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1
Haspel, Jane Seay. "Dirty Jokes and Fairy Tales: David Mamet and the Narrative Capability of Film." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278457/.
Повний текст джерелаАнотація:
David Mamet is best known as a playwright, but he also has a thriving film career, both as screenwriter and as director. He has taken very seriously each of these roles, formulating theories that, he suggests, account for the creative choices he makes. Though Mamet sometimes contradicts himself, as when he suggests that viewers should have the satisfaction of constructing their own meaning of a work, but at the same time is devoted to montage, which works by juxtaposing images that lead to a single interpretation, he clearly sees the story as a critical avenue into the spectator's unconscious, where he hopes it will resonate with a truth that speaks directly to the individual. His films House of Games, Things Change, and Homicide clearly reflect his ideas on the best ways of conveying a story on film. In House of Games, Mamet draws on Bruno Bettelheim's theories to construct a fairy tale designed to act on adult viewers in the same way that fairy tales act on the child. In Things Change, he creates a fable that explores issues of friendship and honor within the milieu of the gangster genre. And in Homicide, Mamet uses the expectations viewers bring to the theatre in anticipation of a genre film to explore themes of loyalty and identity. In Oleanna, however, Mamet relies heavily on exposition and dialogue, rather than the visual elements that separate the film from drama, which renders the film the antithesis of his long-held philosophy of film narrative. Mamet's best film work, in House of Games and Homicide, has been innovative and thought-provoking, bringing depth to the new noir and redefining the cop film. His work in Oleanna, though it may prove to be an anomaly, may suggest a surrender of his principles of filmmaking or a reformulation of them to fit some new vision.
2
Latouche, Pierre-Edouard. "L' art de choisir un sujet dans la peinture d'histoire de Jacques-Louis David (1748-1825)." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26236.
Повний текст джерелаАнотація:
The choice of subject for a history painting, long considered motivated by dramatic considerations, appears to be also, in the light of numerous documents, the expression of the painter's craft. The following study will attempt to demonstrate this aspect in the oeuvre of Jacques-Louis David and, in particular, in The Oath of the Horatii.
3
Fagan-Cannon, Amy L. "Culinary Tourism with Anthony Bourdain: Cultural Colonialism, Masculinity and the Exotic "Other"." Fogler Library, University of Maine, 2009. http://www.library.umaine.edu/theses/pdf/Fagan-CannonAL2009.pdf.
Повний текст джерела
4
Egers, Wayne. "David Cronenberg's body-horror films and diverse embodied spectators." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82863.
Повний текст джерелаАнотація:
This dissertation is an interdisciplinary study of David Cronenberg's body-horror films in relation to their embodied spectators. In these films, the horror is not only about the vulnerability of the mortal body, but also about the horrific consequences of organizing culture around the philosophical splitting of the mind from the body. To analyze this relationship, I utilize Merleau-Ponty's phenomenology of the body, object-relations psychoanalysis, especially D. W. Winnicott's theory of the intermeshed psyche-soma, various pro-feminist approaches to horror films, and a concept of ideology informed by nonverbal communication research. The historical arc of Cronenberg's body-horror films has produced a unique cultural record of the impact of technological change on physical bodies through dark fantasies of biological-medical technologies in Shivers, Rabid, The Brood, and Scanners; video communication technologies in Videodrome; and genetic-engineering technologies in The Fly .My primary thesis is that Cronenberg's body-horror films encourage spectators to "read" not only with their rational-cognitive skills but with their embodied experience as well, which includes emotional and sensory memories, and fantasies, both archaic and contemporary. Cronenberg's appeal to an integrated psyche-soma reading is crucial for understanding how the culturally induced splitting of the mind from the body impacts on working class resistance to exploitative ideology.
In chapter one I argue that the diverse and contradictory readings of Cronenberg's body-horror films are possible, because of the interdependence of the cinematic text, historical and cultural context, and the embodied experience of spectators-critics. Chapter two is a preliminary step towards developing an alternative theory of the horror film spectator, by exploring the productive tension between an active, creative and embodied real viewer, and an ideologically determined, ideal subject of the cinematic apparatus. Chapter three compares Cronenberg's fantasy of metamorphosis body-horror to the fantasy of "leaving the body behind" depicted in many contemporary cyborg films. Chapter four is a series of close readings, analyzing how Cronenberg embeds "imaginary spectators" into his body-horror films through interweaving the body language of his characters and the nonverbal communication of the mise en scene with narrative strategies formulated through the plot.
5
Barnes, Jennifer Michelle. "Images of distant lands : a comparison of the compositional techniques used by Georges Bizet and Felicien David to portray the exotic in their operatic works." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1221301.
Повний текст джерелаАнотація:
Georges Bizet (1838-1875) is best known for his operatic masterpiece, Carmen, but his other works have received much criticism. Much of this criticism stems from the belief that his work was simply derivative of other composers, including the father of French musical exoticism, Felicien David (1810-1876). However, there has never been any formal study comparing the two composers' compositional techniques.The purpose of this study is to compare the approaches that both Bizet and David took to portray the exotic in their operatic works, and to categorize any differences or similarities between the two composers' styles. The operas chosen for this study include Bizet's Les Pecheurs de perles (1863) and Djamileh (1872), as well as David's La Perle du Bresil (1851) and Lalla-Roukh (1862). Detailed historical background and musical analysis will be provided for each opera.School of Music
6
Nettelbeck, Amanda E. ""The darkness at our back door" : maps of identity in the novels of David Malouf and Christopher Koch /." Title page, table of contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phn4731.pdf.
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7
Van, Wyk Ilse-Mari, and Wyk Ilse-Mari Van. "A style analysis of David Baker's composition for cello and percussion: "Singers of Songs-Wears of Dreams"." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624861.
