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Graves, Jesse, Thomas Alan Holmes e Ernest Lee. "Jeff Daniel Marion: Poet on the Holston". Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1621901998.
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The author of nine volumes of poetry and numerous other writings, the editor of several literary journals, the recipient of copious awards, including the James Still Award from the Fellowship of Southern Writers, and a longtime teacher and mentor, East Tennessee native Jeff Daniel Marion has come to be known as one of the most significant and beloved voices in Appalachian literature over the past four decades. The twenty-one pieces in this illuminating collection range from examinations of Marion’s poetry to considerations of his teaching career and influence on students, writers, and artists throughout the region and beyond. Acclaimed poet, novelist, and historian Robert Morgan writes about how Marion affected his development as a writer and the key role Marion has played in bringing Appalachian literature into its own. Scholar Randall Wilhelm’s essay, meanwhile, expands our appreciation for Marion not only as a poet but as a visual artist, tracing the connection between his photography and poetic imagery. Also included are essays by John Lang on the ways in which Marion’s poetry “gives voice to a spiritual vision of nature’s sacramental identity,” Gina Herring on how the poet’s father has served as his muse, and George Ella Lyon on the power of story in Marion’s picture book for children, Hello, Crow. Other features include an autobiographical essay by Marion himself, an interview conducted by co-editor Jesse Graves, and a bibliography and timeline that summarize Marion’s life and career. In the book’s introduction, Ernest Lee notes that in the poem “Boundaries,” from his first published collection, the young Marion “dedicated himself to his place, to the land and his heritage . . . welcoming whatever may come with a firm faith that ultimately his life as a poetic laborer will bring him to a true, sharp vision.” The eloquent contributions to this volume reveal just how fully that dedication has paid off.https://dc.etsu.edu/etsu_books/1020/thumbnail.jpg
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Pereira, Fellipe Ramos 1988. "Erotismo e crueldade em Coxas - sex fiction & delírios de Roberto Piva". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270070.
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Orientador: Marcos Aparecido LopesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-27T21:59:09Z (GMT). No. of bitstreams: 1 Pereira_FellipeRamos_M.pdf: 992086 bytes, checksum: 35d2346ea14779e6bf9fb3879bf1860b (MD5) Previous issue date: 2015
Resumo: O presente trabalho tem por objetivo desenvolver um estudo sobre a obra Coxas ¿ sex fiction & delírios de Roberto Piva. Buscar-se-á analisar os pontos de contato entre a crueldade e o erotismo no interior desta obra. Cabe assinalar que Coxas é uma obra erótica, que tem por tema o erotismo, e não uma obra com passagens eróticas. Por isso o que se busca fundamentalmente neste trabalho é analisar como erotismo e a crueldade são trabalhados pelo poeta. Para isso se desenvolveu dois pontos principais na pesquisa. O primeiro é exatamente o que diz respeito ao erotismo, porque a crueldade que se busca analisar provém deste aspecto e ele se mostra bastante relevante na obra em questão. O segundo é uma análise formal, pois há nitidamente em Coxas certa hibridização dos gêneros poesia e prosa. Para cumprir estas tarefas buscou-se primeiramente compreender como se compunha o quadro poético da época em que Roberto Piva inicia sua trajetória nas letras e como se configura o erotismo em sua obra. Em seguida se procurou alguns parâmetros especulativos que servissem de apoio à análises da obra nos aspectos apontados, por fim o problema formal se mostrou também de grande relevância, por isso há um capítulo destinado a expor os traços formais de Coxas
Abstract: This dissertation aims to develop a study about the book "Coxas" ¿ sex fiction & delirious, by Roberto Piva. We intend to analyze the points of contact between cruelty and eroticism within this work. It is worth highlighting that "Coxas" is an erotic literary work, whose theme is eroticism, and not an erotic passages book. That is why we seek primarily to investigate how eroticism and cruelty were used by the poet. In this regard we had developed two main points in the research. The first is exactly what concerns the eroticism, because the idea of cruelty that we seek to analyze comes from this aspect and it shows high relevance in the mentioned work. The second one is a formal analysis because it is possible to notice that there is poetry and prose genre hybridization into "Coxas". In order to accomplish this goal we sought to understand firstly on how the poetic scenario was composed from the time that Roberto Piva had begun his career in the poetic world and how eroticism had been configured in his work. And then, we tried some speculative parameters that work in order to give us support in the work analysis on what concerns the highlighted aspects. Finally, the formal point had also been showed highly relevant, so there is a chapter that intends to expose the formal features in "Coxas"
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Nicholson, Michelle A. "“To be men, not destroyers”: Developing Dabrowskian Personalities in Ezra Pound’s The Cantos and Neil Gaiman’s American Gods". ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2628.
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Kazimierz Dabrowski’s psychological theory of positive disintegration is a lesser known theory of personality development that offers an alternative critical perspective of literature. It provides a framework for the characterization of postmodern protagonists who move beyond heroic indoctrination to construct their own self-organized, autonomous identities. Ezra Pound’s The Cantos captures the speaker-poet’s extensive process of inner conflict, providing a unique opportunity to track the progress of the hero’s transformation into a personality, or a man. American Gods is a more fully realized portrayal of a character who undergoes the complete paradigmatic collapse of positive disintegration and deliberate self-derived self-revision in a more distilled linear fashion. Importantly, using a Dabrowskian lens to re-examine contemporary literature that has evolved to portray how the experience of psychopathology leads to metaphorical death—which may have any combination of negative or positive outcomes—has not only socio-cultural significance but important personal implications as well.
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Flavell, Helen. "Writing-between : Australian and Canadian ficto-criticism /". Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.114143.
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Pellis, Vivien C., e mikewood@deakin edu au. "Inspiration and Mimesis in Plato's criticism of poetry". Deakin University. School of Social Inquiry, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.124541.
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Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Platos criticism of poetry, very little work exists which discusses the connection between them. This study examines Platos treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the inspiration dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the mimesis dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the one man, one job creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.
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Skelley, Steven J. "Yeats, Bloom and the dialectics of theory, criticism and poetry". Thesis, University of Nottingham, 1992. http://eprints.nottingham.ac.uk/13628/.
