Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: 1906-1962 Criticism and interpretation.
Dissertationen zum Thema „1906-1962 Criticism and interpretation“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Dissertationen für die Forschung zum Thema "1906-1962 Criticism and interpretation" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Dissertationen für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Fraser, Graham 1966. "The self-conscious narrator in Beckett's trilogy /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59888.
Der volle Inhalt der QuelleAnnotation:
This thesis examines Beckett's trilogy as a work of metafiction, approaching each novel through its primary metafictional device, the self-conscious narrator. Since the narrators are aware of their roles as story-tellers, the examination is carried out in light of Beckett's pronouncements on the nature of art and the artist. Not only are the narrators found to meet Beckett's criteria for artists and artistic development, but Beckett's aesthetic is seen virtually to require self-consciousness. In their situations, their relationship to the audience (both reader and narratee) and the nature of their tales, the self-conscious narrators follow the artistic trajectory Beckett maps out in his critical writings. As Beckett's aesthetic is fulfilled, the narrators' increasing self-consciousness intensifies the metafictional aspects of the trilogy. The trilogy is thus a demonstration of Beckett's self-conscious aesthetic--a descent into reflexivity on the part of the narrators, and through the narrators, on the part of trilogy as a whole.
2
Rivers, Patricia Ann. "The narrative poetics of William Faulkner : an analysis of form and meaning." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26757.
Der volle Inhalt der QuelleAnnotation:
Most critical acclaim of William Faulkner has focused on his innovations of narrative technique, and while critics have frequently noted the correlation between form and meaning in his novels, the central focus of these novels--race--has largely been ignored in the criticism. The purpose of this paper is to examine Faulkner's narrative methodology and arrangement of material in order to demonstrate that the structures of his novels, particularly Light in August and Absalom, Absalom!, consistently enhance and dramatize the major subject and themes of the novels. Under careful scrutiny, these structures reveal an effective and dramatic parallel between Faulkner's rhetorical methodology and the complexity of his subject matter--the South, and the issue of race.
3
Reiswig, Amy. "Robinson Jeffers, hermit of Carmel : recontextualizing inhumanism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64185.pdf.
Der volle Inhalt der Quelle
4
Pettey, Homer Boyd. "Faulkner and fetishism." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/184671.
Der volle Inhalt der QuelleAnnotation:
This study compares fetishistic desires exhibited within Faulkner's fiction to the narrative strategies governing those texts. It surveys Faulkner's thematic and narrative experiments with fetishism from his first poems and sketches through his major novels. His early works, especially "Nympholepsy" and The Marble Faun, capture fetishistic moments of longing and lack of fulfillment, attraction and repulsion. Faulkner's novels, though, re-enact the dynamics of fetishism by means of their narrative strategies; thus, Faulkner achieves a correspondence between the fictional form and the fetish depicted. Because his texts engage us within their shifting temporality and symbolic repetitions, as readers we invariably fall prey to the fetishistic desires his narratives initiate and imitate. Interpretive problems necessarily arise concerning the reader's relationship to the text and desire for meaning. In As I Lay Dying, multiple points-of-view call our attention to the validity of interpretive perception; in Sanctuary, rape operates as Faulkner's master trope for both the characters' and reader's struggles for dominance; in Absalom, Absalom!, writing and reading history are obsessions shared by the narrators and the reader. My readings are informed by several interdisciplinary approaches to fetishism, such as: icon-worship and totemism from anthropology; object and linguistic substitutions from psychoanalysis; commodity exchange and reification from Marxist theories; and sign production and displacement from post-structuralism. Instead of imposing a general taxonomy for fetishism, I have allowed each text's narrative and thematic structures to guide my readings and, therefore, consciously matched my readings to the particular fetishes his narratives engender.
5
Cobill, Brenda. "A study of the relationship between Paul Cézanne and Paul Gauguin." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22576.
Der volle Inhalt der QuelleAnnotation:
This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.
6
Hughes, Jeremy Francis. "An examination of the sonnets of E.E. Cummings." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002287.
