian and ecologically cooperative ways of living. I build on research in animal studies and critical race studies approaches to posthumanism to observe how race inflects literary animal representations while also tracking how animality interacts with various notions of personhood. While animalization often coincides with racialized and dehumanized personhood status, writers like Anita Scott Coleman and Zitkala-Ša rupture those associations and engage the animal (comparisons to it and becomings with it) as a fundamentally humanizing figure. On the flip side, Zora Neale Hurston’s Their Eyes Were Watching God demonstrates how a racialized animalization trope operates in the novel to defend the killing of a black man. These writers all collapse the binary between human and animal while demonstrating how that binary operates in concert with racial binaries in an American context that extols the human. Reading animals through a lens that acknowledges how race and animality intersect ultimately opens routes for rethinking what it means to be human and defining how we view the nonhuman.
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Morse, Daniel Ryan. "Fiction on the Radio: Remediating Transnational Modernism". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/271607.
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EnglishPh.D.
The BBC was the laboratory for major experiments in modernism. Notions of aesthetics, audience, and form were tried out before the microphones of 200 Oxford St., London and heard around the world, often before they were in England. The format of the radio address and the instant encounter with listeners shaped both the production and politics of Anglophone modernism to an extent hitherto unacknowledged in literary studies. This dissertation focuses on how innovative programming by modernist writers, transmitted through instantaneous radio links, closed the perceived physical, cultural, and temporal distances between colony and metropole. Charting the phenomenon of writing for, about, and around broadcasting in the careers of E. M. Forster, Mulk Raj Anand, James Joyce, and C. L. R. James, the dissertation revises the traditional temporal and geographical boundaries of modernism. Contrary to the intentions of the BBC's directors, who hoped to export a monolithic English culture, empire broadcasting wreaked havoc on the imagined boundaries between center and periphery, revealing the extent to which the colonies paradoxically affected the cultural scene "at home." The Eastern Service (directed to India), where the abstract idea of a serious, cultural station was put into practice, was the laboratory for the Third Programme, England's post-war cultural channel. Yet the effects of Empire radio are hardly limited to its considerable impact on postwar British broadcasting. The intellectual demands of Indian listeners set the parameters of and bankrolled the literary work performed by modernist writers in England. Addressing authors and readers in India from a studio in London, Mulk Raj Anand embodied a crucial aspect of the Eastern Service, its treatment of English and Indian culture as mutually influential and coeval. Anand's broadcasts and 1945 novel The Big Heart (written during his BBC years) critique imperialism by positing the simultaneity of Indian and English temporality. In so doing, Anand's works offer a rejoinder to narratives of colonial belatedness pervasive both at the time and in the present. When tackling such transnational work, radio studies is uniquely positioned to provide an archive and a radical new model for modernist studies as it grapples with critiques of the western diffusionist model of culture. Literary production in and around the BBC registers radical cultural upheaval with a diagnostic power that reveals the attenuated ability of hypercanonical modernism alone to illuminate modernity's complex relays. Modernism on the BBC was not an exclusive canon of works, singular set of formal features, or even a unique posture. Instead, writers such as James, Forster, Anand, and Joyce offered complex responses to the pressures of modernity, including disruptions wrought by colonization, immigration, and war.
Temple University--Theses
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Mentan, Julia Elizabeth. "Beyond art and politics : voices of Spanish modernism /". Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6661.
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Griffiths, David. "Song writing : poetry, Webern, and musical modernism". Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/song-writing--poetry-webern-and-musical-modernism(eda44e12-79d4-423f-887f-4d0543a03bc9).html.
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Trigoni, Efthalia. "Re-cognizing the unconscious in modernist literature". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707931.
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Miranda, Carlos Eduardo Ortolan. "Os quatro elementos: o lirismo dialético de Murilo Mendes". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-28052010-132121/.