Повний текст джерелаАнотація:
David Baker is a prominent American composer, noted for his fusion of jazz elements with western art
music. The focus of this study is on his composition for cello and percussion, Singers of Songs-Weavers of Dreams, where this fusion is particularly evident.
Baker's writing for the cello is most innovative and of considerable historical significance. Firstly, he introduced the cello to the realm of jazz, and secondly, revolutionized fingering patterns in order to accomodate jazz modal sequences and improvisational
patterns.
This composition is truly a milestone in the cello literature, unprecedented in style and technical innovation, and deserving of more attention.
8
Grimanis, Catherine. "The narrator in D.H. Lawrence's travel fiction : nostalgia, disillusion, and vision." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61874.
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9
Tapley, Lance. "A Universal and Free Human Nature: Montaigne, Thoreau, and the Essay Genre." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/TapleyL2002.pdf.
Повний текст джерела
10
Balcerak, Jonathan M. "The binary nature of relationships in two David Mamet duologues : A life in the theatre and Oleanna." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1020179.
Повний текст джерелаАнотація:
Although David Mamet is one of the most frequently studied of the postmodern American playwrights, scholarly criticism has neglected to examine the dynamic that is unique to his two-person plays, or duologues. This study explores various aspects of that duologic dynamic, concentrating on two of Mamet's two-person plays, A Life in the Theatre and Oleanna. The relationships in both plays are sustained by the characters' desire for power. As is typical of a Mametian play, power is obtained through language and dialogue. The fact that there are two characters in each of the plays serves to intensify the conflict and to remind the audience of the binary nature inherent in drama.Department of English
11
Wyile, Herb 1961. ""Now you might feel some discomfort" : regional disparities and Atlantic regionalism in the writings of David Adams Richards." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65552.
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12
Piper, Adam. ""Chained in a cage of the self" : narcissism in David Foster Wallace's Infinite jest." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2012, 2012. http://hdl.handle.net/10133/3343.
Повний текст джерелаАнотація:
Loneliness, unhappiness, and discord pervade David Foster Wallace’s novel Infinite Jest.
Parental neglect and abuse, drug and alcohol addiction, and obsession with entertainment
all work to increase characters’ narcissism and self-absorption. This increased narcissism
prevents characters from developing meaningful relationships, and this absence of
meaningful relationships contributes to the feeling of sadness that plagues the
Organization of North American Nations. Rather than confronting reality and working to
overcome their sadness by attempting to form meaningful relationships, characters
instead seek to escape this sadness through the various fantasies provided by drug-use
and entertainment. These fantasies only work to exacerbate characters’ self-absorption
and narcissism which consequently increases their unhappiness. Certain characters are
able to break free of these narcissistic impulses by turning outwards to form meaningful
relationships. As these characters break free of the “cage of the self” (777), they
experience a sense of meaning and happiness that other characters are without.iv, 114 leaves ; 29 cm
13
Baker, David, and n/a. "Of Unprincipled Formalism: Readings in the Work of David Malouf and Peter Carey." Griffith University. School of Humanities, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040616.120642.
Повний текст джерелаАнотація:
This thesis develops a critical reading methodology entitled unprincipled formalism. This methodology is tested in close readings of three relatively contemporary Australian literary texts: David Malouf's short story "A Traveller's Tale" (1986) and novella Remembering Babylon (1994), and Peter Carey's short story "The Chance" (1978). Unprincipled formalism is developed in relation to three broad contexts: the fragmented state of the contemporary discipline of literary studies; the complex of international economic and social phenomena which goes under the general rubric of globalisation; and the specific Australian left-liberal literary critical tradition which I have termed, for convenience sake, the Meanjin literary formation. Unprincipled formalism does not draw a distinction between form and content. Unprincipled formalism is a critical methodology that is both avowedly socially concerned and strictly formalist. It is concerned with articulating and analysing the particular social and political interventions made by literary texts (as well as the resultant critical discussion of those texts) through a consideration of the formal techniques by which literary texts situate themselves as acts of communication. Principal among these techniques is the mise en abyme. The thesis provides a detailed analysis of debates around the mise en abyme informed by the work of theorists such as Ross Chambers, Lucien Dallenbach, Frank Lentricchia, Moshe Ron, Jacques Derrida and others. Politically, unprincipled formalism attempts to steer a middling course between neo-liberal triumphalism on the one hand and nostalgic left romanticism on the other. This involves on the one hand a critique of neo-liberalism drawing on the work of Charles Taylor, Stephen Holmes, John Frow and others, and on the other a critique of a nostalgic romantic tendency in "progressive" critical technologies such as postmodern and postcolonial literary studies.
14
Baldwin, Ruth Margaret Anne. "Redeeming flesh : portrayals of women and sexuality in the work of four contemporary Catholic novelists." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ46315.pdf.
Повний текст джерела
15
Mntanga, Overman Mziwakhe. "Culture and womanhood in Uhambo lwenkululeko." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52751.