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This thesis begins by showing how a strong and subtle challenge to poetry and theories of poetry has been recently argued by writers like Paul de Man and J. Hillis Miller—critics whose ironic linguistic "disfigurations" of lyrical voice have thrown poem and poet into an anti-mimetic free fall, an abyss of bewilderment or undecidability. To its credit, de Manian deconstruction strongly misreads various mimetic approaches to William Butler Yeats, as its corrosive irony empties out theories of imitation. Chapter two explains how New Criticism, biographical, psychoanalytic, and philosophical criticism, all treat Yeats's poetry as a reflection or imitation of some prior being, text, or doctrine; and chapter three how, most recently and energetically, various new historicisms treat his poems as ideological artifacts determined by the world or history, but as artifacts that must seek to change the world in order to have value. Harold Bloom's theory meets such challenges. It enacts deconstruction's misreading of poem and poet without reducing them to a linguistic abyss; and it re-envisions mimetic approaches by reading poems in terms of genealogical influence, without moralizing. Chapter four investigates Bloom's vision of strong poetry as a "supermimesis" or in terms of gnostic figures of "negative transcendence." Bloom's work, however, also needs Yeatsian creative correction. As the fifth and sixth chapters show, it needs, like Yeats's poetry, to hold itself more open to the chaos of history. Invoking instruction from the very poetry that has so influenced Bloom's theory of influence, yet from which Bloom has turned away, this thesis re-interprets Yeats's poems and Yeats criticism generally. Using Yeats's openness to history to revise Bloom and his pragmatic theory of misreading to re-interpret Yeats, the thesis attempts to advance dialectically both Yeats criticism and Bloomian theory.
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Hart, Christopher. "'Fiction is the mask of history' : contextual readings of Byron's poetry". Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243001.
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Schubert, Layla A. Olin 1975. "Material literature in Anglo-Saxon poetry". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10909.
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x, 208 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The scattered instances depicting material literature in Anglo-Saxon poetry should be regarded as a group. This phenomenon occurs in Beowulf, The Dream of the Rood, and The Husband's Message. Comparative examples of material literature can be found on the Ruthwell Cross and the Franks Casket. This study examines material literature in these three poems, comparing their depictions of material literature to actual examples. Poems depicting material literature bring the relationship between man and object into dramatic play, using the object's point of view to bear witness to the truth of distant or intensely personal events. Material literature is depicted in a love poem, The Husband's Message, when a prosopopoeic runestick vouches for the sincerity of its master, in the heroic epic Beowulf when an ancient, inscribed sword is the impetus to give an account of the biblical flood, and is also implied in the devotional poem The Dream of the Rood, as two crosses both pre-and-post dating the poem bear texts similar to portions of the poem. The study concludes by examining the relationship between material anxiety and the character of Weland in Beowulf, Deor, Alfred's Consolation of Philosophy, and Waldere A & B. Concern with materiality in Anglo-Saxon poetry manifests in myriad ways: prosopopoeic riddles, both heroic and devotional passages directly assailing the value of the material, personification of objects, and in depictions of material literature. This concern manifests as a material anxiety. Weland tames the material and twists and shapes it, re-affirming the supremacy of mankind in a material world.
Committee in charge: Martha Bayless, Chairperson, English; James Earl, Member, English; Daniel Wojcik, Member, English; Aletta Biersack, Outside Member, Anthropology
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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)". Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.
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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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Mathews, Peter David 1975. "Strategies of realism : realist fiction and postmodern theory". Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.
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Stratton, Sarah Louise. "More than throw-away fiction : investigating lesbian pulp fiction through the lens of a lesbian textual community". Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8245/.
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This thesis argues for, and conducts close reading on, lesbian pulp fiction published in the United States between 1950 and 1965. Though a thorough investigation of a lesbian textual community centred on the lesbian periodical, The Ladder (1956-1952), this thesis forms a lens through which to closely read lesbian pulp fiction novels. This thesis maintains that members of this textual community were invested in literary discussions, as evinced through the publication of book reviews. Moreover, the lesbian textual community of The Ladder actively participated in literary discussions through the ‘Readers Respond’ column. Spring Fire (1952) by Vin Packer and The Beebo Brinker Chronicles (1957 to 1962) by Ann Bannon are investigated for implicit and explicit criticisms of 1950s sexual politics and the politics surrounding lesbian representation in popular media. For the members of The Ladder’s lesbian textual community, pulp novels belonging to the ‘Golden Age of Paperbacks’ were more than cheaply produced reading materials.
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Towsey, David Jonathan. "Criticism as poetry in the later writings of Paul de Man". Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390817.
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In general terms, the aim of this thesis is to demonstrate that Paul de Man's critical, discursive prose - particularly in the later essays - is of sufficient density and complexity that its linguistic operation works against its avowed methodological principles (or exploits certain interesting discrepancies in them) to become itself literary. However, to claim this is also to question the definition and possibility of 'literature', both in applying it as a descriptive term to de Man's writings and to the texts he reads. The first chapter asks the question of what literature is through de Man's theoretical pronouncements, and suggests that the answer may lie within a broadly Kantian philosophical orientation, conditioned by his admission of the need for a metaphysical imperative in critical speculation. The second chapter begins to develop, through a close reading of its operation in language, the notion of de Manian literature as a Bildung-principle: the education by mastery of poetic consciousness against the Being of Nature. In arguing this, it claims that, as the romantic figure of the Beautiful Soul bums with its own vacancy, emptying itself in order to shine more brightly with that which it does not possess, de Man is filled with his natural precursor Coleridge despite his disavowal of him. To avoid the blank invisibility this entails, de Man's poetic meaning must forestall its own fulfilment, a disconvergence brought about by temporally anticipating its own articulations. In the third chapter, some of the consequences of this insight are reformulated through readings of de Man's texts in terms of a Freudian hermeneutics of Nachtraglichkeit, a Schillerian theory of art and a Rousseavian articulation of pleasure and pain. The conclusion suggests that the common, underlying principle of all of these conjunctions - the metaphysical with the transcendental, repletion with negation, and excess with limitation - can be defined as a form of romantic irony, or alternatively, aesthetic monstrosity.
