Дисертації з теми "?-1649 Criticism and interpretation"
Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: ?-1649 Criticism and interpretation.
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 дисертацій для дослідження на тему "?-1649 Criticism and interpretation".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
1
Abouzia, Roya. "Van Dyck at the court of Charles I : thoughts on court life and the portraits of the Garter Sovereign." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55409.
Анотація:
Anthony van Dyck's contemporary vision of sovereignty and knighthood made him the principal image-maker in England during the 1630s. His portraits of Charles I exemplified the Arcadian realm and philosophies held at court, as well as complying with the artistic and historical traditions of English painting. As a celebration of Monarchy by Divine Right, Van Dyck's portrayals of the Sovereign summarize the philosophical concepts of knighthood expressed in the Platonic Love theory and the Order of the Garter. Charles I was Defensor Fides, Pater Patriae, the suitor to his lady, and the courtly gentleman--all roles of the knight. Beyond his stylistic influence, Van Dyck's foremost contribution was the endowment of maiestas to the royal image, followed by divine apotheosis for posterity. A better understanding of Van Dyck's Charles as the Garter Sovereign leads us to modify our perception of the artist, since he became the painter of contemporary British history.
2
Whicker, Jules. "Fiction, deceit and morality in the plays of Juan Ruiz de Alarcón, 1580-1639." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:50276c64-555f-4584-9956-74a0ef3407b0.
Анотація:
Alarcón was writing at a time when Spaniards increasingly came to perceive Spain as a nation in decline, and to seek the remedy for their country's malaise in a whole series of economic, political, social, and, in particular, moral reforms. One consequence of this was to intensify the debate concerning effect of the theatre on the moral values of the young, another was to stimulate a renewed interest in the art of war and the martial virtues which were held to have been the source of earlier glories, and yet another was to impel political philosophers and theologians alike to consider anew how the necessities of government in this uncertain political and economic climate might be reconciled with the ethical principles promoted by the Catholic Church. This study contends that both the style and the content of his plays show Alarcón to have been both well-informed and keenly interested in such matters, and indicate that, whilst he concurs with many contemporary moralists in identifying the source of the national malaise as a self-indulgent obsession with sensual pleasure and social posturing, and in suggesting that the cure lies in an adoption of a moral code based upon stoic self-discipline and other such virtues, he makes it clear that the implementation of these virtues in the complex situations encountered in everyday life depends to a large extent upon the prudent use of deception. Thus, in his work, Alarcón presents two principal forms of deception: the lies, slanders, illusions, and acts of imposture of those who seek the illicit gratification of their worldly desires; and the cautious equivocation, concealments, disguises, and stratagems of those who know that appearances deceive and who seek to ensure the reputation, integrity and safety of their compatriots and co-religionists. I also maintain that this is a distinction which applies to the comedia as much as to the world which it portrays, and that Alarcón is critical of the indecorous actions and the ornate language, music and spectacle of the comedia as popularised by Lope, and develops a dramatic technique which requires the spectator to submit his initial emotional and imaginative response to the drama to the scrutiny of reason if he is to understand the play. In this way, Alarcón's own creative technique proves to be yet another example of the prudent use of deception illustrated in his plays.
3
Krejci, Caroline Paige. "Grice's implicature and Toulmin's warrants: Their arresting similarities and the resulting implications for the understanding of meaning in communication." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1679.
Анотація:
Paul Grice's conversational implicature is a widely studied and commonly accepted theory in the field of linguistics, and Stephen Toulmin's model of argument is perhaps even more widely studied and accepted in the field of argument. I was struck by the great similarities between the two theories, particularly the leap of logic both are dependent upon, and surprised by the fact that it didn't seem that anyone had explored the similarities. In this thesis, I explore the similarities of the processes, of Grices's implicature and Toulmin's model of argument, and how looking at the two together increases the understanding of both.
4
Harvie, Ronald. "Passion and patronage : Van Dyck, Buckingham and Charles I." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68100.
Анотація:
The 1632 appointment of Van Dyck as Court Painter by King Charles I changed the course of art in England. But in spite of its importance, the dynamics and mechanics of this event remain imperfectly understood. This paper suggests that one determining factor was the influence of George Villiers, Duke of Buckingham. An early admirer of Van Dyck, Buckingham in turn incarnated the young artist's own aspirations to aristocratic status. For Charles, the Duke was a personal partner and aesthetic alter-ego whose presence in the King's psyche remained strong long after Buckingham's assassination in 1628. The examination of certain of Van Dyck's paintings of the 1620's shows how the interlocking agendas and affinities of the three men combined to affect the evolution of English art.
5
Ntaganira, Vincent. "Alex La Guma’s short stories in relation to A Walk in the Night: A socio-political and literary analysis." Thesis, University of the Western Cape, 2005. http://hdl.handle.net/11394/1640.
Анотація:
Magister Artium - MAThe minithesis provides a detailed socio-political and literary analysis of A Walk in the Night: Seven stories from the streets of Cape Town. It investigates and systematically compares each short story to the novella or compares the short stories with each other and shows their thematic and formal similarities and differences. The results of the study will provide a valuable contribution to the study of African literature. It will complete what other critics have left out. No one among La Guma’s scholars has analysed the anthology as a single entity; most critics have analysed the novella and have not analysed the accompanying short stories. As a result, the relationships between the novella and the short stories are unknown to many readers. I argue that this needs to be corrected. In order to situate the thesis, the study also presents a selected list of critics who have studied the novella and the short stories, and indicates their achievements and their shortcomings. The study will be carried out from a Marxist perspective, and will explore the use of realist and naturalist literary styles. Marxism will provide the socio-political and theoretical framework. Naturalism and realism are the two main literary genres that occur in the anthology.
South Africa
6
Rain, David Christopher. "The death of Clarissa : Richardson's Clarissa and the critics." Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phr154.pdf.
7
Blaney, Gerald W. "Nicolas Poussin, Charles Le Brun and the Royal Academy of Painting and Sculpture, Paris 1648, a kinship of aesthetics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50497.pdf.
8
Bastien, Priscilla. "La diffusion des idées voltairiennes au XIXe siècle : Pigault-Lebrun." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37185.pdf.