Повний текст джерелаАнотація:
Thesis (MA)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: The study examines issues of culture in Mcani's drama Uhambo Lwenkululeko (Journey of Freedom). Following Bauerlein (1997:63), it is argued that the study of women in literature forces a critical examination of the way women in literature have been portrayed in the past because of male domination. The study aims to establish what the progress is in the portrayal of women characters after the introduction of the new dispensation in South Africa. This study shows in the discussion of the theoretical aspects of culture in Chapter 2 that culture is an elusive concept because it has different definitions. Culture is that complex whole which includes knowledge, belief, art, law, morals, customs and all other capabilities and habits acquired by man as a member of society. This implies that culture entails everything that contributes to the survival of man, comprising both physical and social factors. In Chapter 3, it is established that the author has excellently handled both characterisation and the plot in Uhambo Lwenkululeko (Journey of Freedom). The plot structure of Uhambo Lwenkululeko (Journey of Freedom) in particular, has been handled successfully by the author. For example, by opening his drama with conflict, in the exposition, the author has managed to show is that conflict is the source of action in drama. It is the aspect that triggers characters to respond either positively or negatively to a particular opposing force. We have established in Chapter 4 that societies have certain basic needs or requirements that must be met if they are to survive. For example, a means of producing food may be seen as a functional pre-requisite since without it, members of society could not survive. This might have been one of the reasons why the boys are busy fishing in the drama. According to the findings in this study, men and women are portrayed equal with regard to reason. We established that the belief that women lack the capacity to fully exercise the powers of human reason is a deeply rooted prejudice.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek vraagstukke oor kultuur in Mcani se drama Uhambo Iwenkululeko. In navolging van Bauerlein (1997:63), word daar aangevoer dat die studie van vroue in die letterkunde 'n kritiese ondersoek noodsaak van die wyse waarop vroue in die verlede voorgestel is in die letterkunde op grond van dominering deur mans. Die studie poog om vas te stel wat die vordering is in die voorstelling van vroue in die letterkunde na die invoer van In nuwe demokratiese bestel in Suid-Afrika. Die studie toon aan in die bespreking van die teoretiese aspekte van kultuur in hoofstuk 2 dat die kultuur In ontwykende konsep is wat verskillende definisies het. Kultuur is 'n komplekse geheel wat insluit aspekte soos kennis, geloof, kuns, regsisteem, morele sieninge, gewoontes en ander vermoens wat deur mense verwerf word as lede van In gemeenskap. Oit impliseer dat kultuur alles behels wat bydra tot die oorlewing van rnense, insluitende fisiese sowel as sosiale faktore. In hoofstuk 3 word dit bevind dat die skrywer die karakterisering sowel as die intrige in Uhambo Iwenkubuleko meesterlik hanteer. Veral die intrige is op 'n uitstaande wyse hanteer deur die skrywer. Oeur in die begin van die drama konflik in te voer, het die skrywer daarin geslaag om aan te toon dat konflik die bron van aksie in die drama is. Oit is die aspek wat karakters aanspoor om of positief of negatief te reageer op In spesifieke opponerende krag. Oaar is bevind in hoofstuk 4 dat gemeenskappe sekere basiese behoeftes en vereistes het waaraan voldoen moet word indien hulle wil oorleef. In Wyse vir die produksie van voedsel is In vereiste, aangesien In gemeenskap nie daarsonder kan oorleef nie. Oit kon In moontlike rede wees waarom die skrywer verwys na die seuns wat visvang in die drama. Volgens die bevindings van die drama, word mans en vroue gelykwaardig voorgestel wat betref redeneringsvermoe. Oaar word bevind dat die siening dat vroue 'n onverrnoe het om die magte van redenering te beoefen 'n diepgewortelde vooroordeel is.
16
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.
Повний текст джерелаАнотація:
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.
17
Truter, Victoria Zea. "Dreamscape and death : an analysis of three contemporary novels and a film." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012976.
Повний текст джерелаАнотація:
With its focus on the relationship between dreamscape and death, this study examines the possibility of indirectly experiencing – through writing and dreaming – that which cannot be directly experienced, namely death. In considering this possibility, the thesis engages at length with Maurice Blanchot's argument that death, being irrevocably absent and therefore unknowable, is not open to presentation or representation. After explicating certain of this thinker's theories on the ambiguous nature of literary and oneiric representation, and on the forfeiture of subjective agency that occurs in the moments of writing and dreaming, the study turns to an examination of the manner in which such issues are dealt with in selected dreamscapes. With reference to David Malouf's An Imaginary Life, Alan Warner's These Demented Lands, Cormac McCarthy's The Road, and Richard Linklater's Waking Life, the thesis explores the literary and cinematic representation of human attempts to define, resist, or control death through dreaming and writing about it. Ultimately, the study concludes that such attempts are necessarily inconclusive, and that it is only ever possible to represent death as a (mis)representation.
18
Sandstra, Theodore. "A framework for the love of nature : Henry David Thoreau's construction of the Wild in Walden and the gift as an ethos for architecture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0034/MQ64120.pdf.
Повний текст джерела
19
Lin, Sheng-Hsin. "Background, Compositional Style, and Performance Considerations in the Clarinet Works of David Baker: Clarinet Sonata and Heritage: A Tribute to Great Clarinetists." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849742/.
Повний текст джерелаАнотація:
David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability and experience in interpreting jazz styles.
The purpose of this document is: (1) to provide background, style, and performance considerations for Baker’s Clarinet Sonata and Heritage: A Tribute for Great Clarinetists, for Clarinet, Violin, Piano and Double Bass; (2) based on these style elements, to provide suggestions for interpreting jazz-style works for classically trained clarinetists; and (3) to archive Baker’s published and unpublished clarinet compositions. Appendices include transcripts of interviews with David Baker and other experts in this field (James Campbell, Rosana Eckert, Mike Steinel and Steven Harlos).
20
Mari, Anibal. "Relações venais, ou sucesso a qualquer preço: análise dos diálogos em \'Glengarry Glen Ross\', de David Mamet." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-03032008-105053/.