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Travis, Molly Abel. "Subject on Trial: The Displacement of the Reader in Modern and Post-modern Fiction". The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392805130.
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Kensky, Eitan Lev. "Facing the Limits of Fiction: Self-Consciousness in Jewish American Literature". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10716.
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This thesis explores the limits of fictional language by studying the work of Jewish American writer-critics, novelists who significantly engaged with literary criticism, and critics who experimented with the novel or short fiction. These writer-critics all believed in Literature: they believed that literature could effect social change and educate the masses; or they believed in literature as an art-form, one that exposed the myths underlying American society, or that revealed something fundamental about the human condition. Yet it is because they believed so stridently in the concept of Literature that they turned to non-fiction. Writing fiction exposed problems that Literature could not resolve. They describe being haunted by “preoccupations” that they could not exhaust in fiction alone. They apologetically refer to their critical texts as “by-products” of their creative writing. Writer-critics were forced to decide what the limits of fiction were, and they adopted other types of writing to supplement these unexpected gaps in fiction's power. This dissertation contains four chapters and an introduction. The introduction establishes the methodological difficulties in writing about author-critics, and introduces a set of principles to guide the study. Chapter 1 approaches Abraham Cahan's The Rise of David Levinsky (1917). I argue that many of the novel's difficulties result from Cahan's desire to present the way that ideology shades our understanding of reality while minimizing direct narratorial intrusions. Chapter 2 studies how politics affected the work of Mike Gold, Moishe Nadir, and Isaac Bashevis Singer. In all three writers, literature emerges as a kind of ersatz-politics, a space for the dispossessed to imagine the political. In the end, the political novel only reinforces the fictionality. Chapter 3 is a study of Leslie Fiedler's problematic novel, The Second Stone. While critics have seen the novel as a kind of game, I propose reading the novel as an earnest expression of Fiedler's vision of literature as a conversation. Chapter 4 turns to Cynthia Ozick and Susan Sontag. A cumulative reading of their fiction and criticism shows the deep twinning of their fiction and critical thought. For both writers true knowledge comes only through the imagination.Near Eastern Languages and Civilizations
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Chan, Wai-ying, e 陳惠英. "Chinese lyrical fiction in the period 1919-1989". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212864.
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Allen, Elizabeth. "The dislocated mind : the fiction of Raymond Williams". Thesis, Liverpool John Moores University, 2007. http://researchonline.ljmu.ac.uk/5857/.
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Darroch, Fiona Jane. "Memory and myth : postcolonial religion in contemporary Guyanese fiction and poetry". Thesis, University of Stirling, 2005. http://hdl.handle.net/1893/2618.
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In this thesis I investigate and problematize the historical location of the term 'religion' and examine how this location has affected the analytical reading of postcolonial fiction and poetry. The term 'religion' has been developed in response to a Western Enlightenment and Christian history and its adoption outside of this context should therefore be treated with caution. Within postcolonial literary criticism, there has been either a silencing of the category as a result of this caution or an uncritical and essentialising adoption of the term 'religion'. I argue that a vital aspect of how writers articulate their histories of colonial contact, migration, slavery and the re-forging of identities in the wake of these histories is illuminated by the classificatory term 'religion'. I demonstrate this through the close reading of Guyanese fiction and poetry, as critical themes are seen and discussed that would be otherwise ignored. Aspects of postcolonial theory and Religious Studies theory are combined to provide a new insight into the literature and therefore expand the field of postcolonial literary criticism. The way in which writers 'remember' history through writing is central to the way in which I theorize and articulate 'religion' throughout the thesis; the act of remembrance is persuasively interpreted in terms of 'religion'. The title 'Memory and Myth' therefore refers to both the syncretic mythology of Guyana, and the key themes in a new critical understanding of 'religion'. Chapter One establishes the theoretical framework to be adopted throughout the thesis by engaging with key developments made in the past decade by Religious Studies theorists. Through this dialogue, I establish a working definition of the category religion whilst being aware of its limitations, particularly within a discussion of postcolonial literature. I challenge the reluctance often shown by postcolonial theorists in their adoption of the term 'religion' and offer an explanation for this reluctance. Chapter Two attends to the problems involved in carrying out interdisciplinary research, whilst demonstrating the necessity for such an enquiry. Chapters Three, Four and Five focus on selected Guyanese writers and poets and demonstrate the illuminating effect of a critical reading of the term 'religion' for the analysis of postcolonial fiction and poetry. Chapter Three provides a close reading of Wilson Harris's novel Jonestown alongside theoretical and historical material on the actual Jonestown tragedy. Chapter Four examines the mesmerising effect of the Anancy tales on contemporary writers, particularly poet John Agard. And Chapter Five engages with the work of Indo-Guyanese writer, David Dabydeen and his elusive character Manu.
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Saggers, Emma Louise. "Carnivalesque inversion : the subversive fiction of Kurt Vonnegut". Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19697/.
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This thesis considers the novels of Kurt Vonnegut, focusing on Cat’s Cradle (1963), Player Piano (1952), and Slaughterhouse-Five (1969), through the literary theories of Mikhail Bakhtin. It concentrates on Bakhtin’s carnivalesque inversion from Rabelais and his World (1965), his theoretical perspectives on the text as a site of struggle from The Dialogic Imagination (1975), and the practical application of his theories with the novel as polyphonic from Problems of Dostoevsky’s Poetics (1963). The thesis concentrates on three main themes: religion, technology, and war. Chapter One will examine the theme of religion in Cat’s Cradle. It will consider how religion is presented in society and how fundamental opinion can become embedded in our social and cultural structures. It will further consider the cultural shift in belief from religion to science, juxtaposing the two ideals and highlighting the destructive forces of absolute belief and fundamental opinion. Chapter Two will concentrate on Player Piano, and how technology could have a detrimental effect on the progress of human civilisation. It considers how valuable technology is to the human experience, and what happens to civilisation if humans are forced to surrender everything that gives their lives meaning. Chapter Three will analyse Slaughterhouse-Five, looking closely at the representation of war, and its effects on the mental state of those that are forced to encounter it. It will engage with the ‘ideals’ of war presented in society juxtaposed with the experience of actually taking part in war. Vonnegut critiqued the American social, political and religious structures prevalent throughout his life. To Vonnegut, America had the possibility to become a blueprint for the rest of the world, a role model for the liberation and equality of all human beings, but it needed work.