9
Meyer, Rüdiger. "Peter Paul Rubens and colour theory : an assessment of the evidence." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28850.
Анотація:
Peter Paul Rubens' creative genius, as expressed with consummate mastery in his paintings, is but one of the many elements that have compounded to establish his fame. He is also renowned as a man of immense erudition. Indeed, his reputation is such that it is taken for granted that his great learning informed all aspects of his art in a fundamental way.In accordance with this kind of thinking, current scholarship on Rubens accepts, as a matter of course, that the artist, whilst creating his painted works, followed the dictates of a colour theory, as we would know it today. In fact, on the basis of circumstantial evidence, it has been accepted that Rubens invented a colour theory that may be seen as innovative for his time.
This thesis assesses the evidence which has led researchers to formulate such a conclusion. As a consequence, it investigates the circumstances of Rubens association with Francois de Aguilon during the final stages of the latter's publication of his book on optics, the Opticorum libri sex. ... As well, the artist's correspondence with his friend, Nicolas Fabri de Peiresc, which contains allusions to an autograph manuscript purported to contain Rubens' thoughts on colour, is re-examined. Indeed, this very correspondence reveals that Rubens did not consider himself particularly knowledgeable about the theoretical aspects colour.
On the basis of a thorough review of these existing documents; an investigation into relevant biographical circumstances; and an examination of the artist's technique, it is here proposed that Rubens did not consciously apply theoretical principles to his craft, but rather, that any of the discernable elements of what is considered to be modern colour theory are in the paintings only because the demands of the painter's craft serendipitously parallel art historians' theoretical hindsight.
10
Vargas, Javier. "Legados urbanos en el teatro alarconiano." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84205.
Анотація:
This dissertation explores the influence of European and Mesoamerican traditions of urbanization on the plays of Juan Ruiz de Alarcon, a sixteen- seventeenth-century dramatist born in the Spanish Viceroyalty of New Spain. The objective of this dissertation is to study the analogy between urban designs and their representation in theatre from the Ancient Greece until the Golden Age Spanish Theatre. As we acknowledge the influence of the urban configuration on the mentality of that particular period, we also seek to explain how the surrounding reality becomes like an ideological postulate with the passing of time. By analysing and defining the cities from the Ancient Greece to the period known as the Baroque, we aim at defining the new form taken by their inherent spatial notions when they merge with those of the ancient historic capital of the Mexica empire, that is, Mexico-Tenochtitlan. As the two worlds were coming into contact, the changes as well as the exchange of cultural legacies and urban experiences endowed the author's town of birth with a new way of communicating, which was at the same time both Spanish and non-Spanish. This allowed the author to write plots where the urban setting would not determine all the characters' actions and reactions, as was the case with the Golden Age dramatists in Spain.
11
Cakuls, Tom. "The individual, property and discursive practice in Burton and Locke /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56959.
Анотація:
This thesis attempts a critical analysis of modern individualism through an examination of its origins in the seventeenth century. In this thesis I discuss the notion of autonomous and self-responsible individuality as a culturally constructed and culturally specific idea. Furthermore, I describe autonomy as only one of a complex of related features of the modern individual, including a withdrawn and objectifying stance toward the natural world, values and other human beings.In this thesis, I examine two seventeenth-century authors--Robert Burton and John Locke--each of whom represents a different conception of individuality. Burton emulates communal conceptions of identity characteristic of the Middle Ages and Renaissance, while Locke describes an essentially modern, analytical individuality based on the control and possession of an objectified "other".
The theoretical framework for this analysis is derived from Michel Foucault and Timothy Reiss' description of the transition from the Renaissance to the seventeenth century as a transition between different epistemes or discourses. Throughout this thesis, I supplement this essentially structuralist approach with perspectives from Medieval, Renaissance and seventeenth-century cosmology, literary theory, political theory and epistemology.
12
劉永琦. "題材與思想 :"三言" 中的明代話本研究 = A research on subject matter and thought of huaben fictions of Ming dynasty in San yan". Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690590.
13
Wood, Laura Thomason. "Change of Condition: Women's Rhetorical Strategies on Marriage, 1710-1756." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4921/.
Анотація:
This dissertation examines ways in which women constructed and criticized matrimony both before and after their own marriages. Social historians have argued for the rise of companionacy in the eighteenth century without paying attention to women's accounts of the fears and uncertainties surrounding the prospect of marriage. I argue that having more latitude to choose a husband did not diminish the enormous impact that the choice would have on the rest of a woman's life; if anything, choice might increase that impact. Lady Mary Wortley Montagu, Hester Mulso Chapone, Mary Delany, and Eliza Haywood recorded their anxieties about and their criticisms of marriage in public and private writings from the early years of the century into the 1750s. They often elide their own complex backgrounds in favor of generalized policy statements on what constitutes a good marriage. These women promote an ideal of marriage based on respect and similarity of character, suggesting that friendship is more honest, and durable than romantic love. This definition of ideal marriage enables these women to argue for more egalitarian marital relationships without overtly calling for a change in the wife's traditional role. The advancement of this ideal of companionacy gave women a means of promoting gender equality in marriage at a time when they considered marriage risky but socially and economically necessary.
14
Farley, Stuart. "Copious voices in early modern English writing." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11904.
Анотація:
This thesis takes as its object of study a certain strand of Early Modern English writing characterised by its cornucopian invention, immethodical structure, and creatively exuberant, often chaotic, means of expression. It takes as its point of departure the Erasmian theory of ‘copia' (rhetorical abundance), expanding upon it freely in order to formulate new and independent notions of copious vernacular writing as it is practised in 16th- and 17th-century contexts. Throughout I argue for the continuity and pervasiveness of the pursuit of linguistic plenitude, in contrast to a prevailing belief that the outpouring of 'words' and 'things' started to dissipate in the transition from one century (16th) to the next (17th). The writers to be discussed are Thomas Nashe, Robert Burton, John Taylor the ‘Water-Poet', and Sir Thomas Urquhart. Each of the genres in which these writers operate–prose-poetry, the essay, the pamphlet, and the universal language–emerge either toward the end of the 16th century or during the course of the 17th century, and so can be said to take copious writing in new and experimental directions not fully accounted for in the current scholarship. My contribution to the literature lies principally in its focus on the emergence of these literary forms in an Early Modern English context, with an emphasis on the role played by copiousness of expression in their stylistic development and how they in turn develop the practice of copia.