Der volle Inhalt der QuelleAnnotation:
This dissertation examines E. E. Cummings's writings in the sonnet genre and in those genres to which the sonnet is related in various ways. Its fundamental point is that, despite the surface impression of poetic iconoclasm for which Cummings has a popular reputation, in choosing to write sonnets he engages in a traditional literary practice. He does this because his purpose is always to be an artist, as defined by the Aesthetic movement which influenced him. In order to argue his embracing of a traditional artistic role, the theory of genres espoused by Alastair Fowler in his book, Kinds of Literature, is used. Chapter 1 of the thesis comprises general introductory material, both to the range of Aesthetic ideas to which Cummings subscribed, and to Fowler's theory of genres. Several key generic kinds are also described. The second chapter makes use of two of these generic models, the sonnet sequence and the silva, as a way of examining Cummings's deployment of the sonnet within the larger context of his poetry collections. It is a survey of the structure of the anthologies he compiled from Tulips & Chimneys (1922) to 95 Poems (1958). The third chapter explores the three sonnet modes which Cummings first identifies and names when compiling the manuscript of Tulips & Chimneys, and continues to use in his collections up to and including is 5 (1926). Chapter 4 shows how certain themes and concerns from these early sonnets are altered and synthesised as Cummings matures from an aesthete to a Romantic poet. Sonnets from his later books are taken to be representative of three central kinds in all of his work after is 5. Chapters 3 and 4 proceed by means of relatively close readings of individual sonnets. This practice fulfils a double role: it penetrates the apparent obscurity of the more difficult poems, and it attempts to preserve the integrity of individual poems which exemplify different generic tendencies in Cummings's work. One of Cummings's reasons for writing sonnets is that the form favours the achievement of what Wordsworth calls "a feeling of intense unity". In undertaking close readings of a few sonnets I have attempted to preserve that feeling.
7
Sautter, Sabine. "Irrationality and the development of subjectivity in major novels by William Faulkner, Hermann Broch, and Virginia Woolf." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ55379.pdf.
Der volle Inhalt der Quelle
8
Lax, Sharon. "Bringing the thinking subject into the world : reflections on the work of Hannah Arendt." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30845.
Der volle Inhalt der QuelleAnnotation:
Hannah Arendt explored the duality of the privately and publicly constructed realms which serve, through our thoughts and our actions, to position us in the world. She draws a distinction between the vita activa and the vita contemplativa, challenging prior conceptions of the radical division between the two.<br>I examine, in Arendt's work, the concepts of solitude and isolation and how these inform her discourse on reflective thinking. It is my argument that the distinction between these two concepts cannot be drawn as neatly as she attempted to do. These two states of being in fact meet in the figure of the pariah as critical thinker, as well as storyteller, and finally as a catalyst for public action.<br>I submit that there is a subtextual theme of temporality within Arendt's work and then move to demonstrate how this theme expresses the nature and context of thinking and judging, in relation to action.<br>Finally, I draw upon Arendt's distinctions between thinking and judging, arguing that one cannot be extracted from the other and that the two cannot be defined as autonomous, in the context of critical thinking. (Abstract shortened by UMI.)
9
Hellman, Thomas. "Beckett, Babel et bilinguisme, suivi de, Espaces." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79945.
Der volle Inhalt der QuelleAnnotation:
Critical essay. Soon after the end of the Second World War, Samuel Beckett began producing French and English versions of each of his works. This raises interesting questions concerning the relationship between two languages and two texts within one literary work. Bilingualism is an essential dimension of Beckett's "oeuvre" which pushes the very limits of literature and explores essential aspects of language, identity and creation.<br>Creative writing. I was born in Montreal of a French mother and a father from Texas. My work in creative writing consists of six short stories set between the three geographical poles of my existence: Quebec, the United States and France. I also wrote a French and English version of my short story entitled The Ghost of Old Man Beck. These stories explore, on a more personal and creative level, the questions of bilingualism, identity and creativity raised in my critical essay.
10
Brown, Peter Robert 1963. "Narrative, knowledge and personhood : stories of the self and Samuel Beckett's first-person prose." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35856.
Der volle Inhalt der QuelleAnnotation:
This dissertation offers both a theoretical investigation into the relationships between narrative, knowledge and personhood and a literary critical analysis of a group of Samuel Beckett's works in which narrative, knowledge and personhood are the central themes.<br>I present an account of the notion of narrative and explore the nature of justified narrative assertions. I then turn to skeptical and anti-realist arguments about the ability of narratives to represent truthfully the world. Such arguments are widespread in postmodernist and poststructuralist circles, and in order to evaluate them, I consider particular arguments of Jean-Francois Lyotard, Christopher Norris and Hayden White, all of whom question the ability of narratives to be true. The positions of these theorists rely upon deep conceptual confusion, and, after sorting out their claims, I conclude that they offer no compelling reasons to doubt that narratives can accurately and truthfully represent the world.<br>Next, I offer an analysis of the relationship between the notion of personhood and narrative. I argue against postmodernist and poststructuralist critiques of subjectivity, and, drawing on the work of various contemporary philosophers, I defend notions of subjectivity and selfhood while acknowledging and examining the essentially narrative nature of such phenomena. The concept of a "personal history" receives detailed analysis, as does the notion of a "situated self." While agreeing with particular criticisms of what is often called the "modern self," I argue that there are specific normative projects of modernity, namely autonomy and self-realization, that are worth preserving.<br>Finally, I explore the themes of narrative, knowledge and personhood in the nouvelles of Samuel Beckett. These works represent crises of narrative and personhood, and they depict the epistemic and ethical difficulties encountered by persons under conditions of modernity, conditions in which individual lives often lack narrative unity and meaning. I read Beckett as a critic of culture whose work, while deeply critical of certain trends in modern culture, points to the need for individual subjects to find true and meaningful narratives in which they can participate as co-authors.