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Moxham, Jeffrey. "Interfering values : a study of nineteenth-century fiction and the ethics of criticism". Thesis, Lancaster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302419.
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Williams, Kirsty. "Structures of belonging : the poetry of Seamus Heaney". Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/1748/.
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This thesis is divided into three parts – Word, Body and Transubstantiation. Collectively these are the central motifs of Catholicism’s Eucharist. According to Scripture, Christ is the word made flesh. The Eucharist recalls his words and actions at the Last Supper when he shares bread and wine with his disciples and tells them that they are his body and blood. In the Catholic faith partaking of wine and bread during the communion of mass is believed to be a partaking of the real presence of Christ. By consuming the body (bread) and blood (wine) of Christ, the participating community symbolise their collective belonging in and to Christ. The Catholic Eucharist consequently explodes difference in a utopic leap of faith whereby transubstantiation conflates and reconciles language and physical being, sub specie eternitatis. Whilst it is a religious formation, a relationship between word and body and their overlap also maps into preoccupations in recent philosophical and cultural theory which bear on Seamus Heaney’s poetry. Rather than converging word and body through a utopic leap of faith (transubstantiation), poststructuralism (following Saussure) posits an irreconcilable interstice between signifier and signified and (in the language of Derrida) infinitely defers meaning. Psychoanalysis (following Lacan) suggests desire is a consequence of the space between signifier and signified. Anthropological and sociological body theories (following Foucault) propose a disparity between corporeality and discursive constructions of bodies. Questions of a persistent gap in secular philosophy are therefore opposed to a sacred structure (converging word and body in a utopic leap of faith) that is most clearly marked and symbolised in the Catholic Eucharist. By appropriating this religious structure and these cultural theories, an ongoing secularisation of belonging in Heaney’s poetry emerges.
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Peyrouse, Anne. "La fiction poétique, précédée par Corps-floraison et En filigrane". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0027/NQ31504.pdf.
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Awwad, Abd al-Hussein M. "The theoretical bases of applied criticism of modern Arabic poetry : a comparative study". Thesis, University of Exeter, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280753.
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Graves, Jesse, Paul Ruffin e William Wright. "Southern Poetry Anthology, VI: Tennessee". Digital Commons @ East Tennessee State University, 2013. http://amzn.com/1937875458.
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The state of Tennessee is widely recognized as a home of great music, and its geographic regions are as distinct as Memphis blues, Nashville country, and Bristol old-time sounds. Tennessee’s literary heritage offers equal variety and quality, as home to the Fugitive Agrarian Poets, as well as a signature voice from the Black Arts Movement. Few states present such a multicultural panorama as does the Volunteer State. The poems in The Southern Poetry Anthology, Volume VI: Tennessee engage the storied histories, diverse cultures, and vibrant rural and urban landscapes of the region. Among the more than 120 poets represented are Pulitzer and Bollingen Prize-winner Charles Wright, Brittingham Award-winner Lynn Powell, and Agnes Lynch Starrett Prize-winners Rick Hilles and Arthur Smith. The book includes an introduction from renowned poet Jeff Daniel Marion, who in 1978 received the first literary fellowship from the Tennessee Arts Commission. Too, the book celebrates relatively young and gifted voices. This important anthology will stand for many years as the definitive poetic document for the state of Tennessee.https://dc.etsu.edu/etsu_books/1088/thumbnail.jpg
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Calderón, Jorge. "Configurations aporétiques, fiction de l'histoire et historicité de la fiction : Simone de Beauvoir, Albert Camus et Jean-Paul Sartre". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85134.
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In this dissertation I explain the transition from modernism to postmodernism through the study of the French existentialist novel. I follow theories that demonstrate that the latter owes its success to historiographic metafiction. By setting off the aporias that deeply penetrate modern novels, I demonstrate the obsolescence of the prototype of the realist novel and I explain the impasses towards which the project of a committed literature lead, inscribed in the line of realism and aimed at an almost direct relation with society and history through the mediation of art between 1945 and 1955 in France.On one hand I consider literature as an object which can be described by the methodologies of history. On the other hand I suggest an analysis of the historicity of the text that is constituted by the dynamic system generated by the interaction, the interdependence, and the correlation of the poetic and aesthetic parameters and the factors of the historical context. My aim is to set off the poetic and aesthetic mecanism of stability and of transformation of literary creation according to the dynamic relation between the vector of the project associated to realism and the one of the prototype associated to the novel. I think that late modernism produces paradoxical configurations of the novel because it is the period in which the project of realism becomes lapsed and the prototype of the realist novel becomes dilapidated.
Among the works that are exemplary of the tension between fiction and history and between project and prototype in the framework of the representation of reality and of the inscription of history in novels, I identified Albert Camus' La Peste, Simone de Beauvoir's Les Mandarins and Jean-Paul Sartre's Les Chemins de la liberte . I conclude that the enterprise of committed literature was an aporias because it was generated from the impoverishment of the project of realism and the obsolescence of the prototype of the novel. Later literature was extricated, firstly, by the radically and extremely metafictional writing of the Nouveau Roman and, secondly, it was changed by postmodern historiographic metafiction. The crisis of history and of the writing of history was solved by works in which there is the acknowledgement and the use of sophisticated mediations to evoke and inscribe history in different ways.
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Lu, Lian. "Penelope Fitzgerald's fiction and literary career : form and context". Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/1773/.