15
Espericueta, José Gabriel. "Un Camino Puraficativo: Negación Sanjuanina y Desengaño en El Pastor de Nochebuena de Juan de Palafox y Mendoza." Miami University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=miami1051140872.
16
Babinski, Karla de Souza. "Representações de ciência e tecnologia em Gustavo Barroso (1909-1935): nacionalismo autoritário, eugenia e antissemitismo." Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/1641.
Анотація:
CAPESO presente estudo focaliza as representações de ciência e tecnologia no pensamento do intelectual Gustavo Barroso entre o período de 1909 e 1935. Sendo um dos principais líderes da Ação Integralista Brasileira, averiguaremos especialmente a sua visão eugênica, anterior a sua participação no integralismo e a influência dessa ciência na construção de seu pensamento autoritário e antissemita. Procuramos perceber o diálogo de Gustavo Barroso, em um contexto de profundas transformações sociais e políticas, com a busca de um nacionalismo “verdadeiramente brasileiro”. A metodologia utilizada foi a pesquisa de cunho bibliográfica e documental, destacando-se a análise dos livros de Gustavo Barroso, que foram utilizados como fontes primárias: Intelligencia das Coisas(1923), Aquém da Atlântida (1931), Brasil Colônia de Banqueiros (1934), O Integralismo de Norte a Sul (1934), O Quarto Império (1935) e A Palavra e o Pensamento Integralista (1935), além de alguns de seus artigos pesquisados no acervo do Museu Histórico Nacional. Os resultados da pesquisa demonstram que neste período Gustavo Barroso passou a desenvolver em seus escritos uma visão política autoritária, eugênica e posteriormente, no integralismo, ligada fortemente ao antissemitismo.
This study focuses on the representations of science and technology in the thinking of the Brazilian intellectual Gustavo Barroso in the period between 1909 and 1935. As one of the main leaders of the Brazilian Integralism, we will discuss,especially, his eugenic vision, prior to his participation in integralism and the influence of this science in building his authoritarian and anti-Semitic thinking. We seek to realize Gustavo Barroso dialogue, in a context of profound social and political changes, with the search for a nationalism "truly Brazilian." The methodology used was of a documentary and literature research , highlighting the analysis of Gustavo Barroso books, which were used as primary sources: Intelligencia das Coisas(1923), Aquém da Atlântida (1931), Brasil Colônia de Banqueiros (1934), O Integralismo de Norte a Sul (1934), O Quarto Império (1935) e A Palavra e o Pensamento Integralista (1935), and, also, some of his articles surveyed in the National History Museum collection. The survey results show that in this period Gustavo Barroso went on to develop in his writings an eugenic and authoritarian political vision, later, in his integralist phase, linked strongly to an anti-Semitic view.
17
Garfinkle, Elisa Shari. "The Barberini and the new Christian Empire : a study of the history of Constantine tapestries by Pietro Da Cortona." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30168.
Анотація:
This study traces the genesis and development of the History of Constantine tapestries designed by Pietro da Cortona and woven on the looms established by Francesco Barberini shortly after his return from France in December 1625. The circumstances surrounding the creation of the series provide a foundation and a framework for exploring its meaning and purpose. Though inspired by an earlier Constantine suite of tapestries designed by Rubens, the "Cortona" panels should be read as an independent entity, the significance of which can only be fully appreciated within the context of the gran salone of the Palazzo Barberini, which I propose was their intended destination. This conclusion is supported by the many links between the tapestries and Barberini ideology, papal politics, the palace and the ceiling fresco in the Salone. Like the Divine Providence fresco, the "Cortona" series is a summa of the virtues and religious, political, intellectual and social initiatives of the family. The series emerges finally as a promotionally Italian endeavour, a showcase of Italian art and culture.
18
Zhong, Xinzi. "A reconstruction of Zhū Xī's religious philosophy inspired by Leibniz: the natural theology of heaven." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/112.
Анотація:
This dissertation is aimed to set up a Confucian-style religious philosophy on the basis of Zhū Xī’s ideas. It seeks to articulate and highlight what has existed previously in some form in Zhū Xī’s Confucianism in a language which appears to be more precise for modern readers. Leibniz’s interpretations of Chinese philosophy and culture, as well as many resources in his own philosophy and Christian theology, serve to promote the realization of this aim. Zhū Xī’s religious philosophy in our reconstruction is a philosophy containing a theology of Heaven at its core, and this theology is certainly not a revealed one. These following issues are covered: 1) a theology of deities, 2) a metaphysics of the supreme being (Heaven), 3) an appropriate treatment of the ontology of lǐ2 and qì in relation to Heaven, and 4) a suitable interpretation of transcendence and immanence within human beings. The dissertation has three major parts. The first part is to argue that the worship of Heaven is special and superior to any reverence contained in the “polytheism” (which is finally philosophized by Zhū Xī as the reverence towards manifold pneuma) revealed in the Confucian sacrificial system. At the same time, it explores how the faith in various spirits or deities can be consistent with a belief in Heaven. The second part shows that it is fundamental to see Zhū Xī’s Heaven as a substance, so that one is able to attribute to it qualities and properties, even before there is any decision about whether or not to regard Heaven as a person. Among Heaven’s qualities, we choose its work (gōng) and virtuousness (dé) as its most prominent features to expound. In the light of Heaven’s virtuousness, a theodicy of Heaven is constructed. The third part is devoted to a discussion of the nature of human beings as well as of our fellows in the natural world, especially in relation to Heaven. Zhū Xī offers two perspectives for understanding humanness: one by studying the nature of xīn (“heart-mind”), and the other, the composite nature of hún-pò (or guǐ-shén, “souls”). We choose to plunge into the latter perspective, something comparable with Leibniz’s theories of soul. In the concluding chapter major features or facets of this reconstruction of Zhū Xī’s religious philosophy and its relevance to modern times are stated in a concise and relatively bold way.
