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Cobern, Lucy Rebecca. "The suspension of mastery and the desire for imaginary : applying Jacques Lacan's theory of the imaginary to the beholder/image dialectic as realised in selected paintings by Lucy Cobern and Gerhard Richter." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1007806.
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This dissertation seeks to explore the nature of the self/other, subject/object dialectic that can be found in Jacques Lacan's theory of the Minor Stage and his notion of Imaginary mastery, and how this relationship can be re-read in terms of a beholder/image relationship. What I seek to demonstrate in exploring the relationship between the beholder and the image is the staging of two opposing emotions, aggression and desire and the consequential tussle for mastery that arises from the self/other, and hence the beholder/image, dichotomy. I seek to explore the reasons why such a beholder/image relationship becomes ambivalent, due to veiled, obscured and fragmented images.<br>KMBT_363<br>Adobe Acrobat 9.54 Paper Capture Plug-in
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Marusza, Julie A. "The transforming art of Anne Sexton /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69619.
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By using rigorous conventional structure in her early work Anne Sexton was able to successfully contain some of her severe psychological instabilities stemming from childhood in poetic form. Sexton's artistic direction underwent a sharp change midway into her poetic career after she wrote the volume Transformations, a collection of story-poems based on narratives from the Grimm fairy tales. In this collection, Sexton took on the external persona of a witch, and with her new voice, she was boldly able to re-tell her version of the Grimm tales. The new persona enabled Sexton to shed her previous voice of passivity, and instead criticize humanity by using satire and humor. Unfortunately, this movement in her work was an exercise in self-exploitation as the larger, cultural arena of Grimm put off any chance of working out her private problems. After Transformations Sexton had come to the realization of her self-exploitation and decided to even further separate herself from humanity by continuing to work with even more generalized, cultural forms--a movement that ultimately led her to mythologize her own death.
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Brochard, Anna Di Blasio. "Le commedie ariostesche nella storia della critica : saggio di bibliografia critica, 1901-1979." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65475.
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Stelle, Ginger. "A swipe at the dragon of the commonplace : a re-evaluation of George MacDonald's fiction." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1974.
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This thesis offers a re-evaluation of the fiction of George MacDonald (1824-1905), both fantasy and non-fantasy. The general trend in MacDonald studies is to focus primarily on his works of fantasy, either ignoring the rest (which includes non-fantasy fiction, sermons, poetry, and criticism) or using them to illuminate the fantasies. The overall critical consensus is that these works, particularly MacDonald’s non-fantasy fiction, possess little inherent value. Though many critics acknowledge similarities between MacDonald’s fantasy fiction and his non-fantasy fiction, MacDonald has been the victim of a critical double standard that treats fantasy and realism as completely irreconcilable, and allows certain features to be acceptable, even desirable, in one form that are completely unacceptable in the other. The thesis begins by looking at MacDonald’s writings about the imagination and about literature, from which a clear theory of literature emerges, one with strong opinions about the function and purpose of literature, as well as about what makes good literature. By re-examining MacDonald’s fiction, its plots, characterization and narration, in the light of his own theories, the reasons underlying the artistic choices made throughout his fiction take on a more deliberate and calculated appearance. Furthermore, by placing MacDonald in his proper context, and looking at the diversity of generic options available to the Victorian writer, the critical double standard underlying much MacDonald scholarship, based on a strict fantasy/realism separation, crumbles. What emerges from this analysis is a different MacDonald—a careful craftsman who consciously and skillfully uses the tools of his trade to produce a unique and specific reading experience.
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Liddington, John Hugh. "The philosophy of Michael Oakeshott and its relation to politics." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670402.
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Hoedekie, Nelson G. U. (Nelson Gustaaf Urbain). "Naar analogie van schaduwen aan de wand : een wijsgerige interpretatie van 'de schaduw als kunstwerk' aan de hand van Plato's grotvergelijking." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53511.
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Thesis (MPhil)--University of Stellenbosch, 2003.<br>ENGLISH ABSTRACT: In this thesis, 'shadow' is investigated as an object of thought and (analogically
connected to this) of perception. This dialectical process is structured through
means of a series of experiments and Plato's allegory of the cave, which is
interpreted as a process directed towards selfconciousness. This process is further
explained through thinkers such as, Blumenberg, Heidegger, Levinas en Voegelin.
The purpose of this study is to break with the self-evident way in which 'shadow' is
'normally' treated and to bring back about a sense of astonishment for it.<br>AFRIKAANSE OPSOMMING: In hierdie tesis word die 'skaduwee' as waarnemingsobjek en (analogies verwant
daaraan) as denkobjek ondersoek. Hierdie dialektiese proses word gestruktureerd
met behulp van 'n aantal eksperimente en Plato se grotgelykenis, wat geinterpreteer
word as programmaties van die proses van selfbewuswording. Hierdie proses word
verder toegelig aan die hand van denkers soos Blumenberg, Heidegger, Levinas en
Voegelin. Die doel van die ondersoek is om die vanselfsprekendheid waarmee daar
met die fenomeen van die skaduwee omgegaan word te deurbreek en weer
verwondering daarvoor op te roep.<br>NEDERLANDSTALIGE SAMENVATTING: In deze thesis wordt de 'schaduw' als waarnemingsobject en (analogisch verwant
daaraan) als denkobject onderzocht. Dit dialectische proces wordt gestructureerd
met behulp van een aantal experimenten en Plato's grotvergelijking, die
geïnterpreteerd worden als een proces gericht op zeltbewustwording. Dit proces
wordt verder toegelicht aan de hand van denkers zoals, Blumenberg, Heidegger,
Levinas en Voegelin. Het doel van het onderzoek is om de vanzelfsprekendheid
waarmee met het fenomeen van de 'schaduw' omgegaan wordt, te doorbreken en er
opnieuw verwondering voor op te roepen.
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Vázquez-Medina, Olivia. "Cuerpo presente : imaginería corporal, representación histórica y textura narrativa en Yo el Supremo (1974), Noticias del Imperio (1987) y el General en su Laberinto (1989)." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670014.
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Valent, Joseph Arthur. "An examination of the conducting method of Hideo Saito." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1173782.