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The investigation of Fitzgerald's equivocal success, of the decisive change in Britain's recent cultural perspective, involves raising questions around canon-formation, the consolidation of a national identity, strategies of writing, and the politics of reading. I have found it necessary to examine aspects of theme, form, genre and context in Fitzgerald's writing, focusing successively on convention and subversion in her work. This 'doubleness' has generated the two-part structure of the present thesis, the first book-length study of Fitzgerald's work. Part One examines the canonical literariness of Fitzgerald's novels through studying literary conventions and thematic preoccupations. It aims to elucidate Fitzgerald's fiction through the tradition of liberal humanism. The canon of English literature is more than a settled corpus, it involves a set of prescribed criteria which, I argue, is the cornerstone of Fitzgerald's literary success as a novelist, biographer, and literary critic. Contemporary British fiction has undergone a focal sea-change seen in its preoccupation with linguistic experimentation, typographical innovation, and topical engagement with current issues. Fitzgerald's fiction is out of step with current critical paradigms, and thus tends to get caught between the canonical and the contemporary. Part Two explores the impact of postmodern approaches on Fitzgerald's fiction, and examines the ways in which age, race, gender, identity and the nation have impinged on her writing. The scope of this study, therefore, comprises gender, writing, and the culture industry. In view of the scarcity of criticism on Fitzgerald's work, and apart from the more obvious critical concerns regarding authorship and periodisation, this thesis draws on a variety of critical perspectives in order to achieve a historical and contextual understanding of Fitzgerald's fiction and literary career in relation to contemporary British fiction.
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Buscall, Jon. "'Being Helle', +, Creative writing at the nexus of fiction & theory : a case study analysis of the interaction between fiction & critical praxis". Thesis, Liverpool John Moores University, 2004. http://researchonline.ljmu.ac.uk/5856/.
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This project is comprised of a novel, Being Helle, and an accompanying dissertation. Being Helle explores in fictional form a number of ideas relating to the uneasy relationship between the individual, digital media and late-capitalism that emerge after undertaking a reading of the fiction of Don Delillo and Bret Easton Ellis alongside the critical theory of Jean Baudrillard and Fredric Jameson. Being Helle interrogates Baudrillard's contentious notion that the hegemony of capitalism undermines the autonomy of the individual subject. This is evident on a number of levels, both stylistically and thematically: the novel explores and reflects how late-capitalism's pervasive digital media affects the writer, the individual and the shape, form and scope of fiction writing. Following the life of photographer Helle Dahl, who has recently moved to Copenhagen, Being Helle ultimately challenges the limits of Jean Baudrillard's theoretical position as regards the influence of capitalism on the individual subject. Although the essential self may well be under attack in an era of rabid capitalism, Being Helle considers whether there are ways and means of formulating some kind of resistance to this, especially through artistic endeavour. The accompanying dissertation, Creative Writing at the Nexus of Fiction & Theory, is a case study analysis of the interaction between reading and creative praxis, focusing in detail on the kind of reading and thinking that took place in the production of Being Helle. In this way, the critical component of this project documents how when a writer engages in reading critical theory alongside fiction a "possibility space" is established which allows for a criticalcreative "cross-over" to occur. In the dissertation I posit that a writer who's methodological approach to novel writing embraces the reading of critical theory and fiction in tandem establishes a useful basis from which an informed cultural debate in the form of a novel can occur.
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Castiglione, Davide. "Difficulty in Anglo-American poetry : a linguistic and empirical perspective". Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33560/.
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This project sets out to develop a model for a study of difficulty in poetry as systematic and nuanced as possible. In doing so, it endeavours to make a significant theoretical and practical contribution to the fields of stylistics, poetics and literary theory. Throughout the twentieth century, the notion of difficulty in poetry has never ceased to interest linguists, literary theorists, psychologists and researchers in education. The popularity of the notion among non-specialist is equally significant, as it is not uncommon for readers to justify their lack of interest in poetry on the grounds of its supposed difficulty. Notwithstanding this, the dynamics of text-reader interaction – the defining trait of difficulty, as argued in Chapter 1 – remains notably underexplored. This thesis addresses this gap in the literature by (a) providing a psychologically plausible and linguistically sound account of difficulty; and by (b) unifying under a coherent framework the insights offered by a large body of materials – from critical readings of literary works to anecdotal evidence, from psychological models of comprehension to controlled psycholinguistic experiments. In terms of methodology, a linguistic, text-based approach is intertwined with an empirical, reader-based one. This combined effort leads to an in-depth analysis of a set of poems from both perspectives (Chapter 3 to 5). Such a qualitative approach allows for the identification of textual and readerly components typical of difficulty. On the textual side, I identify twenty-four features, called linguistic indicators of difficulty and affecting all the linguistic levels – graphology, syntax, lexis, semantics and text structure. Based on scholarly remarks and experimental evidence, these indicators are likely to hamper readers’ comprehension and thus increase the processing effort they require. These two main readerly dimensions of difficulty I qualify as online (i.e. affecting the processing effort in actual reading) and offline (i.e. affecting the post-reading understanding of a poem). In turn, online and offline difficulty are cued by observable readerly behaviours (e.g. interpretive uncertainty, slowed-down reading, statements of rejection) that are explored in Chapters 4 and 5. Overall, difficulty is viewed as a response phenomenon that has a strong linguistic motivation. For reasons of focus and critical consistency, the model is applied to twentieth and twentieth-first century Anglo-American poems only. This temporal restriction acknowledges the critically established connection between difficulty and modernism (e.g. Adams 1991, Adamson 1999, Diepeveen 2003). The case studies from Chapter 3 to 5 focus on Wallace Stevens, Ezra Pound, Susan Howe and Jeremy H. Prynne as representing different aspects of difficulty. Chapter 6 extends this purview to a larger corpus, featuring Gertrude Stein, T. S. Eliot, E. E. Cummings, Hart Crane, Charles Olson, Dylan Thomas, John Ashbery and Charles Bernstein. All these poets have been deemed ‘difficult’ by other critics, so the corpus rests on an intersubjective agreement that was missing in previous accounts. The hope is that the model proposed will be fruitfully extended and applied to non-Anglo-American literary traditions as well as to poetry written in earlier centuries.
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Jorgensen, Darren J. "Science fiction and the sublime". University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0116.