19
Espericueta, José Gabriel. "Un camino purificativo negación sanjuanina y desengaño en El pastor de nochebuena de Juan de Palafox y Mendoza /." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1051140872.
20
Condon, Liam. "John Dunton : print and identity, 1659-1732." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669920.
21
Richholt, Heather, and University of Lethbridge Faculty of Arts and Science. "Noble comportment and the evolution of social order in the work of M. de la Chetardye." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2001, 2001. http://hdl.handle.net/10133/361.
22
Criswell, Christopher C. "Networks of Social Debt in Early Modern Literature and Culture." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc799514/.
Анотація:
This thesis argues that social debt profoundly transformed the environment in which literature was produced and experienced in the early modern period. In each chapter, I examine the various ways in which social debt affected Renaissance writers and the literature they produced. While considering the cultural changes regarding patronage, love, friendship, and debt, I will analyze the poetry and drama of Ben Jonson, Lady Mary Wroth, William Shakespeare, and Thomas Middleton. Each of these writers experiences social debt in a unique and revealing way. Ben Jonson's participation in networks of social debt via poetry allowed him to secure both a livelihood and a place in the Jacobean court through exchanges of poetry and patronage. The issue of social debt pervades both Wroth's life and her writing. Love and debt are intertwined in the actions of her father, the death of her husband, and the themes of her sonnets and pastoral tragicomedy. In Shakespeare’s The Merchant of Venice (c. 1596), Antonio and Bassanio’s friendship is tested by a burdensome interpersonal debt, which can only be alleviated by an outsider. This indicated the transition from honor-based credit system to an impersonal system of commercial exchange. Middleton’s A Trick to Catch the Old One (1608) examines how those heavily in debt dealt with both the social and legal consequences of defaulting on loans.
23
Hoyer, Steven. "Intention and interpretation." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68104.
Анотація:
This thesis is in two chapters. Chapter one is about intentions. Literary theorists have, by and large, dismissed their relevance to interpretation, so it will be useful to consider what exactly is being ignored. Therefore, I devote chapter one to a clarification of the nature and role(s) of intention within the interlocking network of basic propositional attitudes. I argue that intentions incorporate both a functional and a representational dimension, triggering actional mechanisms and structuring the process of practical reasoning.Chapter two is about interpretation. I open the chapter with an examination of extreme conventionalist theses, arguing that their success depends on an unjustifiably strict demarcation between intentionality and textuality. Appropriating aspects of Donald Davidson's work in the philosophy of language, I argue for the recognition of linguistic communication as a form of intentional action. I then defend this thesis against more moderate conventionalist theories to offer a viable approach to the interpretation of literary works.
24
Anger, Suzy. "Victorian hermeneutics and literary interpretation /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/9374.
25
龍潤華. "陳子龍與幾社研究 = The research of Chan Chi-Long and Ji She". Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1636966.
26
Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.
Анотація:
This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
27
Turner, Seth. "Revelation 11:1-13 : history of interpretation." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:57efe3b3-7c61-412f-9001-5269860a896d.
Анотація:
The thesis provides a descriptive survey of the history of interpretation of Revelation 11:1-13. Prior to 1000 AD it aims to be comprehensive, but after this date concentrates on Western interpretation. Ch. 1 - Prior to 1000 AD. Rev 11:1-13 is examined in relation to the wider complex of traditions concerning Antichrist and the return of Enoch and Elijah. The commentary tradition on Revelation is examined, including an extensive reconstruction of Tyconius. The passage is applied in two ways: 1. to two eschatological figures, usually Enoch and Elijah. 2. to the Church from the time of Christ's first advent until his return. Ch. 2 -1000-1516 Exegesis similar to that of chapter 1 is found. There is new exegesis from Joachim of Fiore, who believes that the two witnesses will be two religious orders, and Alexander Minorita, who reads the entirety of the Apocalypse as a sequential narrative of Church history, arriving at the sixth century for 11:1-13. Ch. 3 -1516-1700 Protestants interpret the beast as the papacy/Roman Church, and the two witnesses as proto-Protestants prior to the Reformation, often interpreting their 1260 day ministry as 1260 years. Catholics respond by applying the passage either to the eschatological future or the distant past. Ch. 4 -1701-2004 Protestants continue to see the 1260 days as 1260 years, although this interpretation declines markedly in the nineteenth century. Both Catholics and Protestants apply the passage to the distant past of the early Church. Historical critical exegesis introduces a new exegesis, where John is regarded as having incorrectly predicted the return of two individuals shortly after his time of writing. Applications to the entirety of the time of the time of the Church increase in popularity in the twentieth century.
28
Nicol, George Grey. "Studies in the interpretation of Genesis 26.1-33." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:8fff7ce7-9a50-4011-9f54-5776c84aa36a.