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The ideas of Hideo Saito regarding conducting and conducting pedagogy are a valuable addition to the field, an addition that English-speaking people are likely to be unfamiliar with. Besides devising a unique collection of terms for talking about conducting, and assembling a set of exercises designed to facilitate the practice of a variety of gestures, Saito develops and operates from a framework which allows for the description and evaluation of almost any conceivable rhythmic gesture. While he pays attention to time, space, direction, size, and expectations, he often explores the ways velocity and changes in velocity can be employed to elicit desired sounds from players and singers. He is certainly not the first teacher to focus on the role of velocity in conducting gestures. However, the level of sophistication and thoroughness of his examination of velocity, and changes in velocity, is unique. His diagrams are noteworthy as well.Saito's conducting method is very popular in Japan. Seiji Ozawa, the Music Director/Conductor of the Boston Symphony Orchestra for more than 25 years, is just one of Saito's students who have had very successful conducting careers.This dissertation, in combination with accompanying videotaped examples of Morihiro Okabe teaching in the authentic Saito tradition, will provide the reader with an introduction to and an evaluation of the Saito conducting method. The reader will learn how to interpret Saito's diagrams of conducting motions, discover who the key people are, and view a Saito teacher instructing students. The reader will be introduced to the core teachings of Professor Saito, see what Saito's primary musical exercises are, and see how these exercises are used to promote musical and technical competence in conducting. This dissertation seeks to give the reader a foundation for further investigation of Saito's ideas and practices.This dissertation proposes, and employs English names for many gestures Saito labeled in Japanese. The Japanese terms are very descriptive of the motions. Providing equally descriptive English terms should be helpful to readers who are not fluent in Japanese.<br>School of Music
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Prisco, Mario. "Journeys beyond binaries : storytelling and polyphony in the narratives of Gabriella Ghermandi, Igiaba Scego, Ubax Cristina Ali Farah and Amara Lakhous." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11947.
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In the last two decades, in media and political discourses, Italianness has been increasingly represented as a homogeneous and compact entity, which is intruded on and contaminated by immigrants. In this study, the binary opposition between Italians and migrants is investigated from the perspective of writers who inhabit a liminal space, between at least two cultures, with the main intent to problematize the binary itself and to show its nature of fabrication. On the basis of Said's contrapuntal method, the novels by Ghermandi, Scego, Ali Farah and Lakhous are thought to establish a counterpoint with dominant discourses about Italianness. With the firm belief that discourses about postcolonial Italy must address its colonial past, the works analysed are considered as in dialogue with both colonial and postcolonial discourses. A dialogical relation is established, within the study, between Ghermandi's Regina di fiori e di perle and Flaiano's Tempo di uccidere. Written from the perspectives of the colonized and the colonizers respectively, both novels unveil colonial crimes and faults in Ethiopia, thus being counter-narratives about official representations of Italian colonialism. In Scego's Rhoda and Oltre Babilonia and Ali Farah's Madre piccolo, like threads, the individual stories of Somali exiles intertwine to create a fabric, whose pattern reveals the importance of the legacy of colonialism within contemporary Italy. Mainly situated between Italian and Somali cultures, the protagonists experience traumas, suffering and loss but finally attain a contrapuntal awareness between the two cultural poles. They become conscious of how enriching their in-between position is; they affirm the value of their hybrid identity. With a further zoom into postcolonial Italy, Lakhous' Scontro di civiltà per un ascensore a piazza Vittorio and Divorzio all'islamica a viale Marconi analyse the binary ‘us-Italians' versus ‘thosemigrants' in two microcosms in Rome. General polarizations such as Islam and the West emerge as factors which are exploited in order to exacerbate tensions and divisions. In addition, Italianness appears to be an internally fragmented entity, which is imagined as compact and homogeneous, as a reaction to the influx of immigrants. Against any logic of binarism, the novels by Ghermandi, Scego, Ali Farah and Lakhous reveal the constant effort to create a passage between two poles and to uphold a dialogical relation between them; crossings over and hybridity are continuously affirmed. With their highly important affirmation of multiplicity, the works challenge any essentializing notion of identity and any narrow representation of Italianness, within multiethnic contemporary Italy.
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Wulf, Catharina. "Desire in Beckett : a Lacanian approach to Samuel Beckett's plays Krapp's last tape, Not I, That time, Footfalls and Rockaby." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59554.
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This thesis argues that desire is a major theme in Samuel Beckett's dramatic works. Central to our analysis is Jacques Lacan's concept of the Desire for the Other, as the outcome of the human subject's division. We will investigate how desire is expressed at the level of Beckett's characters' utterance. The characters' attempts at and inability to achieve a reconciliation with their speech correlate with the impossibility of reunifying Lacan's split subject. The first part of our discussion focuses upon desire-as-paradox--the lack of will to desire and the continuation of desire--in Not I, Footfalls and Krapp's Last Tape, whereas Rockaby and That Time are indicative of the regression of desire leading toward the characters' death. The second part emphasizes the dramatic presentation of these plays, except for Footfalls. It will become clear that desire affects the performance and the audience, thus preventing them from attaining a unified perception of self and other.
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Sena, Yara Máximo de. "Uma leitura do Relatório do Inquérito "Leituras infantis" de Cecília Meireles." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251328.
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Previous issue date: 2010<br>Resumo: Este trabalho tem o intuito de tomar o Relatório do Inquérito "Leituras Infantis" realizado por Cecília Meireles com estudantes cariocas do terceiro ao quinto ano da escola primária, no ano de 1931 e publicado em 1934, como objeto-fonte de investigação, no âmbito das suas condições de produção. Conhecer e interpretar os dados oferecidos neste Relatório sobre as leituras e os gostos infantis nos anos 30, através das preferências e aversões quanto a livros, autores, gêneros e práticas de leitura indicadas sob o ponto de vista dos entrevistados. Apoiados nos estudos teórico-metodológicos da História Cultural (Chartier, 1990), compreendendo que é preciso desconfiar das respostas oferecidas pelas crianças, pois elas não estão num campo neutro, mas de lutas, competições e concorrências, onde os grupos tentam impor seus valores e concepções, indiciando o que liam, gostavam ou não e o que era desejável informar que lesse ou apreciasse. E por outro lado, a organização e a interpretação do Inquérito "Leituras Infantis" realizada por Cecília Meireles também se insere neste jogo de representações ligadas à história da leitura e da literatura para crianças de um determinado tempo e local.<br>Abstract: The present work has the objective of taking as source, in the scope of its writing, the "Relatório do Inquérito Leituras Infantis", made by Cecilia Meireles with students from Rio de Janeiro, from the third until the fifth year of primary school, in the year of 1931 and published in 1934. In addition, its purpose is to know and interpret the data offered by this report about the literature read by the children and also the children's preferred reading in the 30's, through the preferences and aversions to the books, authors, genders and the reading matter from the point of view of the interviewees. Based on the theoretical-methodological studies of Cultural History (Chartier, 1990), it was understood that it was necessary to be cautious about the answers given by the children, because they are not in a neutral field, but a field of fights and competitions, where the groups try to impose their values and ideas, indicating what they had read, liked or disliked, and what the child felt he should respond to the interviewer about what they had read or appreciated. Furthermore, the organization and interpretation of the "Inquérito Leituras Infantis" made by Cecilia Meireles, is also part of this game of representations connected to the history of the reading and the literature for children in a certain time and space.<br>Mestrado<br>Educação, Conhecimento, Linguagem e Arte<br>Mestre em Educação
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Van, der Merwe Petrus Lodewikus. "Lacan and Freud : beyond the pleasure principle." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4262.