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[Truncated abstract] This thesis makes three assertions. The first is that the sublime is a principal pleasure of science fiction. The second is that the conditions for the emergence of both the sublime and science fiction lie in the modern developments of technology, mass economy and imperialism. Maritime and optical technologies; the imagination that accompanied imperialism; and the influence of capitalism furnished the cognition by which the pleasures of both science fiction and the sublime came into being. The third claim is that a historical conception of the sublime, one that changes according to the different circumstances in which it appears, offers privileged insights onto changes within the genre. To make such extensive claims it has been necessary to make a cognitive map of the development of both the sublime and science fiction. This map reaches from the Ancient Romans, Lucian and Longinus; to Thomas More, Jonathan Swift, Johannes Kepler, Voltaire and Immanuel Kant; to Edgar Allan Poe, Mary Shelley, Jules Verne and H.G. Wells. This thesis then examines how the features of these fictions mutate in the twentieth-century fiction of A.E. van Vogt, Clifford Simak, Philip K. Dick, Arthur C. Clarke, Ivan Yefremov, the Strugatsky brothers, J.G. Ballard, Pamela Zoline, Ursula Le Guin, Vonda McIntyre, Octavia Butler, Kim Stanley Robinson, Stephen Baxter, William Gibson, Ken MacLeod and Stanislaw Lem. These writers are considered in their own specific periods, and in their national contexts, as they create pleasures that are contingent upon changes to their own worlds. In representing these changes, their fictions defamiliarise the anxieties of the reading subject. They transcend the contradictions of their times with a sublime that betrays its own conditions of transcendence. The deployment of the sublime in these texts offers a moment of critical possibility, as it betrays the fantasies born of a subject's relation to their world
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Fudge, Bruce G. "Islam and the fiction of Salman Rushdie". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26268.
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While much attention has been paid to the events which followed the publication of Salman Rushdie's The Satanic Verses (1988), there has been little detailed examination of the role of Islam in that novel and in the rest of Salman Rushdie's fiction, notably Midnight's Children (1981) and Shame (1983). His portrayals of Islam and Islamic societies are not easily recognizable via the traditional structures of the academic study of Islam. His divergence from the vast majority of Muslim tradition and experience can be seen firstly through his own experiences in India, England, and Pakistan; and secondly through his provocative literary exploration of religious beliefs, something which has few precedents in the history of Islam. By using Islamic elements and symbols in the same way that Western literatures have explored religious themes, Rushdie presents irreverent satire and often scathing criticism of many aspects of Muslim societies and culture. The most significant aspect of this critique is the attempt to subvert what Mohammed Arkoun called "Islamic logocentrism," the tendency to confine all discourse about Islam to a certain narrow field of textual interpretation. Rushdie's treatment of religion is informed by an ideal which sees reading and writing for one's own purposes to be the highest form of spiritual exercise, and when Islam is subordinated to the writer's imagination, he has little reason to uphold the authority or sanctity of its precepts, principles, or history.
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David, Alun Morris. "Christopher Smart and the Hebrew Bible : poetry and biblical criticism in England (1682-1771)". Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321555.
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Tierney, John. ""Plunged Back with Redoubled Force": An Analysis of Selected Fiction, Non-Fiction, and Poetry of the Korean War". University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396829149.
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MacKenzie, Garry Ross. "Landscapes in modern poetry : gardens, forests, rivers, islands". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5910.
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This thesis considers a selection of modern landscape poetry from an ecocritical perspective, arguing that this poetry demonstrates how the term landscape might be re-imagined in relation to contemporary environmental concerns. Each chapter discusses poetic responses to a different kind of landscape: gardens, forests, rivers and islands. Chapter One explores how, in the poetry of Ian Hamilton Finlay, Douglas Dunn, Louise Glück and David Harsent, gardens are culturally constructed landscapes in which ideas of self, society and environment are contemplated; I ask whether gardening provides a positive example of how people might interact with the natural world. My second chapter demonstrates that for Sorley MacLean, W.S. Merwin, Susan Stewart and Kathleen Jamie, forests are sites of memory and sustainable ‘dwelling', but that deforestation threatens both the ecology and the culture of these landscapes. Chapter Three compares river poems by Ted Hughes and Alice Oswald, considering their differing approaches to river sources, mystical immersion in nature, water pollution and poetic experimentation; I discuss how in W.S. Graham's poetry the sea provides a complex image of the phenomenal world similar to Oswald's river. The final chapter examines the extent to which islands in poetry are pastoral landscapes and environmental utopias, looking in particular at poems by Dunn, Robin Robertson, Iain Crichton Smith and Jen Hadfield. I reflect upon the potential for island poetry to embrace narratives of globalisation as well as localism, and situate the work of George Mackay Brown and Robert Alan Jamieson within this context. I engage with a range of ecocritical positions in my readings of these poets and argue that the linguistic creativity, formal inventiveness and self-reflexivity of poetry constitute a distinctive contribution to contemporary understandings of landscape and the environment.
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Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.
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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
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Hutchison, Lorna. "Strategies of the grotesque in Canadian fiction". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100627.
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In this study of narration, feminist theory, and grotesque Canadian fiction, my aim is to provide a narrative model with which to read characters portrayed as both female and monstrous in a way that criticism on the grotesque does not. I provide two systems for the methodology of this study: via negativa, a well-established philosophical system of definition by negation, which shows the strength of the grotesque to represent a subject that is inherently paradoxical; and a narrative model called the "middle voice," which I developed to examine narratives that confuse or render ambiguous the identity of subjects. Through these distinct but complementary frameworks I illustrate a literary phenomenon in fiction of the grotesque: that authors develop and reveal the subjectivity of characters by confounding identities.Although I provide a concise definition of the term "grotesque," my focus is on feminist theoretical approaches to the grotesque. However, whereas feminist theory on the grotesque examines the binary opposition of woman to man, this study shows that the grotesque bypasses the "male/female" dichotomy in the representation of fictional characters. Instead, the sustained contradiction of the central opposition "woman/monster" works to undermine the notion of fictional characterization.
Specifically, this study focuses on the grotesque as a narrative strategy and examines the use of the grotesque in the portrayal of female narrators. The prevalence of female grotesque characters in recent Canadian fiction combined with the rapid growth of interest in the critical concept of the "female grotesque" requires a theoretical analysis of the literature.
In the fiction I examine by Canadian authors Margaret Atwood, Lynn Coady, Barbara Gowdy, Alice Munro, and Miriam Toews, narrators are contradictory. As subjects, they have doubled identities. Authors situate identity ("subjectivity") in the realm of paradox, rather than in the realm of clarity and resolution. As a result, readers and critics must rely on ambiguity and subversion as guides when posing the ultimately irresolvable question "who is speaking?" Through analysis of this fiction, then, I argue for nothing short of a new conceptualization of subjectivity.