Повний текст джерелаАнотація:
Esta dissertação propõe analisar os diálogos da peça Glengarry Glen Ross, de David Mamet, um dos principais dramaturgos do teatro norte-americano contemporâneo. A hipótese sugerida é que esses diálogos substituem a ação dramática e representam o substrato social que serviu de ponto de referência para a criação do enredo. São neles que as \"relações venais\" e o jogo de poder entre os personagens se concretizam, numa linguagem ilusória e ambígua, na qual valores individuais e comunitários, como a confiança, a amizade, a afeição, a lealdade e a verdade se subverteram, diante da necessidade de sobrevivência ou do sucesso a qualquer preço, ditados pelas práticas comerciais, pelas relações de poder, por uma mentalidade de negócios predatória e se transformaram em mercadoria, lucro e roubo. Glengarry Glen Ross (1983) faz parte da chamada \"trilogia do poder\", que abarca ainda American Buffalo (1975) e Speed-the-Plow (1985). As personagens dessas peças ou vivem à margem da sociedade capitalista norteamericana, como o triângulo masculino em American Buffalo, ou são representantes da baixa classe média, como os corretores de imóveis de Glengary Glen Ross, submetidos a uma competição feroz imposta pela direção da firma, onde os vencedores são promovidos e os perdedores, demitidos. Nessas circunstâncias, o contato humano entre eles foi corrompido pela ganância, pelo dinheiro, pela necessidade de sobrevivência. Essas peças são um exercício de crítica ao darwinismo social.This dissertation aims to analyze the speeches in Glengarry Glen Ross, a play by David Mamet, one of the leading playwrights of the contemporary American theatre. The hypotheses suggested are that these speeches replace the dramatic action and that they represent the social stratum which has served as reference point for the creation of the plot. They also make the \'venal relations\' and the power game between the characters concrete, but they do so through the use of a deceptive and ambiguous language, in which individual and communal values, such as trust, friendship, affection, loyalty and truth, are subverted, in face of the need for survival or success at any cost, determined by commercial practices, power relations, predatory business mindset, and are turned into commodities, profit and theft. Glengarry Glen Ross (1983) is part of the \"power trilogy\", which also comprises American Buffalo (1975) and Speed-the-Plow (1985). The characters in these plays either live on the margins of the American capitalist society, as the ones in the masculine triangle in American Buffalo, or are representatives of the lowermiddle- class, such as the realtors in Glengarry Glen Ross, subjected to a cutthroat competition by the corporation owners, in which the winners are promoted and the losers are fired. In these circumstances, genuine human contact among them is corrupted by greed, money, and the need for survival. These plays are an exercise of criticism of social Darwinism.
21
Steenkamp, Janka. "De-demonising universality : transcultural dragons and the universal agent in J.K. Rowling's Harry Potter and David Eddings' The Belgariad." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/3088.
Повний текст джерелаАнотація:
Thesis (MA (English))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: This dissertation provides a reading of the fantasy novel series Harry Potter by J.K. Rowling and The Belgariad by David Eddings. In particular this dissertation endeavours to recuperate a literary critical methodology rooted in Myth Criticism. Further, it seeks to demonstrate the continued relevance and necessity of this form of criticism in our postmodern era and to refute some of the commonplaces of postmodern critical theory, specifically the poststructuralist scepticism towards the idea of universal truth and individual agency. Using Jungian theory, myth critics ranging from Laurence Coupe to Joseph Campbell and incorporating various postmodern theorists, like the contemporary Marxist theorist Terry Eagleton, and fantasy critics like Brian Attebery and Ursula LeGuin, this dissertation aims to give a well-rounded analysis of the merits of looking at fantasy as a legitimate field of literary study. Moreover, this dissertation seeks to illustrate the fact that fantasy is capable of informing readers’ interaction with the ‘real’ world and that this genre allows for insight into identity formation in present day reality. The chief structure used to explore these claims is an analysis of the Hero’s Journey.
AFRIKAANSE OPSOMMING: This dissertation provides a reading of the fantasy novel series Harry Potter by J.K. Rowling and The Belgariad by David Eddings. In particular this dissertation endeavours to recuperate a literary critical methodology rooted in Myth Criticism. Further, it seeks to demonstrate the continued relevance and necessity of this form of criticism in our postmodern era and to refute some of the commonplaces of postmodern critical theory, specifically the poststructuralist scepticism towards the idea of universal truth and individual agency. Using Jungian theory, myth critics ranging from Laurence Coupe to Joseph Campbell and incorporating various postmodern theorists, like the contemporary Marxist theorist Terry Eagleton, and fantasy critics like Brian Attebery and Ursula LeGuin, this dissertation aims to give a well-rounded analysis of the merits of looking at fantasy as a legitimate field of literary study. Moreover, this dissertation seeks to illustrate the fact that fantasy is capable of informing readers’ interaction with the ‘real’ world and that this genre allows for insight into identity formation in present day reality. The chief structure used to explore these claims is an analysis of the Hero’s Journey.
22
Vacani, Wendy. "A sense of place and community in selected novels and travel writings of D.H. Lawrence." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/15154.
Повний текст джерелаАнотація:
In 1919 Lawrence left England to search for a better society; his novels and travel sketches (the latter are usually seen as peripheral to the novels) continually questioned the values of Western society. This study examines D.H. Lawrence's great 'English' novels in the light of their vivid portrayal of place and community. However, to procure a new emphasis the novels and travel writing are brought into close alignment, in order to examine the way in which the sorts of philosophical questions Lawrence was interested in - ideas on human character, marriage, social structures, God, time, and history - influence his portrayal of place and community across both these genres. Chapter I, on Sons and Lovers, emphasises the way social and historical factors can shape human relationships as powerfully as personal psychology. In Chapter II, on Twilight in Italy, discussion of the effect of place on human character is broadened into a consideration of the differences between the Italian and English psyche; the philosophical passages are read in the light of revisions made to the periodical version. Chapters III and IV, on The Rainbow and Women in Love, conscious of the critique of English society that Lawrence made in Twilight, recognise that although Lawrence is concerned to show the flow of individual being he is no less interested in the relationship between the self and society, and the clash between psychological needs and social structures like work, marriage and industrialisation. Chapter V, on Sea and Sardinia, examines Lawrence's realisation that the state of travel engages with the present and impacts on individual needs and identity. Chapter VI, on Mornings in Mexico, studies the way Lawrence transcended the journalism usual to the travel genre and maintained a deep spirituality as he pondered the attributes of a primitive society and its appropriateness to Western Society. Because travel writing is both reactive and subjective (a writer's reaction to a country is underpinned by the metatext of his own concerns), I ask if Lawrence's presentation of experience can be thought of as accurate or whether places and people are constructs of his imagination. Chapter VIII examines Lady Chatterley's Lover as Lawrence's attempt to bring together the attitudes to sex, class and education witnessed on his travels with an English setting; to envisage a way of living that would meet the deep-rooted needs of man. Chapter VIII, on Etruscan Places, shows Lawrence conscious of encountering the ultimate journey, death, and pays tribute to the fact that while the book searches for philosophical answers on how to die, it is at the same time a paean to life and the beauty of landscape.