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O objetivo deste trabalho é empreender uma leitura monográfica de Os Quatro Elementos, livro de Murilo Mendes de 1935. A motivação inicial foi o caráter original da obra e a inexistência de investigação crítica a respeito do volume, temas que são abordados mais extensivamente na introdução. A seguir, passa-se à análise detida de alguns poemas do livro, em que se busca identificar alguns dos temas principais da lírica de Murilo Mendes (a religiosidade, o erotismo, a visão mitológica, a influência surrealista, o humor); aborda-se também algumas questões de cunho mais filosófico, mas centrais para a compreensão do poeta, como as da relação entre História e Transcendência. Finalmente, a reflexão incide sobre o caráter original da obra de Murilo Mendes face seus contemporâneos do Modernismo, e intenta explicar o silêncio da crítica relativamente ao livro.Our work aims at presenting a monographic study of 1935 Murilo Mendes´ book, Os Quatro Elementos. Picking that subject was motivated by original characteristics of the book, and also by the inexistence of critical inquiries regarding the piece. These particular aspects are analysed more extensively in the Introduction. Then, our study moves on to carefully analysing of some poems of the book, in which we try to identify some of the major themes of Murilo Mendes´s poetry (religion, eroticism, mythological aspects, the influence of Surrealism, humour). It also adresses philosophical aspects that are central to the understanding of the poet, such as the relationship between History and Transcendence. Finally, our analysis focuses on the unique character of Murilo Mendes´work in comparison to his Modernist contemporaries using that as means to explain the silence of our literary criticism about this specific masterpiece.
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Lima, Cesar Augusto Garcia. "Modos de ser poeta brasileiro nos anos 1920: uma leitura do diálogo epistolar de Carlos & Mário". Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4750.
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Esta tese tem como proposta uma leitura de aspiração ensaística da correspondência entre os escritores Carlos Drummond de Andrade e Mário de Andrade durante o Modernismo, entre 1924 e 1929, com destaque para a afirmação da identidade do poeta brasileiro em sua relação com o nacionalismo. A correspondência, abordada como diálogo epistolar, é analisada cronologicamente, relacionando os temas propostos à produção artística dos escritores. A troca de opinião sobre originais dos próprios autores é um dos focos da análise do texto, em especial as cartas que envolvem a gênese do livro Alguma poesia, publicado por Carlos Drummond de Andrade em 1930. As cartas têm como antecedente o cuidado de si, oriundo da cultura greco-romana, exercido pelos antigos filósofos como um exercício espiritual e de reflexão sobre o cotidiano. Desse modo, a partir do convite epistolar de devotar-se ao Brasil feito por Mário, Carlos elabora poemas como respostas, em um diálogo que ganha permanência poéticaThis dissertation presents a reading of the correspondence between the writers Carlos Drummond de Andrade and Mario de Andrade from 1924 to 1929, during the Modernism period, highlighting the identity assertion from the Brazilian poet in relation to nationalism. The mentioned correspondence is approached as an epistolary dialogue and it is chronologically analised relating the topics of literary works of both writers. The exchange of opinions between the writers about their own original texts is one of the focus of the reading presented here, including commentaries about Alguma poesia, published in 1930 by Carlos Drummond de Andrade. The letters are associated by the author of this text to the idea of "the care of the self", proposed by Michel Foucault. The writers epistolary dialogue is determined and associated to their literary production especially considering the poetic work. Therefore from the epistolary invitation done by Mario to devote himself to Brazil, Carlos elaborated poems as answers. These answers remain in his poetry work
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García, Ramón. "Chicano representation and the strategies of modernism /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820853.
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Beeston, Alix Mallory. "Composite Visions: Writing and Photography in American Modernism". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13431.
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This dissertation builds on scholarship that apprehends the ways in which modernist writing instantiates the episteme of doubt and contingency that emerges, paradoxically, from the development of photographic technologies. It accounts for an unexplored aspect of the photography effect in modernist writing that is variously composite in form and narrative. Early twentieth century texts by Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald function analogously to photography—and are culturally imbricated with it—inasmuch as they privilege representational ambiguity through their sequenced, fragmentary poetics. I argue that formal interstices of these composite texts, like that of serialized photographic practice, are raised as signposts to the limits of the eye and of visual and discursive objectification itself. Most provocatively, I interpret their gaps and openings as textual sites in which the dominant socio-political order is negotiated and even circumvented. I map the sequenced tissue of modernist narration onto the repeated disappearances and appearances of female bodies that are, like the narratives they populate, constructed as aggregates or assemblages. In so doing, I enrol what I call the woman-in-series within a host of new theoretical figurations of female subjectivity emerging within feminist scholarship that seeks to exceed the hostile relationships between the camera and the female subject that have dominated discussions of photography and cinema. As such, this dissertation works to destabilize gendered and racialized oppositions of power and vulnerability as they relate to encounters between subjects and objects in the visual realm. The gap or interval in the composite visions of American modernism signifies both as a mark of trauma, the wounding of objectifying representation, and as a means for evading or defending against such trauma. The woman-in-series thereby stages the insurrectionary potential of the in/visible subject.