11
Brantley, Jennifer Susan. "Ruby." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9824.
Der volle Inhalt der Quelle
12
Ritchie, Fairlie. "Depth and destiny : religious significance in the symbolism of Isak Dinesen's literature." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66082.
Der volle Inhalt der Quelle
13
Weber, Undine S. "Wolfgang Koeppens auseinandersetzung mit der tradition: aspekte der intertextualität in der so genannten nachkriegs‐trilogie." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020833.
Der volle Inhalt der QuelleAnnotation:
Wolfgang Koeppen’s three post‐war novels have often been called a trilogy, purely based on their publication in rapid succession in the early 1950s. This study establishes a connection between the works by looking at their roots in Irish, Anglo‐American, French and German modernism, and shows up links between Wolfgang Koeppen, James Joyce, E.E. Cummings, Charles Baudelaire and Thomas Mann. This comparative analysis concludes, by integrating socio‐political factors of life in West Germany after World War II, that Koeppen transcends the modernist tradition – the fact that modernism has become tradition, i.e. it has become “classic”, in contradiction to being “modern”. Koeppen’s texts do not only allude to and build on classic texts and refer to stylistic and narrative modernist elements such as stream‐of‐consciousness and sketching a fragmented society in turmoil; the very act of recurring to myths and texts of the Western canon in order to depict the disaffected individual is an almost post‐modern one.
14
Farfan, Penelope. "Ibsen's female characters and the feminist problematic." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59605.
Der volle Inhalt der QuelleAnnotation:
This thesis locates Ibsen within the intellectual context pertaining to gender that is provided by such influential nineteenth-century texts as Mill's The Subjection of Women and Bachofen's Das Mutterrecht, both of which seemingly feminist works in actuality foreground women only for their importance in the production of better-quality sons who will ensure the endurance of the patriarchy. The attraction of feminists to the dramas of a playwright who avowedly wrote from this patriarchal standpoint is elucidated by a consideration of the appropriation of the woman-centered texts of patriarchal "feminism" by recent feminists seeking material to reinforce their own movement. The apparently paradoxical project of the analysis of three Ibsen characters, Nora Helmer, Rebekka West and Hedda Gabler, in terms of contemporary feminist literary theory suggests a parallel means of appropriation. These potentially redefined female characters are afforded an added dimension of reality by their embodiment by actresses in stage performances that allows theatre history to be related to real-life history, in which, contemporaneously, nineteenth-century women were beginning to take part.
15
Fessenden, William E. "Temporal structure and meaning : the defamiliarization of the reader in Faulkner's Go down, Moses." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/720324.
Der volle Inhalt der QuelleAnnotation:
This study of Faulkner's Go Down, Moses uses the reader-response theories of Wolfgang Iser to examine the affective impact of strategically-arranged folk conventions and mythopoeic devices upon a textually-based, white "civilized" reader. Using the devices of Southwestern humor, the trickster, and the tragic Black folk tale, "Was" through "Pantaloon in Black" repeatedly sidetrack the reader into unconscious participation in the white-code attitudes he was invited to criticize. When this hypocritical participation is discovered at certain "points of significance" in "The Fire and the Hearth" and "Pantaloon in Black," the reader's rationally-humanistic norms are rendered ineffectual, setting the stage for the undermining of a second idealism based on primitive myth. In "The Old People" and "The Bear" the reader is induced by mythopoeic devices to adopt Isaac McCaslin's unifying mythical norms and, thereby, to criticize his own failures in "Was" through "Pantaloon in Black" along with Southern civilization's socially-fragmenting rational-empiric concept of progress. "Delta Autumn," however, will undermine the reader's attempts to create moral unity using Isaac's natural hierarchy. With mythopoeic devices withdrawn, the wilderness destroyed by civilization, and Isaac McCaslin's reversion to white-code attitudes regarding Roth's Black/white offspring, the reader can see Isaac's experience in "The Bear" for what it really is, not an introduction into Sam Fathers's immutable cyclic unity but an initiation into fragmenting Cavalier forms and values. Once again the reader faces the hypocritical ineffectuality of his own idealism. For by emotionally and intellectually identifying with Isaac's misperception of the wilderness experience, he has aligned himself with socially-alienating rather than socially-unifying values. Now confronting the fragmentation dramatized in Isaac's terror-motivated racism and experienced in his own textual failures, the reader is ready for "the existential norm of "Go Down, Moses," where he is encouraged to construct meaning out of non-meaning by negating the "bad faith" of Gavin Stevens, who in fear chooses stable but racially-fragmenting Cavalier values, and by affirming the "good faith" of Molly Beauchamp and Miss Worsham, who choose the temporal unity of shared suffering in the face of chaos.<br>Department of English
16
Peterson, Raileen L. "E.E. Cummings' poetics : the necessary anything." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762989.