23
Crowther, Daniel James. "The relevance of the te'amin to the textual criticism, delimitation and interpretation of biblical poetic texts with special reference to the Song of David at Psalm 18 and 2 Samuel 22." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687271.
Повний текст джерелаАнотація:
This thesis consists of two parts. Part One introduces the te'amim and the history of their study. Part Two is a study of texts and their te'amim with special reference to 2 Samuel 22 and Psalm 18. Part One Chapter One defines the te'amim in relation to the scribal and reading traditions evidenced in the masoretic manuscripts of the Hebrew Bible. Chapter Two reviews the writings of the Tiberian Masoretes concerning the te'amim. Chapter Three is a history of the study of the te'amim from the tenth century CE until the twenty-first century CEo Part Two Chapter Four analyses the differences and similarities of the two parallel texts 2 Samuel 22 and Psalm 18 with special reference to their te'amim. This analysis leads to a comparison of these two texts with other parallel poetic texts and their te'amim. The te'amim of 2 Samuel 22 and Psalm 18 are found to be a source of information concerning the development of two parallel versions of the Song of David. This information allows the te'amim of Psalm 18 and 2 Samuel 22 to be compared to all the parallel texts of the Hebrew Bible that use different types of te'amim. Chapter Five considers the relationship of the te'amim to the poetics of parallelism. The history of the study of parallelism reveals a number of divergent opinions concerning the relationship of the te'amim to parallelism. An analysis of the poetic performance of the te'amim reveals that the te'amim are expert guides to the poetics of parallelism. The study concludes, in Chapter Six, that scholarly interaction with the te'amim is an important part of the study of biblical poetic texts. The relevance of this simple conclusion is illustrated through a consideration of how such interaction could have enriched five previous studies of Ps 18 and 2 Sam 22.
24
Langwith, Mark J. "'A far green country' : an analysis of the presentation of nature in works of early mythopoeic fantasy fiction." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/313.
Повний текст джерелаАнотація:
This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.
25
Leone, Matthew J. (Matthew Joseph). "The shape of openness : Bakhtin, Lawrence, laughter." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39750.
Повний текст джерелаАнотація:
How is Bakhtin's conception of novelistic openness distinct from modernist-dialectical irresolution or open-endedness? Is Women in Love a Bakhtinian "open totality"? How is dialogic openness (as opposed to modernist indeterminacy) a "form-shaping ideology" of comic interrogation?This study tests whether dialogism illuminates the shape of openness in Lawrence. As philosophers of potentiality, both Bakhtin and Lawrence explore the dialogic "between" as a state of being and a condition of meaningful fiction. Dialogism informs Women in Love. It achieves a polyphonic openness which Lawrence in his later fictions cannot sustain. Subsequently, univocal, simplifying organizations supervene. Dialogic process collapses into a stenographic report upon a completed dialogue, over which the travel writer, the poet or the messianic martyr preside.
Nevertheless, the old openness can be discerned in the ambivalent laughter of The Captain's Doll, St. Mawr or "The Man Who Loved Islands." In these retrospective variations on earlier themes, laughing openness of vision takes new, "unfinalizable" shapes.
26
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.
Повний текст джерелаАнотація:
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.
27
Törnqvist, af Ström Richard. "Ordning och Kaos : En receptionskritisk granskning av Jordan B. Petersons bibliska bruk av kön och sexualitet, samt hur hans narrativ förhåller sig till historisk-kritiska och feministiska läsningar av Genesis 1-3." Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-428273.
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28
Nichols, Margaret K. "D. H. Lawrence and submerged cultures in Birds, beasts and flowers." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/83.
Повний текст джерелаАнотація:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English Literature
29
Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
Повний текст джерелаАнотація:
Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
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Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.
Повний текст джерелаАнотація:
The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
31
Sutton, Peter David. "'The trade of application' : political and social appropriations of Ben Jonson, 1660-1776." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16547.
Повний текст джерелаАнотація:
This thesis is an analysis of the manner in which the persona and works of Ben Jonson were appropriated – between the Restoration, in 1660, and the retirement of David Garrick, in 1776 – to reflect the political and social concerns of the age. Unlike previous studies, rather than primarily focusing on the stage history of Jonson, I analyse a wide range of sources – produced both within and outwith the theatre – in order to explore, across a variety of media, a breadth of material which appropriates the playwright and his works. I shall consider in my first main chapter the appropriations of Jonson within the Restoration court, in particular noting the assimilation of the playwright's work to what might be styled a proto-Tory ideology, as well as the way in which his plays could mirror the destabilising effects of the king's romantic liaisons. In my second chapter, I explore the moral reformation at the turn of the eighteenth century, in which we can see appropriations of Jonson which cast his works as being primarily didactic. The third chapter moves the narrative of the thesis into the years of the premiership of Sir Robert Walpole. I shall consider the way in which the playwright's works – especially The Alchemist and Eastward Ho! – were seen as being especially relevant to an age of speculation and mercantile endeavour, as well as examining the manner in which the figures of Sejanus and Volpone were appropriated to mock the increasingly unpopular premier. In the final chapter, I shall offer an analysis of Garrick's seminal portrayal of Drugger in the contexts of the political philosophy of the mid-eighteenth century, considering the manner in which it was interpreted alongside the character's further appropriations by Francis Gentleman. The thesis concludes by exploring political appropriations of Jonson up to the present day.