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Dudek, Debra Lynn. "Creative displacement and corporeal defiance, feminist Canadian modernism in Margaret Laurence's Manawaka novels". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ63861.pdf.
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Ingegerd, Andrén. "Transculturalism and Modernism in Leung Ping-kwan ́s writing". Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194210.
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More than 45 million ethnic Chinese are settled outside China and about 20 % among them live in America. The aim of this study is to investigate how a Hong Kong writer in the diaspora has been influenced in his writing in a transcultural and modernist direction and in what way translation can be a part of transculturalism. In this study, the author 梁秉鈞 Leung Ping-kwan (1949-2013) has been selected as an example of this. The study is based on prose and lyrical texts by him. Studies of Chinese in the diaspora have long been neglected, but in recent years, Chinese American academics have begun research into Chinese diaspora literature from a transcultural perspective. This study aims to contribute to transcultural literary studies. In the study of Leung Ping-kwan ́s texts, a comparative literary analysis is used which is based on theories of identity and transculturalism. I argue that Leung Ping-kwan's writing is characterized by transcultural and modernist features.超过 4,500 万华人定居在中国境外，其中约 20%居住在美国。 这项研究的 目的是调查一位香港作家如何在跨文化和现代主义的方向上影响他的写作， 以及翻译以何种方式可以成为跨文化主义的一部分。 在本研究中，以作家 梁秉钧 1949-2013)为例。 这项研究基于他的散文与诗文。 长期以来，对 海外华人文学的研究一直被忽视，但近年来，美国华裔学者已开始从跨文 化的角度对华桥华人文学进行研究。 这项研究旨在为跨文化文学研究做出 贡献。 在对梁炳宽的著作进行研究时，采用了基于身份和跨文化主义理论 的比较文学分析。 我认为梁的著作具有跨文化和现代主义的特征。
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Gilbert, Geoffrey Irvine. "A career in modernism : Wyndham Lewis, 1909-1931". Thesis, University of Cambridge, 1995. https://www.repository.cam.ac.uk/handle/1810/251581.
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Keir, Kenneth J. "The translating effect : Neil M. Gunn, psychoanalysis and Scottish modernism". Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=194785.
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Neil Gunn was one of the principal writers of the Scottish Literary Renaissance movement, the earlytwentieth century flowering of modernist literature in Scotland. Although some commentators have noticed the frequent mentions of psychoanalysis in his work, until now no wider study has been undertaken. In this thesis, I look at Gunn's interest in psychoanalysis in a number of different ways. This is down with the two-fold aim of first, providing a modern assessment of Gunn's work, and second, examining more broadly the history of modernism in Scottish literature. In the introduction, I propose an understanding of modernism based on the literary exploration of new theories of, in this case the mind. I argue that a complex understanding of the interplay of these new theories and literature serves better than a more simple concern with either intellectual developments or changes in literary form alone. In the first section, I look at Sun Circle and The Serpent in the light of psychoanalytic theories of 'primitive' psychology and the history of religion. In the second, I look at Highland River and The Silver Darlings in the light of Freudian and Jungian theories of personal development, regression, and childhood. In the third, I look at the way in which Gunn explores Freud's theories of the warring life- and deathinstincts in both The Shadow and The Lost Chart. I conclude by looking briefly at how Gunn's literary explorations of psychoanalysis link with the work of later writers such as Muriel Spark, Robin Jenkins, Alexander Trocchi, Alasdair Gray, Kenneth White and Alan Spence.
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Christie, James. "Fredric Jameson and the art of Modernism". Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/60251/.
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The primary subject of this thesis is the work which Fredric Jameson has published since the year 2000. It argues that this date has functioned as a kind of watershed in thinking about Jameson, and that the work which appeared after it has not yet received close or rigorous enough critical attention, especially in comparison to his very widely read and discussed work of earlier decades; in particular his various writings from the 1980s on the subject of postmodernism. It claims that as a consequence the full significance of this writing has been broadly overlooked. The thesis identifies the existence of a 'modernist turn' within this later work which is focussed around three texts in particular; A Singular Modernity of 2002, Archaeologies of the Future of 2005, and The Modernist Papers of 2007. It claims that the mutation in regard to modernism which takes place in these works, and the emergence of modernism as the central concern of Jameson's thinking, is not just valuable in itself in terms of the wider contemporary movement within the academy towards an interest in global forms of modernity. It also constitutes a highly significant revision on Jameson's part of the foundations of much of the vast body of far more canonical work which preceded it. The aim of the thesis is to explore this revision and to effect a subsequent movement in the view of Jameson's thinking onto a far more firmly modernist footing. In asserting the value of this modernistic rethinking of Jameson's oeuvre the thesis argues for a resituating of Jameson's thought in relation to two wider theoretical traditions. The first of these is the Frankfurt School, and in particular the form of modernism associated with Theodor Adorno. The second is the current of post-structuralism contemporary with Jameson's 1980s work; in particular the alternative, post-structural model of postmodernism laid out by Jean-François Lyotard, and the deconstructive form of reading associated with Paul de Man. This argument takes place in four chapters. The first discusses the construction of modernism which occurs in Jameson's key works of the 1980s. The second outlines the revision which this construction is subjected to by his later modernist works. The final two chapters then develop the significance of this model of modernist revisionism by using it to intervene in two of the most widely-discussed and controversial areas of Jameson's career to date; the question of totality (the subject of the third chapter), and Jameson's engagement with the subject of 'Third-World Literature' (the subject of the fourth).