Анотація:
These Studies in the interpretation of Genesis 26.1-33 are concerned with a relatively brief and well defined section of biblical Hebrew narrative, and following an Introduction are divided into two parts reflecting literary and historical interests respectively. The Introduction takes note of the current interest among Old Testament scholars in the literary interpretation of the biblical materials and, after opting for an approach which will take account of both literary and historical-critical enquiry, outlines the procedure which will be followed. No logical priority is claimed for literary analysis, although it is considered appropriate that it should be pursued prior to any historical enquiry. In this way, it has been possible to avoid any suspicion that literary analysis of the type pursued here is a further development of the historical-critical method. Part One (Chapters One - Four) is concerned to construct a literary interpretation of the text of Gen 26.1-33. The interpretation consists of three main studies of the Isaac narrative which are followed by a brief discussion of certain aspects of the method involved. This interpretation has developed in the main from a reflection upon the relationship which appears to exist between the promise made to the patriarch by the deity and the surrounding narrative material. Beginning from a literary-structural analysis of the Isaac narrative, it has been possible to observe that a number of relationships of a literary and structural nature exist between the promise and the surrounding narrative materials. The exploration of these relationships discloses a series of tensions between the promise and the narrated events which in one way or another seem designed to bring the fulfilment of different aspects of the promise under threat, and each of these tensions are resolved in turn in the narrative. Thus, even even if the events narrated appear to run counter to the direction of the promise, it is in the exploration of this dialectic which is set up between promise and those narrative events which tend to threaten the fulfilment of the promise that the beginnings of a satisfactory literary interpretation of Gen 26.1-33 is to be found. The literary interpretation of the Isaac narrative is carried out in three stages. In the first stage (Chapter One), the extent of the material under consideration is narrowed down to Gen 26.1-33, and other material (notably Gen 25.19-26) is excluded. Once the narrative structure has been analyzed in terms of divine promise, threat, and (partial) resolution, a further brief examination of the narrative context of the other divine promise sections in Genesis 12-36 shows that the literary technique of juxtaposing these same three elements has in fact been applied more widely, even if it is most clearly evident in Gen 26.1-33. An analysis of the role Rebekah plays in the wife-sister episode shows that she is clearly a subsidiary character, and that in the narrative Abimelech the Philistine king of Gerar and Isaac's antagonist throughout is the character closest in importance to Isaac. Indeed, in many respects the narrative appears to explore the relationship which exists between Isaac and the Philistine king. A number of literary features which enhance the impression of unity which has already been gained from the structural analysis are examined. In particular, a number of narrative transformations are seen to take place between the beginning and the end of the narrative. These are largely concerned with the situation of Isaac in relation to Abimelech. At the beginning of the narrative Isaac comes to Abimelech at Gerar and is dependent on the latter's good will for his wellbeing. But at the end of the narrative, Abimelech comes to Isaac at Beersheba, in order to participate in the blessing enjoyed by the Patriarch. In the second stage (Chapter Two), the structure of each of the episodes which combine to form the Isaac narrative is examined, using a form of structural analysis used by Bremond in relation to the fairy tale, but which is also appropriate to the analysis of other simple forms of narrative. This examination, which I have used to determine whether the individual episodes maintain a comic or tragic function within the Isaac narrative, is carried out without prejudice to the assumption that the narrative is a unity at some level. One of the impressive features of the Isaac narrative is that the Patriarch does not achieve his good fortune at the expense of Abimelech and his people, but the Philistines also prosper, and it is seen that this effect has been achieved by means of paradox. The discussion of the individual episodes leads to the conclusion that the ability of the narrative as a whole to generate meaning is greater than the sum of its parts. In the third stage (Chapter Three), I have attempted to construct an appropriate 'narrative background' against which the text may be understood. This exercise involves the careful observation of such signals as are raised in the text and appear to direct one's attention to materials elsewhere in the tradition, and particularly among the narratives of Genesis 12-25, which may combine to serve as a background against which the Isaac narrative may be understood, and which might properly enrich one's understanding of the text. This undertaking begins from the point that no text may be properly understood from within a vacuum, and that while it is proper to begin such a literary-structural investigation as has been undertaken in this Thesis from a detailed study of the text itself, it has been considered necessary to go on from there and to provide a richer understanding of the text. The formation of a 'narrative background' is to be distinguished from the method of 'narrative analogy' (Miscall, Alter) so far as it takes the canonical ordering of the narratives more seriously. Part One is concluded with the discussion of a number of methodological issues in Chapter Four which forms an attempt to say something about the aims and validity of the analyses set out in Chapters One-Three. There is no concern, however, to resume systematically issues which have already been raised in the earlier chapters. In Part Two, I have addressed some of the more usual historical concerns of biblical studies. The first main part of Chapter Five is concerned with the form-critical discussion of the Isaac narrative. An examination of the form-critical studies of Lutz. and Coats is followed by an analysis of the structure and content of Gen 26.1-33. The analysis is then filled out by a broad discussion which is informed to some extent by the earlier discussion of Chapter One, particularly by the degree to which the various episodes were there seen to be related to each other. The fact that, apart from vv 1-6, the episodes all required assumption of information provided by one or another of the preceding episodes in order to appear coherent suggests that the unity of Gen 26.1-33 is perhaps more than the result of a collector stringing them together in terms of the common theme "Isaac and the people of Gerar". This observation sets an obvious limit against the usual formcritical criterion which holds that the most original units were concered to narrate only single episodes. Throughout this discussion the results of current studies in folklore which have led to much uncertainty concerning the stability of oral transmission so that it is no longer possible to be so confident in the antiquity of the pentateuchal tradition were taken for granted. The traditio-historical question of priority is examined, and it is concluded that Abraham is in fact prior to Isaac.
29
Bennett, Richard. "Variations : influence intertextuality, and Milan Kundera, Jean Rhys, and Tom Stoppard." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26254.
Анотація:
This thesis is in three chapters. Chapter one is about Harold Bloom's theory of the Anxiety of Influence. Bloom's argument is that literary history is shaped by the anxiety of "strong" poets at their belatedness. I show that he depends upon a subjective interpretation of literary production in order to defend a rigidly traditional canon.Chapter two deals with theories of intertextuality, principally those of Julia Kristeva and Michael Riffaterre. As alternatives to theories of influence, neither proves satisfactory. Both founder on the contradictory goal to explain all literature, at the expense of recognizing literary diversity.
Chapter three concerns literary variations. These are texts which are deliberately premised on pre-existing texts. I focus on three examples from this class of literary texts which is not satisfactorily dealt with by any of the theories I consider. I pursue a less wide-ranging approach in order to unearth important features of literary variations.
30
Maier, Christoph Cornelius [Verfasser]. "Dr. Johannes Franc (1649 - 1725) : Transkription, Übersetzung, Diskussion und Interpretation ausgewählter Kapitel aus dem Bereich der Dermatologie und der Inneren Medizin des Praxisjournals des Ulmer Arztes Dr. Johannes Franc (1649 - 1725) / Christoph Cornelius Maier." Ulm : Universität Ulm, 2018. http://d-nb.info/1166756505/34.
31
Graham, Catherine (Catherine Elizabeth). "Standpoints : the dramaturgy of Margaretta D'Arcy and John Arden." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60621.