32
Rombouts, Alexandra. "Imaginative possession : evocation of place in works by David Malouf, Barbara Hanrahan and Gerald Murnane." Master's thesis, 1990. http://hdl.handle.net/1885/139398.
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33
Elsdon, Kerry-Jane. "David Lynch as a postmodern filmaker." Thesis, 1992. http://hdl.handle.net/10539/22709.
Повний текст джерелаАнотація:
A dissertation submitted to the Faculty of Arts, University of the Witwatersrand,
Johannesburg, for the degree of Master of Arts in Dramatic Art.
Johannesburg 1992.It is the intention of this thesis to provide a reasoned analysis of the films of David Lynch, in order to locate Lynch as a Postmodern filmmaker. Although other filmmakers have been seen to include elements of Postmodernism in their work (Tim Burton is an example), few directors have attained Lynch's recent prominence or popularity. His recent television series, Twin Peaks, has created an even larger audience for his filmic style, and the guest directors employed were obviously encouraged to employ a similar technique, in order to create a coherent filmic philosophy. [Abbreviated Abstract. Open document to view full version]
MT2017
34
Byrne, Trevor Lindon. "The problem of the past : the treatment of history in the novels of Peter Carey and David Malouf / Trevor Byrne." 2001. http://hdl.handle.net/2440/20325.
Повний текст джерелаАнотація:
Includes errata tipped in between leaf 224 and 225.Bibliography: leaves 226-238.
238 leaves ; 30 cm
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--Adelaide University, Dept. of English, 2001
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Byrne, Trevor Lindon. "The problem of the past : the treatment of history in the novels of Peter Carey and David Malouf / Trevor Byrne." Thesis, 2001. http://hdl.handle.net/2440/20325.
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36
Nettelbeck, Amanda E. ""The darkness at our back door" : maps of identity in the novels of David Malouf and Christopher Koch / by Amanda E. Nettelbeck." Thesis, 1991. http://hdl.handle.net/2440/19639.
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37
Norton-Amor, Elizabeth Anne. ""Writing Empire": South Africa and the colonial fiction of Anthony Trollope." Thesis, 2004. http://hdl.handle.net/10500/1254.
Повний текст джерелаАнотація:
Postcolonial theory teaches us that the Empire was as much a textual as a physical undertaking: the Empire was (and is) experienced through its texts. Anthony Trollope was an enthusiastic traveller and helped to "write the Empire" in both his travel narratives and in his novels. This study examines his travel narrative South Africa, and explores how the colony is depicted in this work and in Trollope's "colonial" novels: Harry Heathcote of Gangoil, John Caldigate, An Old Man's Love and The Fixed Period. Trollope's colonies are places of moral danger where the value systems instilled by English society provide the only means for overcoming the corrupting influences of the colonial space. He writes the colonies as images of Britain, but these images are never true reflections of the homeland: there is always an element of distortion present, which serves to subvert the "Englishness" of his colonial landscapes.English Studies
MA (ENGLISH)
38
Hiatt, Bryan. ""Living Outside the Madness" : reform and ecology in the work of Henry Thoreau and Gary Snyder." Thesis, 1997. http://hdl.handle.net/1957/34024.
Повний текст джерелаАнотація:
Recent conflicts in America concerning the environment (the harvesting of old growth
timber in the Pacific Northwest, or the proposed opening of public lands in southern Utah to mining
interests, for instance) have precipitated a personal examination of "historical others" (Jensen 64),
individuals that possess very different sensibilities from a larger capitalist culture. Two such
writers, Henry Thoreau and Gary Snyder, use the wilderness to enact alternative patterns of living
that are designed to change cultures that have lost touch with the land, and have spiraled into a
future where nature is a mere afterthought.
In response to the growth of his society, Thoreau built a cabin at Walden pond as an
experiment to determine if life could be lived simply and morally. His activities were an effort to
"wake up" his "neighbors" who were just beginning to explore capitalism. "Moral reform," Thoreau
believed, "is the effort to throw off sleep" (WAL 61). Thoreau's criticism of capitalism, agricultural
reform, and slavery were generated to help his culture understand what it is to live morally, and
"awake."
Gary Snyder is the voice of Thoreau in the late 20th century, and his work addresses a
world fully enveloped in capitalism. The exploitation of wild creatures and places by world
governments and multi-national corporations is the problem of the modern age for Snyder, and
place-based living is a way of dissenting from a consumption-oriented culture. Reform begins with
the individual living close to the land, but also involves people living in communities and creating
patterns of living that are ecologically stable.
This paper is, in an immediate sense, a comparison of two "American" non-conformists,
but it is also a response to cultural and environmental crises that both writers faced. Chapter I of
this study introduces Thoreau and Snyder and establishes the parameters of this paper. Chapter
II discusses Thoreau's views on capitalism, agricultural reform, and environmental degradation.
Chapter III highlights Snyder's interest in place-based living and bioregionalism. Chapter VI brings
Thoreau and Snyder together in a discussion of political and social reform. The final chapter of
this study reflects how Thoreau and Snyder mesh as ecological philosophers.Graduation date: 1997
39
Dotterman, Anthony Matthew. "An autumn journey : time, place, and pattern in Henry David Thoreau's later work." Thesis, 2001. http://hdl.handle.net/1957/30601.