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Masdéu, Abril Fina. "Plàcid Vidal: memorialista singular d’obra viscuda". Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/400952.
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Aquesta tesi té el propòsit d’actualitzar la presència de Plàcid Vidal (Alcover, 1881- Barcelona, 1938) i la seva obra en l’àmbit literari català, tant des de la perspectiva de la història de la literatura com des de la perspectiva del gènere memorialístic –en el qual s’insereixen Els singulars anecdòtics (1920 i 1925), L’assaig de la vida (1934) i El convencionalisme de la vida (1972 i 1984).
Plàcid Vidal, conscient ben aviat de la dificultat per aconseguir un reconeixement en el món de les lletres que el consolidés com a autor d’un cert prestigi, no cessà, tanmateix, en la recerca de l’espai i del suport que considerava que li pertocaven. És per això que en la seva obra manifesta, de manera progressiva, la voluntat de deixar testimoni d’unes vivències vinculades amb els sectors culturals i intel·lectuals catalans –barcelonins i, també, reusencs– del període que transcorre entre els últims anys del segle XIX i les primeres dècades del segle XX –fins al 1934. Aquests són els motius pels quals l’escriptor d’Alcover s’endinsa, a principis del segle XX –i havent escrit poesia, novel·les i relats, articles culturals i un parell de peces dramàtiques–, en el gènere de la literatura del jo; un gènere, aleshores, amb poca tradició, poc consolidat –si més no a Catalunya–, però que entén que és el terreny adequat per tal de dur a terme la seva tasca contra l’oblit d’uns escriptors –i, sobretot, d’ell mateix– que toparen amb les reticències d’un sector intel·lectual hegemònic que els menystingué. Sigui com sigui, Vidal esdevé el nucli de la pròpia obra, bé de manera explícita –en el gènere memorialístic–, bé caracteritzat com a personatge de ficció –en el cicle de novel·les que protagonitza Jordi Saura i en narracions com El noi Aranyó i La singular amiga.
El procés de revisió de l’autor, iniciat, entre 1970 i 1980, per Josep Iglésies i pel Centre d’Estudis Alcoverencs –amb el guiatge del filòleg Joan Cavallé, i amb el suport de la filla de l’escriptor, M. Eugènia Vidal–, va adobar el terreny per continuar amb la revaloració de l’obra de Plàcid Vidal –en morir, el 1938, en ple conflicte bèl·lic, fou víctima de l’oblit que tant l’havia preocupat–, cosa que implicava la recerca en hemeroteques dels textos publicats en un bon nombre de diaris i revistes esparsos, a més
de la consulta del material conservat en el Centre d’Estudis Alcoverencs. Segons testimoni de la filla de l’escriptor, molts documents que Vidal guardava –sobretot correspondència– van ser destruïts en acabar la Guerra Civil, en considerar que podien ser compromesos per a la família; per això, era primordial la localització de textos epistolars en altres fons i col·leccions particulars, per tal d’ajudar en el traç de la trajectòria de l’escriptor.
També cal subratllar l’interès de l’estudi de la recepció de l’obra, tant en el moment en què veu la llum com en períodes posteriors i, doncs, més actuals –que, atenent l’evolució de la manera d’entendre la literatura i la progressiva consolidació del gènere memorialístic, en fan una lectura distinta.