Анотація:
The political popular theatre which has developed in the West since the 1960s challenges the current hegemony in Western cultures by attacking its basic models of knowledge, yet little critical attention has been paid to the dramaturgies particular to this form. An application of the Possible Worlds theory, the concept of ludic framing, and feminist "standpoint" theory to the Irish stage plays written by Margaretta D'Arcy and John Arden after they left the "legitimate" stage, shows how the dramaturgy of this theater is a critical part of its strategic challenge to the status quo. This analysis shows how D'Arcy and Arden foreground the encompassing Theatre Possible World, within which the performance takes place, in order to cast doubt on the natural character of generally accepted meanings, and to induce the audience to consciously choose the frames within which it makes sense of action.
32
Petersen, Jeffrey J. 1981. "Playful Conversations: A Study of Shared Dynamics Between the Plays of Paula Vogel and Sarah Ruhl." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10155.
Анотація:
vii, 130 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Pulitzer Prize winning playwright Paula Vogel, playwright and educator, has blazed a trail in American theatre, opening new avenues for female playwrights. In 2005 Vogel's student Sarah Ruhl burst onto the scene with her play The Clean House. As one of the most produced playwrights of 2005, Ruhl has been celebrated as the new voice of American theatre. There are similarities, as might be expected between teacher and former student, but some of the similarities suggest something more: a dynamic shared between Vogel's and Ruhl's plays which suggests an ongoing theatrical conversation and may suggest directions for future American drama.
Committee in Charge: Dr. John Schmor, Chair; Dr. Jennifer Schlueter
33
Kilian, Monica. "The exile's experience : an examination of the poetry of Hilde Domin and Waclaw Iwaniuk." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26855.
Анотація:
This thesis examines the effect of the experience of exile on the German poet Hilde Domin and the Polish poet Waclaw Iwaniuk. Their involuntary exile, their departure from their respective native cultures and languages has affected them profoundly, both as individuals and as poets. The exiled poet lives in the conflicting world of the exile: on the one hand, he attempts to maintain his close ties to his native language and culture, while on the other hand, he is constantly assailed by the demands of his new and alien environment. He is thus plunged into a crisis of identity. This thesis examines this crisis by concentrating on the aspect of language as a reference point of the poet's identity.
Through a close examination of a selection of the poetry of Domin and Iwaniuk, I have attempted to discover how they express their personal experiences of exile, which problems they are most concerned with, and, finally, how they attempt to solve these problems. Their poetry expresses similar concerns, such as feelings of insecurity, instability and loss, as well as a wish to recover a sense of security. Both Domin and Iwaniuk are aware of the danger of becoming poetic nonentities in their exile, because their link with their native language is threatened. Recognizing the poet's power to find security in his language (which in turn enables him to reassert his identity through his poetry), they both attempt, in different ways, to preserve their identities as poets by writing. Domin is on the whole more successful than Iwaniuk in defining herself through her language. She believes that language is an inseparable part of her, which naturally finds its expression through her writings. Iwaniuk, on the other hand, is more self-conscious about his language; the preservation of his native language as his poetic tool takes the form of struggle. This fact is not only reflected in the content of the two poets' poetry, but also in its form and style: Domin's language and poetry seem generally more spontaneous and harmonious, whereas Iwaniuk's language and poetry appear to be chiselled intellectually, as if it resisted the author's efforts.Arts, Faculty of
English, Department of
Graduate
34
Murray, Jessica. ""Notes for the Manual Assembly"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157616/.
Анотація:
A collection of poems that seeks the balance between imagination and reality that Wallace Stevens calls for in art, with a preface exploring Elaine Scarry's On Beauty and Being Just through the work of two contemporary poets.
35
Loevlie, Elisabeth M. "Literary silences : saying the unsayable: an exploration of literary silence in the works of Pascal, Rousseau and Beckett." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365530.
36
Bailey, Catherine Diana Alison. "Mending the web : a thematic study of Xu Dishan’s fiction." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25343.
Анотація:
This thesis is a thematic study of the work of the early Twentieth Century Chinese writer Xu Dishan (Luo Huasheng) (1894-1941). The title, "Mending the Web," is at once a reference to a specific story by Xu and an indication of the importance he placed on spiritual values in a changing world. His work represents a modest search for a solution to the dislocation of his society - his own attempt to mend the broken web of modern China. In his work Xu promoted personal solutions and individual salvation rather than the whole scale transformation of society. He stressed the importance of working for change within a given framework - he was a reformer, not a revolutionary, a moderator searching for a synthesis based on universal values rooted in both the Chinese and Western traditions. The values upheld in his fiction are uncompromising - one must follow one' s conscience, accept duty and responsibility calmly, show charity and forgiveness
and, above all be true to oneself.
Xu1s stress on personal and spiritual solutions marks him out from the majority of his iconoclastic contemporaries who advocated wholesale social change. In Chapter One, I try to provide an historical and ideological context for Xu, a comparative background from which to examine him in relation to his contemporary writers and the times in which he lived.
The value Xu placed on a unifying framework, or a sense of order to replace chaos, is made apparent in Chapter Two, where I discuss his quest for values and the romance and mythopoeic modes which inform much of his work. In particular I look at the quest themes which influence the structure and message of his stories, concentrating primarily on an analysis of "Yuguan" and "A Daughter's Heart" based on an extrapolation of the "monomyths" of Joseph Campbell and Northrop Frye. I examine the influence of Christianity on Xu's work, his emphasis on a strongly moral vision and his search for an affirmation of life and the individual's potentiality for goodness.
In Chapter Three I analyse Xu's attitude to life and fate in relation to his use of the coincidence motif which acts in his stories as a catalyst and test for action. The coincidence makes the world small, and thus provides a testing ground for characters' actions. A vital element in this is the concept of baoying or requital, whereby an individual is responsible for his or her actions and is judged accordingly. Xu believed an individual has a responsibility to make the best of an unknown fate, but still to work within given limits to have an influence for the good. A strong moral grammar informs Xu's work, providing a framework for judging the acts of his characters.
In Chapter Four I look at Xu's use of female protagonists to embody his philosophy of life. Women like Yuguan and Chuntao represent Xu's ideals in their most specific form, embodying that sense of affirmation and hope so central to Xu' s work and offering models of human potentiality, an optomistic vision of life as it could be.