Повний текст джерелаАнотація:
This thesis situates a discussion of Thoreau's later natural history essays in the
context of the author's other writings. Beginning with an examination of the
writings of Thoreau's friend and mentor Ralph Waldo Emerson, this paper
examines Thoreau's relation to and departure from Emerson's understanding of
time, place, and pattern in nature. Through a close reading of Thoreau's journal
entries and natural history essays, this thesis follows Thoreau's development as a
naturalist and examines the relationship between his natural history writings and
the American transcendentalist movement.Graduation date: 2002
40
Makhubela, Yvonne. "A stylistic analysis of the novels of K.P.D. Maphalla." Thesis, 2014. http://hdl.handle.net/10210/12627.
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41
Rain, David Christopher. "The death of Clarissa : Richardson's Clarissa and the critics / by David Christopher Rain." Thesis, 1988. http://hdl.handle.net/2440/18573.
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42
Kinsman, Jane. "The prints of David Hockney : their cultural, autobiographical and artistic contexts." Phd thesis, 2011. http://hdl.handle.net/1885/155819.
Повний текст джерелаАнотація:
David Hockney is a leading figure in contemporary printmaking. Since 1954 making prints has been an integral part of Hockney's art practice. It is a field of art in which he is truly gifted and, over five decades, he has created a significant body of prints. He has constantly pushed the boundaries of printmaking in terms of style, subject matter and technique. This is almost without parallel in recent art history. Printmaking has also provided Hockney with a diversion when other forms of his art, notably painting, were in a stylistic and iconographic cul de sac. The history of Hockney's involvement in making prints has formed a critical path in his overall artistic development in all its variety of forms. For much of his life as an artist, David Hockney has been freer, more experimental and less inhibited in his approach to creating art, when making prints than when painting. A successful career in painting often eluded him during much of his early career particularly after he adopted the use of acrylic paint and Hockney would often find himself in an artistic dead end in his painting style. In contrast, making prints often provided a way forward for Hockney. This modus operandi continued for much of his artistic life until his more recent embrace of digital processes in art using an iPhone or iPad. Hockney's development from an emerging artist to a mature and successful one lay in his constant searching for new ways of depiction, other than those belonging to new modernist canons. He was constantly posing pictorial problems and then trying to solve them. To this end, Hockney developed a hybrid art in his printmaking, one of wide ranging eclecticism. He then turned to naturalism, only to find he needed to explore further choices. As a mature artist Hockney achieved a fusion of the abstract and formal elements in his work and to tackle age-old issues - how to portray someone, how to depict a landscape and a season, a time of day and under certain weather conditions and how to indicate space and time in two-dimensional art form. For Hockney, printmaking has been an integral part of this search and discovery. Now entering the second decade of the 21st century, Hockney has finally achieved his ambition to become a landscape painter of consequence and now the focus for Hockney lies there. The significant purpose and role that prints played in his artistic career in the twentieth century have ceased to exist - at least for the present. -- provided by Candidate.
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Gundersen, David. "Davidic Hope in Book IV of the Psalter (Psalms 90-106)." Diss., 2015. http://hdl.handle.net/10392/4991.
Повний текст джерелаАнотація:
This dissertation argues that Book IV of the canonical Hebrew Psalter (Pss 90–106) sustains the hope that God will keep his covenant with David by installing a future king from David’s line.
Chapter 1 introduces the debate, states the thesis, surveys the history of psalmic interpretation, and summarizes recent canonical views that see David either diminished or sustained in Book IV.
Chapter 2 presents an eclectic canonical methodology that honors the five-book division, accounts for superscriptions, incipits, and closings, senses a broad narrative progression, acknowledges psalmic collections, recognizes lexical, thematic, and structural resonance beween psalms, and considers inner-biblical allusions.
Chapter 3 explores the covenantal contradiction in Psalm 89 and proposes that Psalm 90 continues and complements the lament in Psalm 89 which questioned the character and reign of God due to the fallen Davidic throne and the severed Davidic line.
Chapter 4 analyzes Psalms 90–92 and argues that a reimagined Moses enters Book IV to intercede for Israel (90) in response to the unfulfilled Davidic covenant in Psalm 89. Psalms 90–92 then allude to Deuteronomy 32–33 and progress from pained petition (90) to promised protection (91) to restored rejoicing (92).
Chapter 5 explores the message and function of Psalm 101 and argues that its intra-book links, Davidic title, royal voice, lamenting tone, future orientation, inter-psalm allusions, and strategic placement make it a central psalm sustaining Davidic hope in Book IV.
Chapter 6 explores the lexical and thematic resonance among Psalms 90, 102, and 103 and argues that the afflicted Davidide in Psalm 102 applies and echoes the plaintive prayer of Moses in Psalm 90 and that the Davidic praise in Psalm 103 answers both Psalms 90 and 102. Thus David is forgiven and restored along with the people in Psalm 103.
Chapter 7 concludes by reviewing the evidence from each chapter and proposing that the overall structure and message of Book IV sustains the hope that God will keep his covenant with David.
44
Randlemon, Daniel E. "David Foster Wallace's communal middle ground." Thesis, 2012. http://hdl.handle.net/1957/30341.