Finalment, aquesta investigació, per una banda, ha d’afavorir la reconstrucció de la biografia de l’escriptor, la qual es pot resseguir a través dels propis textos i s’ha de contrastar –i completar– amb la informació i les opinions d’aquells qui, poc o molt, l’havien tractat –opinions molt benèvoles algunes, taxativament adverses d’altres–; i, per una altra, ha de proposar una lectura objectiva de la seva obra, sense prejudicis i actualitzada, que en confirmi el valor instrumental i historicista.This thesis aims at updating Plàcid Vidal’s presence (Alcover, 1881- Barcelona, 1938) and revealing the importance of his work within the Catalan literary field, either from the history of literature perspective as well as from the memoirs genre perspective. Plàcid Vidal, being aware of the difficulty in achieving prestige within the literary world, did not stop searching for the right place, he thought, he deserved. That is the reason why in his work he is eager to show some experiences related to the Catalan cultural and intellectual sectors within the period that goes from late XIX century to the first decades of the XX century –until 1934. Vidal, having written poetry, narrative, cultural articles and some drama, wants to get into the literary genre called “literatura del jo” or self literature, which had, at that time, a poor tradition in Catalonia; nevertheless it was the ideal field to carry out his task of rescuing some writers from oblivion, and specially himself, since all of them had to tackle with an intellectual, hegemonic sector that despised them all. Between 1970 and 1980 this author’s revision process was carried out by Josep Iglésies and Centre d’Estudis Alcoverencs, and monitored by the philologist Joan Cavallé. A process which prepared the ground to go on raising the value of his work, a task which involved not only visiting newspaper libraries archives searching for his published texts in both a great number of newspapers and magazines but also consulting the well preserved material at Centre d’Estudis Alcoverencs. However, many documents kept by Vidal –especially mail correspondence– were destroyed by his family after the Spanish Civil War therefore it was necessary to find epistolary documents from other private sources. The interest in the study of the reception of his work has to be remarked, both at the time of its publishing and in later periods –taking into account the way understanding literature has developed and the progressive consolidation of the memoirs genre. This investigation has to favour the reconstruction of the writer’s biography and propose an objective, updated and free-of-prejudice reading of his work, which confirms its historicist and instrumental value.
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Ferreira, Rafael Rodrigo. "O \'literato ambulante\': antologia e estudo da obra de Sylvio Floreal (1918-1928)". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-15082018-132724/.
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O presente trabalho tem como objetivo relativizar a dinâmica seletiva do sistema de canonização da literatura brasileira por meio da difusão de uma coletânea de textos do escritor Sylvio Floreal que, alheios aos manuais literários atuais, dialogam diretamente com um período que mesclava de modo natural discursos muitas vezes díspares, o qual corresponde na periodização política à Primeira República (1889-1930). Assim, a antologia contará com uma compilação de textos em prosa (contos e crônicas) produzidas pelo autor ao longo de dez anos, publicadas nos livros Atitudes (1922), Ronda da Meia-Noite (1925), Brasil Trágico (1928), bem como textos dispersos não publicados em livros, encontrados somente em periódicos da época, acompanhados por um estudo analítico introdutório capaz de evidenciar panoramicamente seu percurso literário e suas relações com o cenário intelectual vigente. Entende-se que a partir da observação crítica em detrimento da prescrição literária, que em geral referenda discursos bem desenhados e, portanto, insuficientes, seja possível desdobrar aspectos relevantes acerca da literatura brasileira na modernidade.The present work aims to relativize the dynamics encompassing the selective system of canonization of Brazilian literature by the means of disseminating a collection of texts of the writer Sylvio Floreal, who, unassociated with the current literary manuals, dialogues directly with a period that naturally blended apparent mismatched discourses styles, which corresponded in the political periodization known as First Republic (1889-1930). Thus, the anthology will feature a compilation of prosaic texts (short stories and chronicles) produced by the author in a time span of 10 years, Attitudes (1992), Midnight Patrol (1925), Tragic Brazil (1928), as well as non-published scattered texts in books, found only in periodicals of the time, accompanied by an introductory analytical study capable of panoramically unveiling its literary progress (route/course) and its relations with the prevailing intellectual scene. It is understood that from a critical observation in detriment of a literary prescription, which usually accounts well-drawn discourses and therefore insufficient discourses, it is possible to disclose pertinent aspects of the Brazilian literature during modernity.
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Barnard, Timothy L. ""Far out past": Hemingway, manhood, and modernism". W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623462.