Der volle Inhalt der QuelleAnnotation:
E. E. Cummings' reputation as America's pre-eminent avant-garde poet obscures his significant use of schemes and tropes in his traditional and free verse poems. Because of his influence as a sonneteer and lyricist, his poetics constitute an important facet of our modern definition of poetry. However, he did not formulate a coherent statement of his aesthetic theories. Therefore, inductive research is necessary to define "the necessary anything"--those elements which Cummings' practice indicates are essentially poetic.Cummings' traditional poems include his "Epithalamion," ballade-derivations, and a large body of sonnets. All of his sonnets are fourteen lines long; and most maintain line lengths of approximately ten syllables; follow rhyme schemes based on five, six, or seven rhymes; and adhere to traditional rhetorical patterns of development. Deviations from the prescribed scheme include experimental rhymes and rhyme schemes, metrical and rhetorical variations, and a wide variety of subjects and themes. Freedom to deviate from prescribed forms renders the choice to use traditional schemes and tropes significant. Cummings elects to use meter, rhyme, allusion, allegory, personification, metaphor, simile, irony, paradox, onomatopoeia, and economy in his sonnets and free verse.Besides esoteric typography and innovative syntax, half-rhyme and rhetorically significant rhyme and metrical patterns are his trademarks. Additionally, this study demonstrates that Cummings' typography is generally organic and that his aesthetic theories are grounded in the modern romantic movement. While innovation is primary in Cummings' poetics, traditional schemes and tropes are highly significant in the composition and artistic achievement of his poetry. In Cummings' poetry, "the necessary anything" is a product of his formal education in classical and contemporary literatures and his eccentric invention.<br>Department of English
17
Russell, Carole. "Into Faulkner through a concept of landscape." Thesis, University of Stirling, 1992. http://hdl.handle.net/1893/11844.
Der volle Inhalt der QuelleAnnotation:
This thesis examines eight novels by William Faulkner by means of a critical method based on a concept of landscape. The thesis developed out of a curiosity regarding the vivid pictures that Faulkner's novels evoked in the mind of this reader. These reminded the reader of pictures similar in their vividness to those evoked in childhood by fairy tales and children's literature. In the main, here, ` the vivid Faulknemian pictures are examined from a moral point of view. The critical method follows from the idea of the literary landscape as a holistic entity, 'a prospect such as may be taken in at a glance from one point of view'. The method operates in three stages, and the vivid pictures found in the landscapes of the novels are deemed to function as centres of particular interest. In the first stage of the method, an impressionistic landscape, so called, is established, based on the facts of place, time, society, events and values given in or deducible from the novel. The vivid pictures are noted. The second stage calls for the quantification of the author's technical strategies, and in the third stage the vivid pictures are adopted as the starting points for detailed analyses of one or more aspects of the novel. The method seems to bring into focus a mature, detailed and satisfying reader's landscape which, it is hoped, functions as an R accurate reflection of the author's literary creation.
18
Wu, John Guo Qiang. "The Religious Dimensions of William Faulkner: An Inquiry into the Dichotomy of Puritanism." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278091/.
Der volle Inhalt der QuelleAnnotation:
"The Religious Dimensions of William Faulkner: An Inquiry into the Dichotomy of Puritanism" traces a secular mode of thinking of American moral superiority and the gospel of success to its religious origins. The study shows that while the basis for American moral superiority derives from the typological correspondence between sacred history and American experience, the gospel of success results from the Puritan preoccupation with work as a virtue instead of a necessity because labor improves one's lot in this world while securing salvation in the next. By explaining how Puritanism begins as a rejection of worldliness but ends as an orgy of materialism, my study raises and addresses the paradoxical nature of the Puritan legacy: Why should the Puritan work ethic, when subverted by its logical conclusion---the gospel of success, result in the undoing of Puritan spirituality in its mission of redeeming the Old World?