Повний текст джерелаАнотація:
Throughout the course of this thesis, I argue that the prose of David Foster Wallace, specifically his posthumously published novel The Pale King, inhabits a middle ground between universal sincerity and the particularized authenticity of postmodern irony. I examine Lionel Trilling's definitions of sincerity and authenticity before moving toward an examination of the diverging critical response to Wallace's work, which, I argue, suggests that because so many critics have read his work as either inherently sincere or inherently authentic, his work inhabits a communal middle ground somewhere in between. To explain, I analyze Wallace's so-called manifesto of sincerity, "E Unibus Pluram: Television and U.S. Fiction," as well as other instances in interviews and conversations to develop a clearer understanding of what this middle ground consists of. Further, I analyze two passages in The Pale King in which characters seek to communicate moments of profound revelation. Though these characters finally fail to truly communicate these revelations, I argue that it is the communication itself that allows both communicator and listener, and thus both reader and writer, to experience a moment of, as Wallace puts it in The Pale King, "value for both sides, both people in the relation" (227).Graduation date: 2012
45
Bush, Martin. ""Shifting from one to the other brings on pneumonia" : a Goonya first reader about the notable David Unaipon." Thesis, 2000. http://hdl.handle.net/1885/147872.
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46
Grundy, Susan Audrey. "Artemisia Gentileschi and Caravaggio's looking glass." Diss., 2004. http://hdl.handle.net/10500/2987.
Повний текст джерелаАнотація:
Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the
concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a
shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father
Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the
camera obscura effect. Painting from a projection meant that Artemisia could achieve
an extreme form of realism and detail in her work. This knowledge, which was of
necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to
manipulate the technology, an extreme competitive edge over their rivals. This
dissertation challenges the naive assumptions that have been made about Artemisia's
working practices, effectively ignoring the strong causal links between art and science
in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up
her story to a whole new generation of scholarship.Art History
M.A. (Art history)
47
Yannacci, Christin Essin. "Landscapes of American modernity: a cultural history of theatrical design, 1912-1951." Thesis, 2006. http://hdl.handle.net/2152/3444.
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48
Game, David Russell. "D.H. Lawrence's Australia : degeneration and regeneration at the edge of empire." Phd thesis, 2009. http://hdl.handle.net/1885/148376.
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49
Trost, Travis Darren. "The fourth gospel as reaction to militant Jewish expectation of kingship, reflected in certain dead sea scrolls." Thesis, 2005. http://hdl.handle.net/10500/1985.
Повний текст джерелаАнотація:
The discovery of the Dead Sea Scrolls has provided an opportunity to reexamine the formation of the Gospel of John. This study will utilize Dead Sea finds coupled with other Second Temple literature to examine how the Gospel of John portrays Jesus as being a king. The approach of this study to use a narrative approach that builds on the Gospel of John as a finished text. The contribution of a source critical approach is not disparaged but the narrative approach will allow the Johannine community to be seen in the context of the immediate post-Second Temple era. The limited literacy of the probable first audience of this text suggests that a narrative approach will best be able to understand the background to the formation of the Gospel of John.
A central contention of this study is that the Gospel of John was composed after the Jewish Revolt and after the Synoptics. Thus it deserves the appellation of the Fourth Gospel and is called such in this study. The Fourth Gospel was composed at a time when Roman interest in anything connected to Judaism was sure to attract special interest. Thus the portrayal of Jesus as the Davidic Messiah needed to be handled carefully. The imagery of the new David found in 4Q504 compared with the imagery of Jesus being the Good Shepherd becomes an important part of the argument of this study on whether this Gospel portrays Jesus as being the Davidic Messiah. Jesus as the Good Shepherd showed Jews that Jesus is the Davidic Messiah without overtly offending Roman sensibilities. Furthermore evidence from Christian and Jewish sources indicates that an interest in a Third Temple was still stirring between the Jewish and Bar-Kochba Revolts. The Fourth Gospel shows Jesus as the Davidic Messiah who replaces the Temple because the Good Shepherd was the perfect sacrifice.New Testament
D. Th. (New Testament)
50
Myburgh, Heilie Magdalena Magrieta. "Die vierde genre : De plaag (Van Reybrouck) as voorbeeld van literêre niefiksie." Diss., 2009. http://hdl.handle.net/10500/2704.
Повний текст джерелаАнотація:
Hierdie studie ondersoek vrae rondom die aard van literêre niefiksie - ook die vierde genre genoem. Die bestaande drieledige genreklassifikasiesisteem maak nie voldoende voorsiening vir tekste waarin die grense tussen feit en fiksie opgehef word nie. Die toename van sodanige hibriede tekste noodsaak dus ‘n uitbreiding van tradisionele genrekategorieë tot ‘n vierde, naamlik dié van literêre niefiksie. Dié ondersoek poog om vrae rondom literêre niefiksie te beantwoord met verwysing na De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) van David van Reybrouck. Dié teks dokumenteer Van Reybrouck se ondersoek na die bewering dat Maurice Maeterlinck die termietnavorsing van Eugène Marais sonder erkenning oorgeneem het. Tydens sy navorsingsreis maak Van Reybrouck kennis met die verwikkeldhede van ‘n postapartheid Suid-Afrika en verwoord sy reiservaring met behulp van metafore uit die entomologie. Die resultaat is dat De plaag ‘n hibriede karakter vertoon wat versoenbaar is met die kriteria vir literêr-niefiksionele tekste.This study attempts to explore the nature of literary nonfiction (the fourth genre). The existing tripartite classification system does not make adequate provision for texts where the borders between nonfiction and fiction are transcended. A marked increase in such texts therefore necessitates an expansion of the traditional genre categories to accommodate a fourth, namely that of literary nonfiction. De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) by David van Reybrouck will serve as point of departure to explore the genre of literary nonfiction. The said text documents Van Reybrouck’s investigation into the alleged plagiarism by Maeterlinck of Marais’ research on termites. Van Reybrouck’s travels expose him to the complexities of a post-apartheid South Africa, which he expresses by using metaphors derived from the field of entomology. The result of this process is that De plaag displays a hybrid character which complies with the criteria for literary nonfiction.
Afrikaans and Theory of Literature
M.A. (Afrikaans)