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This dissertation investigates Ernest Hemingway's authorship as an instance of international modernisms forming as sustained engagements with gender and sexuality. By focusing on four of Hemingway's most experimental texts it shows how a figure of both "high" and "popular" modernism sought to occupy a heterogeneous space of cultural queerness vitalized by masculinity, national and ethnic identities, and writing.;The introduction discusses how post-war gender, sexual, and literary discourses reflected period obsessions with authenticity in the face of a rising commodity culture. It also introduces the dissertation's argument that Hemingway's success in becoming a valuable "literary property" rested on a queer authorial engagement with definitions of American masculinity.;Chapter One traces Hemingway's literary career from the publication of his experimental collection of vignettes in our time in Paris (1924) to the larger New York trade edition which marked his U.S. publishing debut in 1925. The transatlantic and transgressive aspects of Hemingway's "times" illustrate his authoritative and authorial confounding of a highbrow/lowbrow divide of cultural production and affiliations.;Chapter Two examines The Sun Also Rises as a text deeply divided against itself as the product of Jake Barnes and Hemingway's authorship simultaneously. It considers the complex of conflicted desires, fears, and resentments that constitute Hemingway-cum-Barnes's efforts at rendering and remembering lost manhood in the wake of WWI in ways that raise complicated gender questions involving racialized and sexualized boyhood as a promising yet problematic queer zone.;Chapter Three explores further the sexual "funniness" of Hemingway's authorship and considers how Death in the Afternoon, his non-fiction treatise on Spanish bullfighting, constitutes a deliberately queer authorial project where Hemingway attempts to move his writing and popular authorial standing in new directions in order to assert and transcend his public identity as a man, an author, and an American.;Chapter Four examines Green Hills of Africa as a political critique of imperialism and manhood that manifests itself through Hemingway writing himself and his shortcomings as a white modern man and hunter as a self-deprecating literary joke. In writing such a joke, however, Hemingway also sought to reaffirm his own uniquely authoritative masculine authorship.
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Bennett, Olivia Catherine Mary. "'What a world of awkwardness!' : four types of awkwardness in the modernist novel". Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708970.
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Ye, Qing. "Masculinity in Yu Hua's fiction from modernism to postmodernism". Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66852.
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The Tiananmen Incident in 1989 triggered the process during which Chinese society evolved from so-called "high modernism" to vague "postmodernism". The purpose of this thesis is to examine and evaluate the gender representation in Chinese male intellectuals' writing when they face the aforementioned social evolution. The exemplary writer from the band of Chinese male intellectuals I have chosen is Yu Hua, one of the most important and successful novelists in China today. Coincidently, his writing career, spanning from the mid-1980s until present, parallels the Chinese intellectuals' pursuit of modernism and their acceptance of postmodernism. In my thesis, I re-visit four of his works in different eras, including One Kind of Reality (1988), Classical Love (1988), To Live (1992), and Brothers (2005), to explore the social, psychological, and aesthetical elements that formulate/reformulate male identity, male power and male/female relation in his fictional world. Inspired by those fictional male characters who are violent, anxious or even effeminized in his novels, one can perceive male intellectuals' complex feelings towards current Chinese society and culture. It is believed that this study will contribute to the literary and cultural investigation of the third-world intellectuals.Les événements de la Place Tiananmen en 1989 a déclenché le processus durant lequel la société chinoise a évolué d'un soi-disant "haut modernisme" vers un vague "post-modernisme". Le but de cette thèse est d'examiner et d'évaluer la représentation des sexes dans l'écriture des intellectuels chinois mâles quand ils font face à l'évolution sociale mentionnée ci-dessus. L'auteur qui exemplifie bien le groupe d'intellectuels masculins chinois que j'ai choisi est Yu Hua, un des romanciers les plus importants et prolifiques de la Chine d'aujourd'hui. Bonne coïncidence, sa carrière d'écrivain qui couvre la période commençant au milieu des années 1980 jusqu'à maintenant, trace des parallèles entre la poursuite du modernisme des intellectuels chinois et leur acceptation de post-modernisme. Dans ma thèse, je revisite quatre de ses travaux dans des périodes différentes, y compris One Kind of Reality (1988), Classical Love (1988), To Live (1992) et Brothers (2005). Le but est d'explorer l'aspect social, les éléments psychologiques et esthétiques qui formulent/reformulent l'identité masculine, le pouvoir masculin et la relation homme/femme dans son monde fictif. Inspiré par ces personnages masculins fictifs qui sont violents, anxieux ou même effeminés dans ses romans, on peut percevoir les sentiments complexes des intellectuels masculins envers la société et la culture chinoise actuelle. Je crois que cette étude contribuera à l'enquête sur la littérature et la culture des intellectuels des pays du Tiers-Monde.