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Thesis (MA (Psychology))--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: Jacques Lacan and Sigmund Freud‟s ideas are presented with specific emphasis on the themes presented in Freud‟s (1920a) Beyond the Pleasure Principle. Freud‟s Project for a Scientific Psychology (1950) provides important clues to describe the pleasure principle in terms of Quantity (Q), facilitations [Bahnung] and contact-barriers. Therefore, the implications of the pleasure principle relate greatly to 1) Freud‟s notion of the unconscious, 2) Lacan‟s explanation of das Ding, 3) the difference between jouissance and plaisir, and 4) the relationship between das Ding and the Law. Lacan‟s understanding of the death drive is consequently the culmination of all the topics mentioned and repeated throughout. Lacan‟s description of the death drive is twofold: firstly, the mechanical explanation of the pleasure principle, and secondly, how desire features within the pleasure principle. Lacan‟s description of the death drive encompasses libido, desire, economy, Linguistics, and the Oedipus complex, which illustrates why Freud‟s (1920) Beyond the Pleasure Principle is not only an important text in Freud‟s oeuvre, but also in Lacan‟s.<br>AFRIKAANSE OPSOMMING: Jacques Lacan en Sigmund Freud se idees word nagegaan met spesifieke beklemtoning van die temas in Freud (1920a) se Beyond the Pleasure Principle. Freud (1950) se Project for a Scientific Psychology verskaf belangrike wenke vir die beskrywing van die pleasure principle in terme van kwantiteit (Q), fasilitasies (Bahnung) en kontak-versperrings [contact-barriers]. Gevolglik het die implikasies van die pleasure principle betrekking tot 1) Freud se begrip van die onbewussyn, 2) Lacan se verduideliking van das Ding, 3)die verskil tussen jouissance en plaisir, en 4) die verhouding tussen das Ding en die Wet. Lacan se begrip van die doodsdrang (death drive) is gevolglik die toppunt van al die onderwerpe wat deurentyd genoem en herhaal is. Lacan se beskrywing van die doodsdrang is tweedelig: eerstens, die meganiese verduideliking van die pleasure principle en tweedens, die rol van begeerte in die pleasure principle. Lacan se beskrywing van die doodsdrang behels libido, begeerte, ekonomie, Linguistiek, en die Oedipus-kompleks, wat wys hoekom Freud (1920) se Beyond the Pleasure Principle nie net „n belangrike teks in Freud se werke is nie, maar ook in Lacan s‟n.
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Cain, Christina. "Between the Waves: Truth-Telling, Feminism, and Silence in the Modernist Era Poetics of Laura Riding Jackson and Muriel Rukeyser." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5419/.
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This paper presents the lives and early feminist works of two modernist era poets, Laura Riding Jackson and Muriel Rukeyser. Despite differences of style, the two poets shared a common theme of essentialist feminism before its popularization by 1950s and 60s second wave feminists. The two poets also endured periods of poetic silence or self censorship which can be attributed to modernism, McCarthyism, and rising conservatism. Analysis of their poems helps to remedy their exclusion from the common canon.
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Taggart, Emma. "Corporeal identification in selected works by Berni Searle." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1004576.
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Through a detailed analysis of a selection of works produced between 1999 and 2003 by the South African artist Berni Searle, this thesis explores the need to theorise a corporeal viewer in the process of interpreting art works. Such an approach is particularly necessary when dealing with an artist such as Searle because her work, which deals predominantly with the theme of identity, appeals not only to conceptual but also to experiential and corporeal understandings of identity. Searle incorporates the viewer into an experience of her own identity through a physical identification that the viewer feels in relation to her work. For viewers this means that they are made aware of how their own identity in the moment of interpretation is contingent on visual, mental and physical components. In order to develop this argument the work of psychoanalyst Jacques Lacan and the phenomenologist Maurice Merleau-Ponty is drawn on. These two theorists are very useful for an argument of this nature because both interpret identity as a construction involving an enfolding between the mind and, via the act of vision, the body of the subject. Through an inclusion of the corporeal element in interpretation, this thesis also offers a critique of interpretive theories that would reduce analysis to an interaction between eye and mind by analyzing how the viewer's body participates in the act of looking.
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O'Connor, Bryan M. (Brian Michael) 1958. "A Lacanian reading of Boswell's morbid will : melancholia and "angst"." Monash University, Centre for Comparative Literature and Cultural Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/8768.
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Noble, Jenny Austin School of English UNSW. "Representations of the mother-figure in the novels of Katharine Susannah Prichard and Eleanor Dark." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/23897.
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This thesis argues that through bringing together two branches of inquiry???the literary work of Katharine Susannah Prichard and Eleanor Dark and socio-feminist theory on health, contagion and the female body???the discursive body of the mother-figure in their novels serves as a trope through which otherwise unspoken tensions???between the personal and the political, between family and nation and between identity and race in Australian cultural formation???are explored. The methodology I use is to analyse the literary mother-figure through a ???discourse on health??? from a soma-political, socio-cultural and historical perspective which sought to categorise, regulate and discipline women???s lives to ensure that white women conformed to their designated roles as mothers and that they did so within the confines of marriage. The literary mother-figure, as represented in Prichard???s and Dark???s novels, is frequently at odds with the culturally constructed mother-figure as represented in political and religious discourses, and in popular forms of culture such as advertising, film and women???s magazines. This culturally constructed ???ideal??? mother-figure is intimately linked to nationalist discourses of racial hygiene, of Christian morality, and of civic and social order controlled by such patriarchal institutions as the state, the church, the law and the medical professions during the period under review. This is reflected in Prichard???s and Dark???s inter-war novels which embody unresolved tensions in a way that challenges representations of the mother-figure by mainstream culture. However, their post-war novels show a greater compliance with nationalist ideologies of the good and healthy mother-figure who conforms more closely with an idealised notion of motherhood, leading up to the 1950s. Through a detailed analysis of the two writers??? changing representations of the mother-figure, I argue that the mother-figure is a key trope through which unspoken tensions and forces that have shaped (and continue to shape) Australian culture and society can be understood.
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歐陽艷華. "唐圭璋及其詞學研究". Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b2101679.
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Claudiano, Leonardo da Silva. "Ruas que não envelhecem: o veloz percurso de Piratininga a São Paulo pela obra de António de Alcântara Machado." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21570.