Furthermore, this inquiry examines the role Puritanism plays in creating the mythologies of America as the New World Garden, the white man as the American Adam, the black man as the American Ham, and the white woman as the American Eve. In the Puritan use of biblical typology, blacks and women function as the white men's servants and helpmates and, as such, have only adjunctive value to the white men's moral vision of the New Canaan and their economic pursuit of an earthly paradise. Since the racist and sexist discourse of Adamic self-creation predominates the American Dream, blacks and women become part of, rather than owner of, that dream. Basing my analysis on his three major novels, I demonstrate William Faulkner's penetrating insight into the dilemmas and ramifications of Puritanism in his critique of the American gospel of success in general and the Southern gospels of racism and sexism in particular. My conception of Puritanism in dichotomous tension, paradigmatically proposed as the American Adam turned Franklinesque self-made man, sheds new light on Faulkner's fictional characters as victims of the Puritan moral ambiguities.
19
Tucker, Amanda. "Godot in Earnest: Beckettian Readings of Wilde." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4248/.
Der volle Inhalt der QuelleAnnotation:
Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.
20
Maloney, Cahill B. Claire. "Samuel Beckett and the Irish grotesque tradition." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22606.
Der volle Inhalt der QuelleAnnotation:
By fusing many of the established hypotheses on the source of the grotesque in Irish literature, this study establishes that these writers' impatience with all boundaries and limitations, physical or mental, led them to exploit the indeterminacy of the grotesque to achieve their particular aesthetic and epistemological objectives.<br>After an initial chapter on the relevant theoretical and national considerations, the prodigious cloacal visions of Beckett and Joyce are compared, with emphasis on their use of the grotesque to demythologize the creative process. A fourth chapter compares O'Brien's and Beckett's exploitation of the grotesque to undermine hegemonic philosophical and epistemological systems.<br>Like most writers of the grotesque tradition, Joyce and O'Brien assume a degree of moral responsibility by affirming, explicitly or implicitly, some traditional or utopian values and standards, while Beckett's deliberations on the complex relationship between Nature, the mind and the body end in negation, impotence and the hope of silence.
21
Bernier, Frédérique 1973 Apr 11. "La voix et l'os : poétiques du dépouillement chez Saint-Denys Garneau et Samuel Beckett." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115636.
Der volle Inhalt der QuelleAnnotation:
This thesis is concerned with the poetics of impoverishment as found in the works of Saint-Denys Garneau and Samuel Beckett. It seeks to shed light on the reactivation of a Christian ascetic heritage within modern writing forms (poetic and narrative) and also, more specifically, to develop a novel analysis of these works from the perspective of their points of overlap. This thesis presents analysis of the relationships between voice and body (part I), of the doppelganger and self-generation figures (part II), of prayer, desert and image motifs (part III) throughout the totality of both corpuses. The comparative reading of the works of Beckett and Garneau highlights the complex relationship they entertain with certain Christian schemes (incarnation, sin, asceticism, kenosis) which they put into play on a properly literary level. This investigation also reveals that, within both works, these Christian schemes echo the aesthetic concerns of modernity (auto-foundation of the subject, authenticity, autonomy and purification of forms).<br>Key terms: Saint-Denys Garneau, Samuel Beckett, literary modernity, asceticism, poverty, doppelganger, Christianism, French-Canadian literature, French literature, Irish literature
22
Gesme, Janet Leigh. "Martin Luther's "Two Kingdoms Theory": An Analysis through the Lens of Dietrich Bonhoeffer's Religionless Christianity." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1508.
Der volle Inhalt der QuelleAnnotation:
The following work is an analysis of Martin Luther's Two Kingdoms Theory. This influential and controversial theory was introduced in his 1523 treatise, Von weltlicher Obrigkeit--Secular Authority. Although this document was written almost 500 years ago and takes its cue from the writings of St. Augustine and the Bible, it continued to have a significant effect on German society in both the political and religious realm well into the present day. Based on an analysis of the text and on the culture and literature that led Luther to write Von weltlicher Obrigkeit, this thesis evaluates various interpretations and applications of the Two Kingdoms Theory. The specific effects of Luther's teaching during the Nazi era are examined politically and theologically. Dietrich Bonhoeffer's Religionsloses Christentum--Religionless Christianity and Martin Luther's Zwei-Reiche-Lehre--Two Kingdoms Theory will be compared to demonstrate that they illuminate the same truth from different vantage points: neither people nor their rules are viable substitutes for God. A brief introduction explains the means of analysis used in this thesis, which is based on Dietrich Bonhoeffer's call for a new religionless language as described in letters written during his imprisonment by the Nazi regime.