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Oppelt, Riaan. "The valley trilogy: a reading of C. Loius Leipoldt's English-language fiction circa 1925-1935". Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_7246_1257247882.
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C. Louis Leipoldt is known as a canonical figure in the history of Afrikaans poetry, He is customarily included in the pantheon of writers such as C.J. Langenhoven who not only established Afrikaans as a standardized national language in the early twentieth century, but also contributed to the idea of the Afrikaner Volk as a distinct nation within South Africa. The recent publication of Leipoldt's Valley Trilogy, three novels written in English in the 1930's now reveals Leipoldt in a very different light. Today, in a time of national transformation, Leipoldt's liberal ideas deserve to be given the broader scope he had intended for them.
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Kocela, Christopher. "Fetishism as historical practice in postmodern American fiction". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38213.
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This study contends that postmodern American fiction dramatizes an important shift of philosophical perspective on the fetish in keeping with recent theories of fetishism as a cultural practice. This shift is defined by the refusal to accept the traditional Western condemnation of the fetishist as primitive or perverse, and by the effort to affirm more productive uses for fetishism as a theoretical concept spanning the disciplines of psychoanalysis, Marxian social theory, and anthropology. Analyzing the depiction of fetishistic practices in selected contemporary American novels, the dissertation utilizes fetish theory in order to clarify the unique textual and historiographic features of postmodernist fiction. It also emphasizes the way in which conventional ideas about history and teleology are necessarily challenged by an affirmative orientation toward the fetish. Part One of the dissertation, comprising the first two chapters, traces the lineage of Western thinking about fetishism from Hegel, Marx, and Freud to Derrida, Baudrillard, and Jameson, among others. Recognizing that traditional theories attribute the symbolic power of the fetish to its mystification of historical origins, Part One posits that poststructuralist and postmodernist contributions to the subject enable, but do not develop, an alternative concept of fetishism as a practice with constructive historical potential. Part Two of the study seeks to develop this historical potential with reference to prominent descriptive models of postmodernist fiction, and through close readings of five contemporary American authors: Thomas Pynchon, Kathy Acker, Robert Coover, John Hawkes, and Don DeLillo. The four chapters of Part Two each examine the fictional representation of fetishism within a different theoretical framework, focusing on, respectively: temporality and objectivity in postmodern fiction theory; the interrelation between psychoanalytic theory and female fetishism in novels by Pynchon and Acker
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Fung, Kit-ting, e 馮潔婷. "Decolonizing fictions: the subversion of 19thcentury realist fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953001.
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Grayson, Erik. "Towards a postmodern absurd : the fiction of Joseph Heller". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19693.
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This thesis examines the entirety of Joseph Heller's career as a novelist and explores the various existential themes uniting a seemingly diverse body of work. Considering Heller's relationship to the philosophy of Albert Camus and Jean-Paul Sartre, "Towards a Postmodern Absurd: The Fiction of Joseph Heller" suggests that the novelist promotes the same existentially authentic lifestyle of revolt originally articulated by the French existentialists. Refuting the critical assessment of Heller's fiction as formless, this thesis argues that Heller deliberately structures his fiction around the concept of dejd vu in order to buttress the author's existential concerns with the absurdity of human existence. Finally, in response to the recent debates over Joseph Heller's place in the postmodern American canon, the thesis identifies the author's use of such postmodern concepts as pastiche and paranoia as a further reinforcement of the relevance of an absurdist worldview in contemporary America.
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Graves, Jesse, Paul Ruffin e William Wright. "Southern Poetry Anthology, VII: North Carolina". Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1937875873.
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Robert Morgan and Kathryn Stripling Byer, Al Maginnes and Cathy Smith Bowers, Thomas Rain Crowe and Michael McFee, as well as many new voices. . . Indeed, the variegation of the Tar Heel State's landscapes, as well as its rich history, is reflected through the myriad voices of its contemporary verse. As with other volumes of The Southern Poetry Anthology, this book--full of a wide gamut of poetic styles and approaches--will appeal to many readers, prove an excellent teaching resource for North Carolina students of literature, and serve as the definitive poetic document for North Carolina for many years. Conceived by Series Editor William Wright in 2003, The Southern Poetry Anthology is a projected twelve-to-sixteen volume project celebrating established and emerging poets of the American South, published by Texas Review Press. Inspired by single-volume anthologies such as Leon Stokesbury's The Made Thing, Gil Allen's A Ninety-Six Sampler, and Guy Owen and Mary C. Williams' Contemporary Southern Poetry: an Anthology, The Southern Poetry Anthology aspires to provide readers with a documentary-like survey of the best poetry being written in the American South at the present moment. Specifically, the editors' goals are twofold: first, to re-establish poetry of the South as a major presence in American literature, and second, to include a greater range of poets from the South to introduce a new poetic geography, a fresh corpus of what we understand to be "Southern Poetry."https://dc.etsu.edu/etsu_books/1019/thumbnail.jpg
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Duggan, Lucy. "Reading the city : Prague in Czech and Czech-German narrative fiction since 1989". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3827cf9c-fa91-4fb5-aa7e-8942de885729.
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In the course of its history, Prague has been the site of many significant cultural confrontations and conversations. From the medieval chronicle of Cosmas to the work of contemporary writers, the city has taken shape in literature as a multivalent space where identities are constructed and questioned. The evolution of Prague's literary significance has taken place in an intercultural context: both Czech-speaking and German-speaking writers have engaged with the city and its past, and their texts have interacted with each other. The city has played a central part in many collective narratives in which myth, history and literature intertwine. Looking at contemporary prose fiction written in both Czech and German, this thesis explores continuities and contrasts in the literary roles played by Prague. It analyses two German-speaking emigrant authors, Libuše Moníková (1945-1998) and Jan Faktor (1951- ), viewing them alongside three Czech writers, Jáchym Topol (1962- ), Daniela Hodrová (1946- ), and Michal Ajvaz (1949- ). Through close readings of eight texts, the thesis approaches the imagined city from four angles. It discusses how contemporary authors portray the search for meaning in the city by imagining Prague as two contrasting realms (the 'real' city and the 'other' city), how the discontinuities of the city are reflected by the fragmentation of the authorial stance, how these authors assemble new Prague myths from the vestiges of older topoi, and how they confront the contradictory urges to uphold the boundaries of the city and to transgress them. In post-1989 Prague, authors explore the unstable spaces between continuity and discontinuity, constructing an authorial ethos in these areas of tension.