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Previous issue date: 2018-09-21<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The present dissertation aims to detect by the modernist view of António de Alcântara Machado, the physical transformations occurred in São Paulo city in the first XX century decades, as well to understand how it was recognized by him as (re) configurations of social interactions in presence of the urban cartography expansion, technological insertion and new urban actors. Is important to say that the Alcântara Machado was one of the most important name of São Paulo's modernism and composed almost all of his work in the São Paulo city, overcoming the original place, the wealthiest neighborhoods and the working classes. Through their work is possible to appreciate of some concrete and invisible barriers that separated them, and, paradoxically, the innumerable possibilities of meeting in their public/segregatory spaces. In this view point, need ask about the multiple experiences with the modern, in addition to the official discourses building in symbols of progress and universal well-being. In dialogue with the writer, another names of the period were summoned, making it possible, by approaching and/or arguments distancing, to understand their read place and city statement. This research also objective to contribute to the debate between History and Literature; between History and City<br>A presente dissertação busca captar, pelo olhar modernista de António de Alcântara Machado, as transformações físicas ocorridas na cidade de São Paulo nas primeiras décadas do século XX, bem como entender de que modo foi percebida, por ele, as (re)configurações das interações sociais diante da ampliação cartográfica urbana, inserção tecnológica e novos atores citadinos. Vale dizer que Alcântara Machado figura entre os principais nomes do modernismo paulista e compôs praticamente toda sua obra na cidade de São Paulo, percorrendo, para além do Triângulo original, os bairros mais abastados e as regiões operárias. Através de sua obra é possível o vislumbre de algumas das fronteiras concretas e invisíveis que os separavam, bem como, paradoxalmente, as inúmeras possibilidades de encontro em seus espaços públicos/segregatórios. Por essa ótica, inquere-se sobre as múltiplas vivências com o moderno, para além dos discursos oficiais ancorados em símbolos de progresso e bem-estar universais. Em diálogo com o escritor, outros nomes do período foram convocados, possibilitando, pelo aproximação e/ou distanciamento das colocações, entender o seu local de leitura e enunciado de cidade. Esta pesquisa intenta, igualmente, contribuir para o debate entre História e Literatura; entre História e Cidade
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Leme, Patrícia de Oliveira 1986. "Borges, um estranho : litorais entre a literatura e a psicanálise." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271102.
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Previous issue date: 2013<br>Resumo: O presente trabalho consiste em uma leitura do estilo de Jorge Luis Borges a partir de um inquietante efeito narrativo, passível de ser abordado na área psicanalítica através do enigmático conceito de estranho. Para a elaboração dessa hipótese, inicialmente chamou-se à baila três contos de Borges: "La escritura del dios", "La muerte y la brújula" e "Tlön, Uqbar, Orbis Tertius". Mesmo estendendo-se a outras incursões na vasta obra borgeana, as três narrativas constituem a moldura necessária para a compreensão de certos mecanismos do estilo borgeano, que nesse trabalho acabam por figurar como elemento causa de estranhamento. No primeiro capítulo tomaram-se os textos como cenas de leitura, em um procedimento que buscou explicitar esse inquietante efeito da escrita de Borges, bem como salientar suas reverberações no campo da crítica literária. O impacto do estilo borgeano na sua crítica pôde elucidar alguns pontos cruciais ao enodamento com a teoria psicanalítica nos capítulos posteriores, recuperando também algumas chaves de leitura importantes no delineamento do efeito em questão. No segundo capítulo promoveu-se uma leitura d' "O estranho", de Sigmund Freud, a partir desse funcionamento da obra borgeana: seus pontos de contato puderam revelar que o conceito erigido por Freud supera os limites de sua própria elaboração, fazendo-se presente mais como um lugar de enunciação do estranho do que como um conceito fechado em suas próprias bases. Esse movimento convocou, no terceiro capítulo, a retomada do conceito de estranho por Jacques Lacan em seu O seminário, livro 10: a angústia. Nele, Lacan promove uma elaboração do estatuto do objeto a, noção paradigmática no campo psicanalítico, a partir do estranho como um efeito de seu aparecimento na estrutura subjetiva. Para tecer o enodamento com o literário, as teorizações lacanianas em seu décimo oitavo seminário foram fundamentais, por trazerem à tona a noção de discurso e de escrita, sobretudo em sua "Lição sobre Lituraterra". O estabelecimento da letra como litoral entre saber e gozo, bem como o seu funcionamento a partir da rasura, permitiram a sustentação da hipótese de leitura que se soergueu inicialmente a partir de um efeito: há em Borges algo que causa estranhamento, e ele se anuncia para além do registro do relato, constituindo uma operação formal que produz esse efeito de escrita<br>Abstract: This work consists in a reading of Jorge Luis Borges' style beginning from a disquieting narrative effect, which is liable to be approached by the psychoanalytic area through the enigmatic concept of the uncanny. For the elaboration of this hypothesis three Borges' short stories were primarily chosen: "La escritura del dios", "La muerte y la brújula" and "Tlön, Uqbar, Orbis Tertius". Even having made other incursions into the vast borgesian oeuvre, these three narratives constitute the needed frame for the understanding of certain mechanisms of the borgesian style, which in this work figure in the end as elements cause of uncanniness. In the first chapter these texts were boarded as reading scenes in a procedure that aimed to make explicit this disquieting Borges' writing effect, as well as to underline its repercussion in the field of literary criticism. The impact that the borgesian style had on his critics could elucidate some crucial points to the entanglement with the psychoanalytic theory in the posterior chapters, as well as recovering important keys for the reading in the proposed outlining. In the second chapter was promoted a reading of Freud's "The uncanny" through this aspect of the functioning of the borgesian oeuvre: their points of contact could reveal that the concept created by Freud overcomes the boundaries of its own elaboration, making itself present as a place of enunciation of the uncanny rather than a concept closed in its own bases. This movement summoned, in the third chapter, the resumption of the uncanny concept in the seminar, book 10. The anguish, by Jacques Lacan. In this work Lacan promotes an elaboration of a paradigmatic notion for the psychoanalytic field, the object a, starting from the uncanny as an effect of its appearance on the subjective structure. The lacanian theories in his eighteenth seminar were essential in order to compose the entanglement with the literary form, as they shed light on the notions of discourse and writing, especially in his "Lesson on Lituraterre". The establishment of the letter as littoral between knowledge and jouissance, as well as its way of function through the erasure, allowed to sustain this reading hypothesis, which was raised from an effect: there is something that causes uncanniness in Borges' writing and it shows itself beyond the register of the narrated story, constituting a formal operation that produces this writing effect<br>Mestrado<br>Linguistica<br>Mestra em Linguística
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Ribeiro, Vanessa Lopes. "Discursos sobre o universo do trabalho e da tecnologia no romance Usina, de José Lins do Rego." Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/2008.