In the conclusion I touch on the role of morality in Xu's fiction. His work is deeply moral in orientation and offers an interesting contrast to that of his contemporaries equally engaged in writing fiction for a purpose. Xu's concern for spiritual values was almost unique among writers of that period. His fiction is primarily a fiction of ideas and his themes and messages dominate. He was searching for a solution to the dislocation of his society, as were his contemporaries,
but he did not suggest a radical social transformation
but rather to work within the existing framework. He looked for personal solutions, believing in the innate capacity of the human being to change for the better. He advocated change, but stressed that it must first come individually,
through the development of self-knowledge, on a modest scale, before the world can be transformed. His solution was modest yet profound, and filled with hope.Arts, Faculty of
Asian Studies, Department of
Graduate
37
Marais, Susan Jacqueline. "(Re-)inventing our selves/ourselves : identity and community in contemporary South African short fiction cycles." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016357.
Анотація:
In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.
38
King, Noel. "Anxieties of commentary : interpretation in recent literary, film and cultural criticism /." Title page, table of contents and abstact only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09phk532.pdf.
39
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.
Анотація:
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.
40
Wetzel, Rebecca L. "ADAPTATION AND INTERPRETATION: A STUDY OF THEATRICAL BANDE DESSINEE." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1563987098560659.
41
Greenlee, Christine Lund Koch. "The Constantian orations : a contextual analysis of self-presentation in Libanius' 'Orr.' 59, 11, 61 and 31." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/15923.
Анотація:
A total of sixty-four orations survive from the hand of Libanius. Four of these speeches were delivered under the reign of Constantius II (AD 337-361) and thus form a distinct chronological cluster in the Libanian corpus. The Constantian orations include Or. 59 To Constantius II and Constans (AD 346-9), Or. 11 The Antiochikos (AD 356), Or. 61 Monody on Nicomedia (AD 358), and Or. 61 For the teachers (AD 360-1). This study adopts a diachronic approach and analyses the historical and literary context of each Constantian oration with a particular focus on Libanius' self- presentation. The study suggests that Libanius' self-presentation was characterised by adaptability and versatility; it shows Libanius exploring a range of different genres and communicating with attentiveness to context and audience. The thesis also argues that Libanius' attitude to and engagement with Constantius' court fluctuated significantly from the delivery of Libanius' panegyric in the mid- to late 340s where Libanius supported Constantius after his defeat in the battle of Singara, over Libanius' encomium to Antioch in 356 where Libanius emphasised the strong connection between the Emperor and the city following the devastating reign of Gallus Caesar, to the delivery of For the teachers in 360-361, where Libanius publically voiced his criticism of the Emperor's cultural and religious policies after Libanius himself had lost imperial funding. Furthermore, the study displays the continued importance of oratory in Late Antiquity and emphasises the central role of sophists both as commentators and mediators in society.
42
Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
Анотація:
In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
43
Pryor, Caitlin. "Vanishing Act." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801936/.
Анотація:
This dissertation is comprised of a collection of poems preceded by a critical preface. The preface reconsiders the value of discontinuous poetic forms and advocates a return to lyric as an antidote to the toxic aspects of what Tony Hoagland terms “the skittery poem of our moment.” I consider poems by Wendy Xu, Kevin Prufer, Sharon Olds, and Stephen Dunn in depth to facilitate a discussion about the value of a more centrist position between the poles of supreme discontinuity and totalizing continuity. Though poets working in discontinuous forms are rightly skeptical of the hierarchies that govern narrative and linear forms, as Czesław Miłosz notes in The Witness of Poetry, “a poet discovers a secret, namely that he can be faithful to real things only by arranging them hierarchically.” In my own poems, I make use of the hierarchies of ordered perception in lyric and narrative forms to faithfully illuminate the collapsed structures of my own family history in the shadow of Detroit. I practice the principles I advocate in the preface, using a continuous form to address fractured realities in a busy, disordered age when poets often seek forms as fragmented as their perceptions. These poems are distinctly American, but because there is no true royalty in America, our great cultural and economic institutions—television, music, film, magazines, and big business—take the place of the castle (the book’s emblem) while Michael Jackson ultimately rises as the commanding dead king whose passing prompts contemplation of the viability of popular culture, family, history, and geography. The fallen structures that litter the work are many: the twin towers, chess rooks, bounce castles, nuclear families, the auto industry. However, the sole structure cohering the whole is that of a lyric voice whose authority is derived through lived experience and presented in rich, continuous poetic forms.
44
Scowcroft, Ann. "Escaping the hegemony of the written word : Canadian women writers and the dislocation of narrative." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61803.
45
Léger, Ariane. "Le maître à écrire selon Valéry, Pessoa et Jaccottet /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115622.
Анотація:
The main objective of this study is to understand how Valery, Pessoa and Jaccottet created or recreated the figure of the master. This figure has truly made its entry into the literary scene in the second half of the nineteenth century, and it contributed to impose a profane and more egalitarian vision of writing. In the writing of the three authors studied, the master is still seen as a strategy to develop a concept of creation, since it allows the writers to define their poetic. It is therefore a matter of maitres a penser (literally "thinking masters") or, better yet, maitres a ecrire ("writing masters").For Valery, the desire to make Mallarme his master is best explained by his search for mastery. Even if he is eager to understand what makes Mallarme an exceptional creator, Valery's quest is hindered by Mallarme's refusal to explain his poetic. This resistance seems to encourage Valery to make the creative act a major concern of his work.
By coming up with a "non-existent coterie" made up of imaginary writers, and by recognizing one of them as his own master, Pessoa hopes to fill the gaps in his literary filiation. In the concert of voices that compose his work, it is yet the master himself which undermines the very legitimacy of the master, and that is why Pessoa finally gets rid of his invention.
Finally, Jaccottet creates his masters for the learning they could provide to him: in Jaccottet's unique story, the character of the master fails, allowing the poet to take his distance from assumptions related with the romantic vision of creation; then, a "good master" whose agony is described by poems becomes a model whose wisdom is inseparable from a kind of ignorance.