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Eyuboglu, Selim. "Four films : crossing the boundaries of modernism and postmodernism". Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305245.
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Russell, Paul Andrew March. "Early modernism and the English short story, 1890-1920". Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264598.
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Hague, Elizabeth Helen. "Modernism and tradition in the mature symphonies of Sibelius". Thesis, Keele University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301316.
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Haj, Mohamad Mohamad. "Ezra Pound and Ibn Hazem : modernism and arabic culture". Thesis, Keele University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332358.
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Curran, Robert. "Myth, Modernism and Mentorship| Examining Francois Fenelon's Influence on James Joyce's "Ulysses"". Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10172610.
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The purpose of this thesis will be to examine closely James Joyce’s Ulysses with respect to François Fénelon’s The Adventures of Telemachus. Joyce considered The Adventures of Telemachus to be a source of inspiration for Ulysses, but little scholarship considers this. Joyce’s fixation on the role of teachers and mentor figures in Stephen’s growth and development, serving alternately as cautionary figures, models or adversaries, owes much to Fénelon’s framework for the growth of Telemachus. Close reading of both Joyce’s and Fénelon’s work will illuminate the significance of education and mentorship in Joyce’s construction of Stephen Dedalus. Leopold Bloom and Stephen’s relationship in Joyce’s Ulysses closely mirrors that of Mentor and Telemachus as seen in Fénelon’s The Adventures of Telemachus. Through these numerous parallels, we will see that mentorship serves as a better model for Bloom and Stephen’s relationship in Ulysses than the more critically prevalent father-son model
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Leontis, Artemis Sophia. "Territiories of Hellenism : Neohellenic modernism, nationalism, and the classical tradition /". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487688507505346.
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Driscoll, Mark W. "Erotic empire, grotesque empire work and text in Japan's imperial modernism /". online access from Digital dissertation consortium, 2000. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9953667.
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Clair, Erin C. "Death becomes her modernism, femininity, and the erotics of death /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5973.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 6, 2008) Includes bibliographical references.
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Kolb, Alexandra Isabel. "Performing femininity : cross-currents of dance and literature in German modernism". Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615623.
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Currie, Iain. "White writings : colonialism and modernism in South African literature since 1970". Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/21613.
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This dissertation develops from the contention that a significant body of the literary activity of white South Africans since the 1970s can be characterised as a form of modernism. This characterisation devolves less upon the formal attributes of a body of literary writing than upon the particular position it occupies In the cultural sphere during this period . That position is one of political and cultural marginality. White writing is distanced from both the official culture of the state and an emergent populist culture associated with the urban social collectivities that begin to play an increasingly important role in the political life of South African society during the 1970s. In an introductory section, a comparison is drawn between the responses to social marginality within South African white writing and the reconsiderations of the political mission of literature by Jean-Paul Sartre and Roland Barthes, formulated in post - War France. The first chapter sets out a brief description of the cri sis that besets the South African social formation during the 1970s. The racial logic upon which the South African economy and social order is subtended comes under attack from two related sources. The first is the growing economic and political instability of the racial-capitalist system, while the second is renewed resistance to the manifest racially-ordered inequalities sponsored by that system. As discussed in the second chapter, this gathering crisis of their society impells white writers and intellectuals to question and revise long-held paradigms of thought and practices of representation, drawing on the resources of comparable revisions of established paradigms taking place in western thought. Equally, these writers and intellectuals become concerned with the critical re-examination of established accounts of the ethical vocation and social function of intellectual and literary work. But white writers and intellectuals were, in the polarised political conditions of the 1970s, unable to find a home in emergent internal opposition organisations predicated, for the most part, on versions of an anti- colonial nationalism. In the third chapter, consideration is given to the critique that begins to circulate in the period, of the associations of the South African literary and literary-critical establishment with the interests of white hegemony. This critique leads white writers such as Nadine Gordimer and JM Coetzee to reject a literary tradition found to be rooted in a colonial past and embodying colonial assumptions that are no longer tenable. This rejection of their cultural patrimony leads white writers to seek new ways of imagining the relationship between their writing and their society, as well as new forms capable of representing that altered relationship. At the same time however, this critical reflection upon the coloniality of established literary practices and forms, distances white writing from the populist and realist concerns of writers associated with emergent oppositional cultural formations . Developments during the 1970s serve to make the cultural sphere an important zone of political contestation. In the fourth chapter some of the tactics and manoeuvres in this contest are disc us sed. White writers adopt a modernist defence of their relative isolation from political actuality and their failure to conform to the requirements of a socially-committed literature. The development of a body of committed literature by black writers is discussed. However, the formal inconsistency of this literature ' s relationship to " realism" indicates that in the South African situation, "realism" and "modernism" are less a matter of the formal characteristics of a given body of literary work than a description of the differentiations in the audience, social function and ambitions of white and black writing. The dissertation is therefore aimed at pro vi ding an account of the historical ground that gives rise to this racial division of literature and literary activity in South Africa. Such an account serves to historicise and contextualise the various positions on commitment, artistic responsibility, the politicisation of art and the question of the capacity of cultural organisations to prescribe the form or content of artistic production, which are the subject of controversy in present-day South Africa.