Texto completo da fonteResumo:
Esta tese consiste em uma análise dialógica das construções discursivas sobre o universo do trabalho e da tecnologia no romance Usina, de José Lins do Rego, publicado em 1936. Para conduzir a análise proposta, esta pesquisa parte dos pressupostos teóricos de Mikhail Bakhtin e do círculo, estudiosos da linguagem, para quem o romance é um grande enunciado que nasce de um espaço sócio-interativo. Nessa mesma perspectiva dialógica, em relação ao universo do trabalho e da tecnologia, este estudo busca reflexões de importantes pensadores, a saber: Marx, Engels, Lafargue, Lukács, Sennett e Heidegger. A composição do discurso que se apresenta neste estudo se estrutura a partir da seleção desses autores e de outros, presentes, em sua maioria, nas ementas das disciplinas do Programa de Pós- Graduação em Tecnologia (PPGTE), mais especificamente, no Projeto de Pesquisa “A formalização discursiva do universo do trabalho e da tecnologia em textos literários brasileiros”, a que se vincula esta tese. As construções discursivas sobre trabalho e tecnologia são investigadas a partir de um circuito de vozes presente no romance. Esse circuito de vozes fortalece a ideia-chave, síntese crítica do autor, sua reflexão sobre a vida laboral nos engenhos e nas usinas, a de que no tempo de engenho havia relações mais humanizadas entre os homens e destes com a natureza, apontando para um trabalho como fator de maior socialização, portanto. A arquitetônica do romance se constitui por um enunciado que se estabelece pela repetição dessa tese, garantida pelo circuito de vozes. Essa multiplicidade de vozes, representada pelas personagens e pelo narrador, é organizada pelo autor de forma que o tom da narrativa evidencie a antropomorfização da usina. Em resistência a esse discurso de determinismo tecnológico, no campo simbólico, o autor se vale de outros discursos, como o da tradição cristã, na voz das personagens, D. Dondon, esposa do usineiro, agregados e trabalhadores do eito do tempo de engenho, para fazer imperar essa sua tese. Para tanto, o autor organiza os eventos narrativos de modo que no plano enunciativo fique evidente para o leitor dois momentos: o de ascensão e o de decadência da maquinaria moderna na usina Bom Jesus. No primeiro, com a modernização dos maquinários da usina que simboliza a ascensão desse sistema, ou seja, com o trabalho sob os preceitos do capitalismo, a natureza vai se esfacelando e as relações humanas e do homem com a natureza vão se tornando menos humanizadas em um sentido de trabalho estranhado. No segundo, com a falência dos negócios na usina Bom Jesus, o autor sinaliza para um processo de humanização, no qual, sobretudo, a natureza se apresenta de modo personificado, como resposta punitiva à ambição humana.<br>This thesis consists of a dialogical analysis of the discursive constructions regarding the labor and technology universe in the novel "Sugar Mill" by José Lins do Rego, published in 1936. To conduct the proposed analysis, this research is based on the theoretical assumptions of Mikhail Bakhtin and the circle, language scholars, for whom the novel is a great statement which is born from a social-interactive space. On this same dialogical perspective, in relation to the labor and technology universe, this study seeks reflections of important thinkers, such as: Marx, Engels, Lafargue, Lukács, Sennett and Heidegger. The composition of the discourse presented in this study is structured from the selection of these authors and others, present, mostly in the syllabus of the disciplines of the Postgraduate in Technology Program (PPGTE), more specifically, in the Research Project "The discursive formalization of work and technology universe in Brazilian literary texts" that binds this thesis. The discursive constructions about work and technology are investigated from a circuit of voices present in the novel. This circuit of voices strengthens the key idea, critical synthesis of the author, his reflection on the working life on the plantations and the sugar mills, which in the ingenuity years there were more humane relations between people and between them and nature, pointing to a work as greater socialization factor, thus. The architectural of the novel is constituted by a statement which is established by the repetition of this thesis, guaranteed by the circuit of voices. This multiplicity of voices, represented by the characters and the narrator, is organized by the author so that the tone of the narrative evidences the anthropomorphization of the sugar mill. In resistance to this discourse of technological determinism, in the symbolic field, the author makes use of other discourses, such as the Christian tradition, the voice of the characters, D. Dondon, the sugar mill owner's wife, aggregates and workers from the ingenuity years, to make his thesis prevail. For this reason, the author organizes the narrative events so that the enunciation plan is evident to the reader in two moments: the rise and the decline of modern machinery at the Bom Jesus mill. In the first moment, with the modernization of the machinery of the mill which symbolizes the rise of this system, that is, working under the precepts of capitalism, the nature starts to crumble and human relations and of man with nature become less humanized in a sense of estranged labor. In the second, with business failure at the Bom Jesus sugar mill, the author signals for a humanization process in which, above all, the nature presents in a personified way, as a punitive response to human ambition.
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Van, der Watt Gerhardus Daniël. "The songs of Gerald Finzi (1901-1956) to poems by Thomas Hardy." Thesis, 1996. http://hdl.handle.net/10500/16287.
Texto completo da fonteResumo:
This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald
Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived
model which focuses on a critical examination of the texts and considers the basic elements of music
in each song. Certain stylistic features are apparent from this study and are reflected in Volume I.
After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is
presented. The basic elements of music are then discussed: timbre, duration, pitch organization,
dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement
on the stylistic features of the composer and considers the artists' genius in the light of the study.
Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense
interest in English literature and sympathy with much of Hardy's personal philosophies such as the
uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal
traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The
declamation of the texts is of superior quality and the composer achieves an individual language of
expression unparalleled in the song-writing of the first half of the twentieth century in England<br>Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van
Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n
vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale
elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I
weergegee.
Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel
van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur,
toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af
met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae.
Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling
in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die
gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar
ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy
deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike
uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in
Engeland, tot stand<br>D.Mus. (Musicology)
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Krzychylkiewicz, Agatha. "The grotesque in the works of Bruno Jasienski." Thesis, 1998. http://hdl.handle.net/10500/17149.