The presence of the master generates a story elaborated from the writings of these writers: the development of their poetic requires not only the creation of a master figure, but also its removal. Ultimately, the maitre a ecrire is not only one who induces writing in a unique way, but also the one which should be written in order to succeed.
46
Ingham, David Keith. "Mediation and the indirect metafiction of Randolph Stow, M. K. Joseph, and Timothy Findley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25819.
Анотація:
In order to explore the range of indirect metafiction as presented in three exemplary novels, this dissertation begins by examining how the assumptions of "realism" on the one hand and "postmodernism" on the other relate to the paradigmatic triad of story-teller, story, and audience. From this context emerges the view that the range of metafiction is determined by how it reveals the processes and nature of fiction according to a spectrum of mediation: that of the writer between his "raw materials" and the text, that of the text between writer and reader, and that of the reader between the text and his interpretation.
Indirect metafiction (or "pretend realism") mediates between realism and postmodernism, revealing without breaking the illusions of realism.
Each of the next three chapters, after initially placing the key novel within the context of the author's work as a whole, discusses in detail a novel whose metafictional focus is on one of the three mediations. Accordingly, Chapter II focusses on Randolph Stow's The Girl Green as Elderflower (1980) and on the way it reveals the mediation of the author by presenting a writer's fiction as a synthesis of his personal and literary experiences. Chapter III notes how M. K. Joseph's A Soldier's Tale (1976) reflects the mediation of the reader by depicting a writer's interpretation and literary redaction of an oral tale. And Chapter IV shows how Timothy Findley's Famous Last Words (1981) demonstrates the mediation of the text by presenting a writer whose text "crystallizes" the illusions of fiction, then undercuts and exposes them. The analyses of the key texts employ both postmodern and traditional critical approaches, demonstrating them to be complementary; by noting the interpenetration of metafictional and traditional import and significance, the analyses also highlight the mediary nature of indirect metafiction.
The fifth chapter draws theoretical conclusions from ideas in the practical chapters: from metafictional revelations through the paradigm of mediation comes an "anatomy" of fiction, delineating its elements; from a sense of how the mind "structures" experience through "fictional" representations of both "reality" and fictional texts comes a "physiology," a sense of how fiction works through language. This discussion leads to definitions of realistic, unrealistic, and self-conscious fiction, and of metafiction, both direct and indirect; the dissertation concludes by remarking on the inter-relations of language, "fiction," and "reality."Arts, Faculty of
English, Department of
Graduate
47
Davies-Browne, Bankole P. "The significance of parallels between the 'Testament of Solomon' and Jewish literature of late antiquity (between the closing centuries BCE and the Talmudic era) and the New Testament." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2685.
Анотація:
The TSol is a Christian composition of late antiquity which narrates the story about how King Solomon built the Temple of God with the aid of demons he subjugated. Comparative analysis between the TSol and Jewish literature of late antiquity (between the closing centuries BCE and the Talmudic era), and the New Testament is primarily to establish any literary dependence and explore the nature of contact between the TSol and these materials; and also to isolate Jewish elements in the TSol. The Jewish materials discussed are the Hebrew Bible, the LXX, Tobit, Wisdom of Solomon, Pseudo-Philo, certain Qumran documents (11 PsApa and the Copper scroll), Josephus' Jewish Antiquities, Ecclesiastes, Proverbs, Song of Songs, rabbinic literature, and certain Aramaic incantation texts. My research has shown that parallels do exist between the TSol, the Jewish literature discussed and the New Testament. The parallels between the TSol and the aforementioned literature are twofold: verbal and conceptual. Verbal parallels occur in the form of technical terminology; quotations, allusions and echoes. The second type of parallels appears in the form of motifs, themes, structural elements and ideas. These parallels seem to dominate in my analysis. There is no need to explain the parallels between the TSol and the literature discussed in terms of literary dependence. I have attempted to demonstrate that these parallels in most of the literature are indicative of indirect influence through shared use of the biblical tradition: motifs, stories and themes regarding King Solomon; a common fund of oral tradition(s) regarding Solomon's magical power over demonic world; shared literary language, milieu, and cultural conventions. Moreover, the author of the TSol seems to have recycled Jewish materials pertaining to Solomon and related motifs in his work. Apart from the New Testament, the best case for a direct influence of a Jewish work on the TSol is Tobit.
48
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.
Анотація:
Thesis (MPhil)--University of Stellenbosch, 2003.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.
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.
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.
49
Fisher, Susan Rosa. "A genre for our times: the Menippean satires of Russell Hoban and Murakami Haruki." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25047.pdf.
50
Vrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
Анотація:
This thesis examines the literary dream in selected works by Kafka, Kubin, Meyrink, Musil and Schnitzler, with a particular focus on the redefinition of subjectivity through dreamlife. The introductory chapter contextualises these case studies in the broader field of oneirocriticism, emphasising the dream's ancient role as fixtional template and its specific significance in the destabilised environment of German Central Europe during the early twentieth century. Alfred Kubin's Die andere Seite (1909), which uses the 'other side' as metaphor for both oneiric and artistic experience, reveals the inherent dualism of the literary dream and its close relationship with creativity. In Robert Musil's Die Verwirrungen des Zdglings Tdrlefi (1906), the protagonist serves as the model for a new type of self-determining subject who draws on the knowledge of dreams and irrationality. Franz Kafka's texts reveal techniques for integrating the dream into fictional worlds that are already dreamlike through the prevalence of (literalised) metaphor and free association. Gustav Meyrink, in Der Golem (1915), shares Kafka's interest in concretised metaphor, but also explores the dream's associations with occult practices, used as a defence against the threatening claims of science. Finally, Arthur Schnitzler's literary dreams offer a direct confrontation with psychoanalysis and a dismantling of nineteenth-century ideals of gender and bourgeois love. Overall, it is argued that the literary dreams by these authors hold varied responses to fragmentation of the Ich in the face of psychological 'vivisection', theories of relativity, and the collapse of old social orders. The dream, as a nightly 'psychosis', crystallised the pervasive fears of self-loss during this period; however, in its perennial role as micro-narrative, it also provided a site for re-construction of the subject. The incorporation of dreams in fictional lives served as a metonymical guide for the integration of un- and subconscious experience overall.