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Napier, Will. "The haunted house of memory in the fiction of Stephen King". Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/516/.
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The purpose of this thesis is to explore a set of key issues and themes in the fiction of Stephen King, and then to present, in the form of a creative extract, a demonstration of an imaginative engagement with those same literary preoccupations mapped out in that opening critical section. This thesis is thus divided into two parts. The first part, 'Critical Encounters', explores through an interconnected series of close readings a selection of novels and novellas that circle around questions of suffering and survival. Chapter One, 'Monsters by Design', looks closely at Carrie (1974), The Shining (1977), and Misery (1987), among other texts, in order to define King's human monsters and investigate the episodes of domestic violence that are among his most terrifying scenes. Chapter Two, 'Retrospection of Abuse', uses 'The Body', a novella in Different Seasons (1982), as a core text to examine King's use of abuse and abusive characters as a means of defining character and assigning motivation for further violent tendencies. Chapter Three, 'Remorse and Resurrection', examines the influence of science and religious faith in terms of mourning the loss of loved ones. Chapter Four, 'The Selfish Apparition', a detailed engagement with Bag of Bones (1998), delves into the meanings behind the appearance of ghostly apparitions and suggests they may be less para-psychological and more psychoanalytical in nature. The second part, 'Creative Engagement', demonstrates the influence King's writing has had on my own work by providing an extract from a new novel, Without Warning, a sequel to my first book, Summer of the Cicada (Jonathan Cape, 2005). Without Warning is a unique experiment for me, as it has been written not only in the wake of the literary works of King - which have long exerted an influence on me as a writer and as one of his 'constant readers' - but in the light of a sustained period of research and reflection on King as a writer. Being in the midst of a critical and creative immersion in King, including his own accounts of his craft as well as interviews and essays by other scholars, has shaped my writing and made me mediate on my craft in a way I had not done before. This thesis then is both a study of aspects of the fiction of one of America's foremost storytellers, and an example of an emerging writer grappling with the fiction and criticism of a major influence.
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Langston, Jessica. "Writing herself in : mother fiction and the female Künstlerroman". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79957.
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This project examines the 'mother-writer problem' within contemporary Canadian fiction by women. Using three novels that tell the story of a mother who is also a writer, Margaret Laurence's The Diviners, Audrey Thomas' Intertidal Life and Carol Shields' Unless, I will outline the manner in which the roles of mother and writer are negotiated by the authors and their central characters. Further, I will investigate how creating a narrative about a female artist who is also a mother challenges and changes the structure and content of the standard female kunstlerroman. Finally, this thesis will attempt to determine how or if such challenges and changes improve the portrait-of-the-female-artist novel.
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Barry, Juli. "American families in fact and fiction : decentering a constrictive ideal /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9835407.
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Waage, Fred. "This Mortal Earth: A Year of Beginnings and Ceasings". Digital Commons @ East Tennessee State University, 2015. http://amzn.com/168114008X.
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The poems in this collection were written one-a-day, during the course of the author's sixty-seventh year. They seek to express an ecological awareness, the "intense consciousness of land" (Aldo Leopold), a consciousness of the Earth's land and of that essence that composes the writer's being.https://dc.etsu.edu/etsu_books/1010/thumbnail.jpg
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Allen, Edward Joseph Frank. "Lyric technologies : the sound media of American modernist poetry". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708318.
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Nash, Andrew. "Kailyard, Scottish literary criticism, and the fiction of J.M. Barrie". Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15199.
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This thesis argues that the term Kailyard is not a body of literature or cultural discourse, but a critical concept which has helped to construct controlling parameters for the discussion of literature and culture in Scotland. By offering an in-depth reading of the fiction of J.M. Barrie - the writer who is most usually and misleadingly associated with the term - and by tracing the writing career of Ian Maclaren, I argue for the need to reject the term and the critical assumptions it breeds. The introduction maps the various ways Kailyard has been employed in literary and cultural debates and shows how it promotes a critical approach to Scottish culture which focuses on the way individual writers, texts and images represent Scotland. Chapter 1 considers why this critical concern arose by showing how images of national identity and national literary distinctiveness were validated as the meaning of Scotland throughout the nineteenth century. Chapters 2-5 seek to overturn various assumptions bred by the term Kailyard. Chapter 2 discusses the early fiction of J.M. Barrie in the context of late nineteenth-century regionalism, showing how his work does not aim to depict social reality but is deliberately artificial in design. Chapter 3 discusses late Victorian debates over realism in fiction and shows how Barrie and Maclaren appealed to the reading public because of their treatment of established Victorian ideas of sympathy and the sentimental. Chapter 4 discusses Barrie's four longer novels - the works most constrained by the Kailyard term - and chapter 5 reconsiders the relationship between Maclaren's work and debates over popular culture. Chapter 6 analyses the use of the term Kailyard in twentieth-century Scottish cultural criticism. Discussing the criticism of Hugh MacDiarmid, the writing of literary histories and studies of Scottish film, history and politics, I argue for the need to reject the Kailyard term as a critical concept in the discussion of Scottish culture.
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Mona, Godfrey Vulindlela. "Ideology, hegemony, and Xhosa written poetry, 1948-1990". Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002172.
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This interdisciplinary study locates Xhosa written poetry (1948-1990) within the framework of the socio-politico-economic scenario in South Africa. It sets out to examine the impact of the above stated factors on literature, by supporting the hypothesis that Xhosa written poetry of the Apartheid epoch is a terrain of the struggle for hegemony between the dominant ideology and the alternative ideologies.
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齊曉楓 e Hsiao-feng Chi. "Patterns of husband selection in traditional Chinese fiction and drama". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.
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