Texto completo da fonteResumo:
The chief objective of this study is to examine the works of Bruno Jasienski in order to
show that he used the grotesque throughout his creative career as the most effective
artistic method of highlighting issues he deemed important, as well as a means of
disguising his personal view of the world and its people. The study consists of two parts:
Part I is devoted to a brief survey of the development of the grotesque, with particular
emphasis on the relationship between grotesque art and those artistic movements with
which Bruno Jasienski associated himself, namely avant-garde and socialist realism. Part
II is devoted to a close examination ofthe grotesque in Jasienski's major works. It opens
with a summary and interpretation of Jasienski's personal views on art and its role in
modern society. It then seeks to demonstrate that the essence of his grotesque method lies
in the conflation of bizarre events with the scrupulous recreation of reality that insists on
the accuracy of historically and geographically identifiable data. Such a method permits
the artist to expose the absurdity oflife in a world obsessed with appearance and material
possessions. Believing that art should be the reflection of life, Jasienski saw life as a
constant game between form what it seems to be and content - what it really is - a
perception that led him to conclude that it is impossible to resolve the conflict between the
world as it appears to be and its true nature. This sense of the impossibility of orientating
oneself in a world dominated by ideologies intensifies during the period of Jasieriski' s life
that he spent in the Soviet Union. The closer examination of his satiric grotesques written
in Russian, apart from explicitly satiric targets, betray the author's growing apprehension
that Communism, especially its Stalinist version, might be yet another deceitful far;ade
made of promises and alluring slogans. The grotesque character of those works that focus
on the opportunism and hypocrisy of politicians, also exposes the ambivalence of
ideologies which while liberating some are used as the instrument of oppressing others<br>Classics and Modern European Languages<br>D.Litt. et Phil. (Russian)
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Johnson, Kevin Erdean 1977. "The unconscious as a rhetorical factor: toward a BurkeLacanian theory and method." Thesis, 2007. http://hdl.handle.net/2152/3260.
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This dissertation provides an exploration of the nature and scope of the category of the Unconscious as a necessary feature of rhetorical theory and criticism. In order to demonstrate the fundamental importance of the Unconscious to rhetorical theory and criticism, this dissertation focuses on Kenneth Burke's rhetorical theory of Dramatism. Burke is one of the most frequently cited theorists by rhetorical scholars, and offers a familiar site for rhetorical scholars to understand the Unconscious as a rhetorical factor. Burke formulated a theory of the Unconscious by drawing from Freudian psychoanalysis. Since Freud, Jacques Lacan has advanced and altered the Freudian understanding of the Unconscious. Therefore, by navigating the terrain of both Burkeian and Lacanian scholarship, this dissertation moves toward a BurkeLacanian theory and method to offer a more critical lexicon for the rhetorical study of the dialectical relationship between the conscious and Unconscious parts of the psyche. In doing so, this dissertation develops and answers the following questions: How can we theorize the Unconscious as a rhetorical factor? How is Burke's theory of the Unconscious rhetorically useful? How might we understand Burke's theory of rhetoric differently and better if we read his Freudian influences through Lacanian scholarship on the Unconscious? How is a theory of the BurkeLacanian subject rhetorically useful? How does a BurkeLacanian theory of the Unconscious inform productive criticism? This dissertation applies a BurkeLacanian theory of the Unconscious by introducing a rhetorical method called "Ideographic Cluster Quilting." This method moves toward the rhetorical study of texts as cultural psyches that are constructed from fragments of discourse that form around figures of abjection. In order to demonstrate the usefulness for studying Ideographic Cluster Quilts, this dissertation analyzes the cultural psyche that forms around the figure of the "illegal immigrant" as abject. In doing so, we gain an insight into the Unconscious hatred of humanity as the perverse core of American identity that qualifies which bodies do and do not matter. We will also gain an insight into the way nationalistic identities function within globalization by confining labor forces within national boundaries, while multinational corporations move freely around the world.<br>text
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Fleming, Steven Peter. "The bed maker's model a thematic study of Louis I. Kahn's 1961 article "Form and design" in terms of Plato's theory of forms as treated in The Republic." Diss., 2003. http://www.newcastle.edu.au/services/library/adt/public/adt-NNCU20040329.192248/index.html.
Texto completo da fonte
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Hertenberger, Renate. "Drei Aspekte zu Leben und Werk Erich Kästners." Thesis, 2012. http://hdl.handle.net/10210/5728.
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M.A.<br>"Es gibt nichts Gutes, auger: man tut es!" 1 Diese Worte stammen von einem Mann, der nicht nur als Autor, sondern auch als Mensch heute noch als ein Moralist bezeichnet wird. Seine Werke sollen dazu dienen, den Erwachsenen und den Kindern ein Beispiel der Moralitat zu sein. Wie kommt es, daft ein Mann so hohe moralische AnsprOche stellt? Bei Erich Kastner kann man these AnsprOche auf seine Kindheit zuruckfuhren; seine Mutter war fOr ihn dieser Einflull und sollte es sein Leben lang bleiben. Der Muttertyp taucht in seinen Werken immer wieder auf, und Ida Kastner dient immer als der Magstab, an dem Erich Kastner die Mutter, die in seinen Werken vorkommen, mat.
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"革命的性別與性別的革命: 透視茅盾和蔣光慈「革命加戀愛」小說中的革命女性". 2013. http://library.cuhk.edu.hk/record=b5549240.
Texto completo da fonteResumo:
「革命加戀愛」小說在一九二零年代末中國的大量出現，反映了當時知識份子藉書寫對革命與性別之間的關係所展開的思考。而這些思考往往集中表現在文本中的革命女性身上。論文選擇以茅盾（1896 - 1981）及蔣光慈（1901 - 1931）這兩人創作的「革命加戀愛」小說為例，嘗試說明這些文本中的革命女性，蘊藏著一種未被充份理解的革命性。這一革命性，是以當時一套經翻譯進入中國的社會主義女性主義柯倫泰（1872 - 1952）的論述為參照而顯現出來。以此為基礎，我們重新發現通過《虹》這個文本中的革命女性，茅盾敘述了一個女性如何成為「革命的性別」的故事。而在《衝出雲圍的月亮》這本小說中，蔣光慈則在革命女性的思考、行動上，展示了革命如何可以是一場「性別的革命」。「革命的性別」及「性別的革命」說明了當時中國左翼知識份子對革命的思考及想像中，性別解放的可能的面向。<br>With the mushrooming of Revolution and Love stories in China during late 1920s, intellectuals at the time have begun their reflection on the relation between “revolution and “gender through their writings, and addressed specifically on female characters that are engaged in revolutions. The following thesis sheds light on the Revolution and Love stories of Mao Dun（1896 - 1981）and Jiang Guangci（1901 - 1931）, and tries to illuminate the revolutionary spirit of those female characters. By comparing these fictions with Alexandra Kollontai（1872 - 1952）’s gender theories, my thesis aims at revealing the revolutionary traits when Kollontai’s socialist feminism theories were introduced into China through translation. From this point of departure, the underlying meaning of how Mao Dun transformed a female narrative into a “revolutionary oriented gender one would be underscored in his book Rainbow. While in another story written by Jiang, The moon that breaks free from the clouds, he demonstrated how a revolution could be perceived as a “gender oriented revolution through the reasoning and accomplishment of revolutionary females. By highlighting both the “revolutionary oriented gender and “gender oriented revolution, it allows us to rethink how leftist Chinese intellectuals at that time have comprehended the possibilities of gender emancipation through their understandings and imaginations towards revolution.<br>Detailed summary in vernacular field only.<br>高俊傑.<br>"2013年2月".<br>"2013 nian 2 yue".<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.<br>Includes bibliographical references (leaves 120-123).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract in Chinese and English.<br>Gao Junjie.<br>Chapter 第一章 --- 序 --- p.頁1<br>Chapter 一、 --- 緒論：「革命加戀愛」小說的爭議 --- p.頁1<br>Chapter 二、 --- 研究對象：茅盾的《虹》及蔣光慈的《衝出雲圍的月亮》中的革命女性 --- p.頁6<br>Chapter 三、 --- 研究方法：引入柯倫泰的思想脈絡重讀《虹》及《衝出雲圍的月亮》中的革命女性 --- p.頁12<br>Chapter 四、 --- 研究內容 --- p.頁19<br>Chapter 第二章 --- 柯倫泰的性別論述 --- p.頁22<br>Chapter 一、 --- 柯倫泰在現代中國 --- p.頁23<br>Chapter 二、 --- 柯倫泰性別論述的背景 --- p.頁29<br>Chapter 三、 --- 資本主義下家庭與婚姻對女性的剝削 --- p.頁31<br>Chapter 四、 --- 社會主義下新型的家庭與婚姻 --- p.頁33<br>Chapter 五、 --- 獨身女性 --- p.頁37<br>Chapter 六、 --- 新性道德：戀愛遊戲 --- p.頁39<br>Chapter 七、 --- 小結 --- p.頁44<br>Chapter 第三章 --- 革命的性別--從柯倫泰到茅盾的《虹》 --- p.頁46<br>Chapter 一、 --- 翻譯作為起點：柯倫泰與茅盾在女性解放議題的連結 --- p.頁49<br>Chapter 二、 --- 柯倫泰進入茅盾小說創作的視野：從《蝕》到《虹》的轉變 --- p.頁52<br>Chapter 三、 --- 性別意識：梅行素作為克服傳統女性特質的「新婦人」 --- p.頁59<br>Chapter 四、 --- 性別身份：新女性的獨身主義 --- p.頁63<br>Chapter 五、 --- 性別身體：女性與女性的戀愛遊戲 --- p.頁69<br>Chapter 六、 --- 小結 --- p.頁76<br>Chapter 第四章 --- 性別的革命--從柯倫泰到蔣光慈的《衝出雲圍的月亮》 --- p.頁79<br>Chapter 一、 --- 茅盾與蔣光慈的可比性 --- p.頁82<br>Chapter 二、 --- 為甚麼是《追求》？逆寫《追求》的意義 --- p.頁84<br>Chapter 三、 --- 逆寫《追求》 --- p.頁89<br>Chapter （1）. --- 女性的自我意識 --- p.頁89<br>Chapter （2）. --- 女性與其他女性的關係 --- p.頁94<br>Chapter 四、 --- 柯倫泰與蔣光慈 --- p.頁97<br>Chapter 五、 --- 新性道德：革命女性的戰場 --- p.頁102<br>Chapter 六、 --- 新家庭：新的倫理關係，與繼續革命 --- p.頁109<br>Chapter 七、 --- 小結 --- p.頁114<br>Chapter 第五章 --- 結語 --- p.頁116<br>參考書目 --- p.頁120
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Smith, Stephen. "Restoring the imprisoned community : a study of selected works of H. I. E. and R. R. R. Dhlomo and their role in constructing a sense of African modernity." Thesis, 2004. http://hdl.handle.net/10413/2559.
Texto completo da fonteResumo:
This is a comparative study of a selection of the works of H.I.E. and R.R.R. Dhlomo in an attempt to specify the ways in which both writers contributed to constructing a sense of African modernity. While the focus will be on the content of the writing, it will include an analysis of the form and style of the literature, as well as the historical and political setting of the work, and of the authors. By employing the theoretical work of Alain Locke, David Attwell and Tim Couzens, I will address the issue of how Herbert and Rolfes Dhlomo negotiate the issue of a Christian modernity, as well as the ambiguous relationship between tradition and modernity. Another matter that I will focus on is that of the differences and similarities of their writing, in terms of aesthetics and their positions vis-a-vis tradition, modernity and the role of the Black subject, among other topics. Some questions that I will address are whether they are both contributing to an African modernity, and in what sense, and whether Rolfes' work complements that of Herbert, and vice versa. This will be done through a close reading of selected works across a
range of mediums, from literary texts such as plays, poems and short stories to the print media. In the Introduction I will outline the key theoretical work and definitions that I will make use of in my research, as well as give brief biographies of the two writers under examination. In Chapter One I will make a close reading of selected works of Herbert Dhlomo, and will attempt to show his changing role in the establishment of a sense of an African modernity.
In Chapter Two the focus of my work will be selected prose fiction of Rolfes Dhlomo. I will examine the major themes of these works, and show how they pertain to a sense of an African modernity. In Chapter Three I will examine Rolfes Dhlomo's "R. Roamer Esq." column from the Bantu World. I have selected in particular the year 1941, and I will show how Rolfes Dhlomo used satire and topical issues to help in the creation of a sense of African modernity. The Conclusion deals with the findings of my research on the role that Herbert and Rolfes Dhlomo played in the creation of an African modernity in South Africa.<br>Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.
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Sicwebu, Noel Zanoxolo. "The representation of character in Es'kia Mphahlele's writings : a comparison of the autobiography Down Second Avenue (1959) and the novel The Wanderers (1971) with his philosophy in The African Image (1974)." Diss., 1999. http://hdl.handle.net/10500/16030.
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Literary representation of character in South Africa is not just problematic but also
complicated by racial dynamics, which easily lead to prejudiced portrayal by most
writers. Mphahlele's reaction to White writing's "distortion" of the image of
Blacks, in his critical texts resulted in his being labelled a protest writer.
Concerning his creative writing, he admits that he initially couldn't portray the
character of a white person roundedly due to limited acquaintance with him.
What he only knows about him and therefore depicts in his early writings is the
White stereotype. His acquaintance with the White world through varied
interaction gives a leverage that improves his portrayal of the White character.
Consequently his later works reflect objective representation of characters from
different races. The study therefore concludes that he falls outside the bracket
of protest writers, as his literary works prove to transcend the limitations of
stereotypical character representation.<br>Afrikaans and Theory of Literature<br>M.A. (Theory of Literature)
29
Yannacci, Christin Essin. "Landscapes of American modernity: a cultural history of theatrical design, 1912-1951." Thesis, 2006. http://hdl.handle.net/2152/3444.
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Lockett, Marcia Stephanie. "A comparative study of Roy Campbell's translation of the poetry of Federico Garcia Lorca." Thesis, 1994. http://hdl.handle.net/10500/17224.