23
Wulf, Catharina. "Desire in Beckett : a Lacanian approach to Samuel Beckett's plays Krapp's last tape, Not I, That time, Footfalls and Rockaby." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59554.
Der volle Inhalt der QuelleAnnotation:
This thesis argues that desire is a major theme in Samuel Beckett's dramatic works. Central to our analysis is Jacques Lacan's concept of the Desire for the Other, as the outcome of the human subject's division. We will investigate how desire is expressed at the level of Beckett's characters' utterance. The characters' attempts at and inability to achieve a reconciliation with their speech correlate with the impossibility of reunifying Lacan's split subject. The first part of our discussion focuses upon desire-as-paradox--the lack of will to desire and the continuation of desire--in Not I, Footfalls and Krapp's Last Tape, whereas Rockaby and That Time are indicative of the regression of desire leading toward the characters' death. The second part emphasizes the dramatic presentation of these plays, except for Footfalls. It will become clear that desire affects the performance and the audience, thus preventing them from attaining a unified perception of self and other.
24
胡雅坤. "跨文化背景下的衝突與融合 : 福克納對當代中國作家影響的倫理敍事研究". Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2150847.
Der volle Inhalt der Quelle
25
Higa, Larissa Satico Ribeiro 1986. "Estética e política = leituras de Parque Industrial e A Famosa Revista." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269983.
Der volle Inhalt der QuelleAnnotation:
Orientador: Francisco Foot Hardman<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-19T15:12:16Z (GMT). No. of bitstreams: 1
Higa_LarissaSaticoRibeiro_M.pdf: 1030815 bytes, checksum: a24792e704b5fdd851a6acc03e1d641f (MD5)
Previous issue date: 2011<br>Resumo: As duas principais obras literárias que contaram com a autoria de Patrícia Galvão (1910-1962) - Parque Industrial (escrita sob o pseudônimo de Mara Lobo e publicada em 1933) e A Famosa Revista (elaborada em parceria com Geraldo Ferraz e publicada em 1945) - apresentam preocupações relativas tanto à experimentação estética quanto ao engajamento político. Apesar de importantes para a discussão da concepção de literatura no âmbito da história literária brasileira, esses dois títulos ainda carecem de fortuna crítica. Nesse sentido, este trabalho tem o objetivo de apresentar, como contribuição, estudos de Parque Industrial e A Famosa Revista. Os dois primeiros capítulos da dissertação se concentram em leituras distintas dos livros, que se baseiam na relação que os materiais de arte têm com a história. Teorias da Literatura e de outras áreas das Ciências Humanas foram usadas como aparato teórico quando se mostraram importantes para o entendimento dos textos. O terceiro capítulo consiste na análise, à parte, da constituição das personagens dos livros em questão, a partir da relação que mantêm com a categoria do público e privado e com a estrutura geral das obras. Trata-se de um estudo dissociado, mas que pode se somar aos capítulos precedentes. Embora a coautoria de Geraldo Ferraz tenha sido devidamente considerada no estudo que se fez sobre A Famosa Revista, mostrou-se imprescindível para a pesquisa o livro Paixão Pagu - a autobiografia precoce de Patrícia Galvão (organizado por Geraldo Galvão Ferraz, o filho do casal de autores, e publicado em 2005), uma vez que apresenta os diferentes posicionamentos políticos e momentos da vida da escritora na época de escrita de Parque Industrial e A Famosa Revista<br>Abstract: The two main literary works which had the authorship by Patricia Galvão (1910-1962) - Parque Industrial (written under the pseudonym Mara Lobo, and published in 1933) and A Famosa Revista (developed in partnership with Geraldo Ferraz, and published in 1945) - show concerns about both aesthetic experimentation and political engagement. Although important to discuss the concept of the role of Literature in the context of Brazilian Literary History, these two books still lack critical fortune. In this sense, this research aims to present, as a contribution, studies of Parque Industrial and A Famosa Revista. The first two Chapters of the dissertation focus on separate readings of the books, which were based on the relationship that the Artistic materials have with History. Other areas of the Humanities were also used as they seemed to be important for the comprehension of the texts. The third Chapter consists on the analysis of the constitution of the characters in both books, from the relationship they have with the category of Public and Private, and with the general structures of the literary works. It is a distinct study, but can be added to the preceding Chapters. Although the co-authorship of Geraldo Ferraz has been properly considered in the study of A Famosa Revista, the book Paixão Pagu - a autobiografia precoce de Patrícia Galvão (organized by Geraldo Galvão Ferraz, the son of the authors, and published in 2005) was very important for this research. It represents the different political positions and moments in the life of the female writer when she was involved in the elaboration of Parque Industrial and A Famosa Revista<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária
26
Marais, Lodewikus Stefanus. "Die huis as betekenisvolle ruimte in enkele Afrikaanse gedigte, met spesifieke verwysing na die bewoningsfilosofiee van Heidegger, Bolnow en Bachelard en Vierluik." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/86862.