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Madden, Benjamin D. "The rhetoric of the ordinary : modernism and the limits of literature". Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5213/.
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This thesis contributes to the recent turn towards ordinary events, objects, and practices in scholarship on modernist literature. While modernism is typically characterized by formal experimentation and the aesthetics of shock, scholars are beginning to consider that many of the most potent energies animating modernism arise from its fascination with the ordinary. While this new approach has been productive, its tendency to minimise the rhetorical dimension of literature in favour of questions about content (what do modernist texts say about the ordinary?) and context (what ideas about the ordinary circulated in the period?) remains problematic. That is because these approaches neglect a potent contradiction: if literature uses figurative language to depict the ordinary, does it not thereby transfigure what it represents by bringing it within the “charmed circle” of art? Whatever else modernism is, it is clearly concerned with putting pressure on the means by which likenesses and illusions are produced. Modernist texts, I argue, are drawn to elaborate means to declaim their status as representations: a “rhetoric of not having rhetoric” is integral to modernist representations of the quotidian. Out of this generative paradox arises the succession of rhetorical strategies that this dissertation identifies in the works of T. S. Eliot, Wallace Stevens, Gertrude Stein, and James Joyce. Recent scholarship has set the terms for a comprehensive reassessment of literary modernism, which this thesis pursues through explorations of modernism’s relationship with realism, the avant-garde, mass culture, space and place, and the nature of modernity. My argument has specific ramifications for these ongoing debates in modernist studies, the relationship between rhetorical and historicist paradigms of literary criticism, and, above all, the fate of modernism: its legacies in twentieth century literature and its ongoing place in our public culture.
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Contreras, Sheila Marie. "Blood lines : modernism, indigenismo and the construction of Chicana/o identity /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Masfen, Eugenie Alison. ""My words echo thus in your mind" four quartets, T.S. Eliot and romanticism". Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161410.
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Ying, Pui-sze Rosa, i 英佩詩. "Rationality and irrationality in modernist writing". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952525.
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Ferrari, Marcos Vinicius. "Isaac Bábel: escrevendo a revolução em linhas tortas". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-26102017-153622/.
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Este ensaio tem como objetivo apresentar uma leitura do livro O exército de cavalaria, do escritor Isaac Bábel (1894-1940). A leitura empreendida buscou investigar as relações dialéticas entre o texto ficcional e a História, uma vez que as narrativas de Bábel abordam a Campanha Russo-Polonesa, ocorrida entre 1920 e 1921. Ao mesmo tempo, as formas particulares de representação do heroico e do épico, que permitem compreender O exército de cavalaria como uma espécie de epopeia falhada, conduziram a uma reflexão a respeito do realismo babeliano e da possibilidade de caracterizar o seu livro como um romance. Nele, fragmentação, a organização não linear e episódica dos conflitos, a recusa à ordem cronológica e a variedade de narradores e vozes do texto parecem, todos, encenar a dificuldade de a forma romanesca tradicional incorporar esteticamente uma matéria contraditória e convulsa.This essay aims to present a reading of the book Red Calvary, from Isaac Babel (1893 - 1940). The perusal undertaken sought to investigate the dialetic relations between History and fictional texts, once the Bábel\'s narratives approach the Russian-Polish Civil War, which occurred between 1920 and 1921. At the same time, the particular forms of representation of the heroic and of the epic allowed to understand Red Calvary as a kind of failed epic and conducted to a reflection about babelian realism and the possibility of characterizing his book as a novel. On the book, fragmentation, non-linear and episodic organization of conflicts, the refusal to chronological order and the variety of narrators and voices of the text seem to stage the difficulty of the romanesque traditional form to aesthethically incorporate the experience of the war and of the contradicting and convulse matter. Keywords: Isaac Babel; Modernism; Novel; Russian Literature; Sovietic Literature.