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Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a
gifted and skilled translator. Shortly after the Second World War he was commissioned by
the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned
edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to
be published by Faber and Faber, London. However, most of these translations remained
unpublished until 1985, when the poetry translations (but not the translations of the plays)
were included in Volume II of a four-volume edition entitled Campbell: Collected Works,
edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617,
Eisenberg published a collection of letters from the archives of the Spanish poet and
publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante,
which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea,
Republican supporters who were living in exile in London, prevented the publication of
Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other
translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some
Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that
incorporates ideas from work on the relevance theory of communication (Sperber and
Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among
others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows
that although Campbell's translating is constrained by its purpose of forming part of a Lorca
edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the
target-language reader. In striving to communicate Lorca's poetry to an English audience,
Campbell demonstrates his skill and creativity at all levels of language.
Campbell's translations that were published during his lifetime earned him a place
among the best poetry translators of this century. The Lorca translations, posthumously
added to the corpus of his published work, enhance an already established reputation as a
fine translator of poetry.<br>Classics & Modern European Languages<br>D. Lit. et Phil. (Spanish)
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Ewnetu, Anteneh Aweke. "The Representation of Ethiopian politics in selected Amharic novels, 1930 - 2010." Thesis, 2014. http://hdl.handle.net/10500/13857.
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Amharic literature has always occupied an important place in the history of the literary traditions of Ethiopia. Although this literature is believed to be strongly related to the politics of the country, there has
been no study that proves this claim across the different political periods in the country. It would be ambitious to deal with all the literary genres in this respect. Therefore, delimiting the investigation of the problem is considered to be useful to filling the knowledge gap. Accordingly, this comparative research which investigates a representation of Ethiopian politics in selected Amharic novels across three political periods: 1930 – 2010 was designed.
The objective of the research is to investigate the representation of Ethiopian politics in selected Amharic novels. The basic research question focuses on how these representations can be explained. An eclectic theoretical approach (the New Historicism, Bourdieu’s System Theory and the Critical Discourse Analysis) is employed to understand the representations. The main method of data collection focuses on a close reading of non-literary and literary texts. A purposive sampling technique is used to select the sample novels as the technique allows to select those that yield the most relevant data using some criteria.
Based on the criteria set, sixteen novels are selected. The manners in which the political events represented in the novels are examined using different parameters. The parameters also look into the
methods used in representing the political events and the time in which the events were represented, i.e. whether they are represented contemporarily, post-contemporarily or before the actual happening of the event. Having read the novels critically, the political events that took place in the three respective states are identified, analyzed and interpreted. The analysis mainly shows that different novels represented the political events in different manners: lightly or deeply, overtly or covertly, positively or negatively, contemporaneously or post-contemporaneously. Regarding the ‘how’ of the representations, it is observed that the critical novels, for instance, Alïwälädïm and Adäfrïs are covert and use symbols, direct and indirect allusions and other figures of speeches, and other techniques including turn taking, and size of dialogues to achieve their goals. Some political events are found to be either under-represented or totally un-represented in the novels. In some cases, same political events are represented differently in different novels at different times. Some novels that criticized the political events of the governments contemporaneously have been removed from market, republished in the political period that followed and exploited by the emerging government for its political end.
There are some patterns observed in the analyses and interpretations of the politics in the novels. One of the patterns is that sharp criticisms on the events of an earlier political period are usually reflected in novels published in a new period. The critique novels of the Haileselassie government, for instance, Maïbäl Yabïyot Wazema, were published during the Darg period, and those that were critical of the Darg government, for instance, Anguz, were published in the EPRDF period. Another pattern observed is that there is no novel that praises a past regime, even despite being critical of a contemporary government. No novel written during the Darg period admired the Haileselassie period; and no novel written during the EPRDF period appreciated the Darg period.
There are cases in which novelists who were critical of the contemporary Haileselassie and Darg periods, for instance, Abe and Bealu, respectively, ended up in detention or just disappeared and their novels, Alïwälädïm and Oromay, respecitely were banned from being circulated. Unlike the two previous political periods, the critique novels of the EPRDF period, for instance Dertogada, Ramatohara, and Yäburqa Zïmïta, have been published, or even republished, several times. Novels written during the Haileselassie period, such as Alïwälädïm, which were critical of the respective contemporary period, made their criticism covertly, using probes and imaginary settings and characters, while the critique novels of the EPRDF period, criticize overtly, and boldly. Generally, it could be concluded that the novels had the power to reflect history, and show human and class relationships implicitly, through the interactions of characters, story developments, and plot constructions, and the impact that politics has on the literature, and the influence of literature on politics.<br>Classics and World Languages<br>D. Phil. (Theory of Literature)
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Willet, Eugene Kenneth 1969. "Music as sinthome: joy riding with Lacan, Lynch, and Beethoven beyond postmodernism." Thesis, 2007. http://hdl.handle.net/2152/3231.
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The films of David Lynch are full of ambiguities that derive from his habitual distortion of time, inversion of characters, and creation of ironic, dreamlike worlds that are mired in crisis. While these ambiguities have been explored from numerous angles, scholars have only recently begun to closely examine music's role in Lynch's cinematic imagination. This dissertation explores the relationship between music and fantasy through the lens of Lacanian psychoanalysis where fantasy plays a crucial role in helping psychoanalytical subjects work through their psychical crises. In particular, I look at Blue Velvet (1986), Lost Highway (1996), and Mulholland Drive (2001), showing how Lynch employs music to manage and, in the case of Mulholland Drive, move beyond the particular crises of jouissance experienced by the Characters--and also the viewers. Before engaging in my analysis of Lynch's film music, however, I begin with an extended discussion of what Kevin Korsyn describes as the current crisis of music scholarship, examining how this crisis manifests itself in recent "postmodern" interpretations of Beethoven's Ninth Symphony. Few works are invested with as much cultural capital as this one and arguably the discourse around it exhibits the crisis more acutely than any other. Korsyn restricts his analysis to the fields of musicology and music theory, but I approach the crisis of music scholarship obliquely, through my Lacanian reading of Lynch's film music. This dissertation, then, has two goals. On one hand it attempts to examine music's role in Lynch's films, and on the other, it explores how Lynch's use of music might aid us in navigating and moving beyond the institutional crises of music scholarship. This Lynchian solution to our crisis provides a glimpse of what might lie beyond postmodernism, a new philosophical movement some are calling the "New Sincerity." This term covers several loosely related cultural or philosophical movements that have followed in the wake of postmodernism, the most notable being what Raoul Eshelman and Judith Butler refer to as "performatism." Finally, I return to Beethoven's Ninth to offer a second, performative reading, demonstrating how Lynch's use of music can be translated into current musical discourse.<br>text