Der volle Inhalt der QuelleAnnotation:
Thesis (MA)--Stellenbosch University, 2008.<br>ENGLISH ABSTRACT: The first section of this thesis aims at creating a reading strategy for the analysis of poetry thematically concerned with habitation and the space of the house. Selected Afrikaans poems, forming part of a newer house-poetry that breaks away from the idyllic, genial representation of the house in earlier Afrikaans poetry, are examined. The theoretical equipment utilised in this examination is the habitation philosophies of Martin Heidegger, Otto Friedrich Bollnow and Gustav Bachelard. Various related insights in the work of these philosophers are developed into a three-tiered model for the interpretation of house poetry.
Supplementing the abovementioned framework is the socio-historical work of Joseph Rykwert and Ton Lemaire. Both these theorists explore the close connection between the space of the house and the realisation of mortality and transience.
The application of the philosophical model facilitates, on the micro level of image and word choice, a fresh understanding of the selected poems, as well as a wider philosophical contextualisation of their thematic content. The reading strategy and the application thereof could also provide the means with which a new philosophical scrutiny of Afrikaans house-poetry can be achieved.
The abovementioned formal essay is presented as coupled with a collection of original Afrikaans poems, entitled Vierluik, the creative section of this thesis. Vierluik examines, among other things, aspects of habitation in city, town and countryside, and reflects on descent, rootedness, displacement and the interconnection of space and identity.<br>AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis het as doel die daarstelling van ’n leesstrategie waarmee poësie wat tematies oor die huisruimte en bewoning handel, ondersoek kan word. Geselekteerde Afrikaanse gedigte, wat deel vorm van ’n nuwer huispoësie wat sedert die sestigerjare wegbreek van die idilliese, gemoedelike uitbeelding van die huis in vroeër Afrikaanse gedigte, word ondersoek. Die teoretiese apparatuur wat in hierdie ondersoek aangewend word, is die bewoningsfilosofieë van Martin Heidegger, Otto Friedrich Bollnow en Gustav Bachelard. Verskeie verbandhoudende insigte in die werk van hierdie denkers word ontwikkel tot ’n drieledige interpretasiemodel vir huispoësie.
Hierby dien as aanvulling die kultuur-historiese werk van Joseph Rykwert en Ton Lemaire, waarin die noue band tussen die huisruimte en die doods- of verganklikheidsbesef uitgewerk word.
Die toepassing van hierdie filosofiese begripsapparatuur fasiliteer op die mikrovlak van beelde en woordkeuse ’n vars verstaan van die vyf geselekteerde gedigte, asook ’n breër filosofiese kontekstualisering van hulle tematiese inhoud. Die leesstrategie en toepassings sou ook ’n filosofiese oopdek van die huispoësie in Afrikaans kon bemiddel.
Hierdie akademiese gedeelte dien verder as ’n verbandhoudende oefening by die kreatiewe gedeelte van die tesis, naamlik ’n digbundel, Vierluik. Die bundel ondersoek, onder andere, aspekte van bewoning in stad, dorp en platteland, en bied ’n besinning aan oor herkoms, geworteldheid, verplasing en die verweefdheid van ruimte en identiteit.
27
Chui, Ka Ki. "Secularity and religion : Dietrich Bonhoeffer's later theology and its relevance for Bishop Ting Kuang-hsun's theological construction." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/886.
Der volle Inhalt der Quelle
28
Berger, Aimee E. "Dark Houses: Navigating Space and Negotiating Silence in the Novels of Faulkner, Warren and Morrison." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2732/.
Der volle Inhalt der QuelleAnnotation:
Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.
29
Suárez, Nuria López Cabaleiro. "A dinâmica da justiça: um estudo a partir de Hannah Arendt." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20831.
Der volle Inhalt der QuelleAnnotation:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-02-16T19:29:01Z
No. of bitstreams: 1
Nuria López Cabaleiro Suárez.pdf: 1538506 bytes, checksum: d7a9a5493a0653e42e6121fb291abd7f (MD5)<br>Made available in DSpace on 2018-02-16T19:29:01Z (GMT). No. of bitstreams: 1
Nuria López Cabaleiro Suárez.pdf: 1538506 bytes, checksum: d7a9a5493a0653e42e6121fb291abd7f (MD5)
Previous issue date: 2018-02-06<br>Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Starting from the factual premise studied by Arendt on the diversity and
fluidity of moral judgments, particularly in the context of totalitarian regimes, this thesis
analyses her last writtens in order to find in them relevant elements (variables) that
could be articulated composing our judgments. Starting from a rupture with the
isolation of the heideggerian subject, accept Jasper´s Existenz and open to the other,
on the terms of the reading she does of Kant, both in a intrasubject perspective, from
the enlarged mentality, and in a extrasubject perspective, pointing to a political
philosophy rooted in a theory of action, whose lines could return to her early writtens.
Furthermore, it highlights possible uses of Arendt´s studies as a philosophical model
to recent researches about cognition and justice in neurosciences and also in the
dialog with recent theories of justice, preponderantly turned to political philosophy. So
it demonstrates, in a study from Hannah Arendt, the relevance of her work, that is able
to provide a interdisciplinary vison of the dynamics of what we understand as justice<br>Partindo da premissa fática estudada por Arendt de diversidade e fluidez
dos juízos morais, particularmente no contexto de regimes totalitários, esta tese
analisa seus últimos estudos para encontrar neles elementos relevantes (variáveis)
que possam se articular compondo nossos julgamentos. A partir de uma ruptura com
o isolamento do sujeito heideggeriano, adere a Existenz de Jaspers, e abrindo-se, ao
outro, nos termos da leitura que ela faz de Kant, tanto em uma perspectiva intrasujeito,
a partir da mentalidade alargada, como em uma perspectiva extrasujeito, apontando
para uma filosofia política enraizada em uma teoria da ação, cujos contornos podem
voltar às suas obras anteriores. Ademais, ressalta possíveis utilizações dos estudos
de Arendt como modelo filosófico para recentes pesquisas sobre cognição e justiça
nas neurociências e também no diálogo com as recentes teorias da justiça,
preponderantemente voltadas à filosofia política. Demonstra assim, em um estudo a
partir de Hannah Arendt, a relevância de sua obra, capaz de prover em uma visão
interdisciplinar da dinâmica do que compreendemos como justiça
30
Springer, Michael Leicester. ""Form fading among fading forms" death, language and madness in the novels of Samuel Beckett." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002240.
Der volle Inhalt der QuelleAnnotation:
The primary thesis of this dissertation is that the development of narrative strategy and technique through the course of Samuel Beckett’s fictional oeuvre enacts a parody of the Cartesian method of doubt, in which the search for first principles, instead of providing grounds for certainty, is a hopeless, grotesque quest for a self which eludes any and every assertion. My chief concerns are thus, firstly, to explicate and elucidate the nature of such narrative strategies and techniques, and how these can be said to parody epistemological procedure; and secondly, to interrogate the implications of this parody for the epistemological and interpretative endeavour of which the human sciences are comprised. These two issues are explored by way of an examination of Beckett’s earliest novel, Murphy, and the narrative impasse that arises from the contradiction between this work’s largely realist form and quasi-postmodern content. I thereafter argue that the later fiction, most particularly the Trilogy, achieves formal and stylistic solutions to the aesthetic and epistemological challenges raised by the earlier work. Beckett’s fictional oeuvre, I contend, can best be construed as an attempt to attain that which exceeds and escapes narrative in and through narrative, namely madness or death. The achievement of either would entail the obliteration of the possibility of narrating at all, and the novels, engaging in a self-deconstructing endeavour, thus occupy a profoundly paradoxical position. Any attempt to interpret a body of work of this nature can only respond in an analogous manner, by trying to make meaning of the subversion of meaning, and deconstructing the assumptions that inform its procedures. This dissertation argues that it is precisely in the way in which it necessitates such selfreflexive discursive analysis that the import of Samuel Beckett’s fiction lies, and extrapolates the significance of this for an understanding of discourse, literary criticism, and epistemological procedure.
31
Heck, Lisa Renee. "Vardaman Bundren and Sartoris Snopes: An Unlikely Brotherhood." Xavier University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1352494838.
Der volle Inhalt der Quelle
32
Leone, Carol (Carol S. ). "Interpreting the Rhythmic Structures of Paul Creston as Applied in the Six Preludes for Piano, Op. 38 and the Sonata for Saxophone and Piano, Op. 19." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332479/.
Der volle Inhalt der QuelleAnnotation:
The general purpose of this paper is the discussion of the interpretation and performance of rhythm within the context of Paul Creston's five rhythmic structures. Specific objectives are to bring to light Creston's unique rhythmic terminology, theories, and structures; and to interpret rhythm at the piano with an emphasis on accent, pedaling, articulation, balance of textures, and pace.
33
Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.
Der volle Inhalt der QuelleAnnotation:
ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.<br>Committee in charge: Paul Peppis, Chairperson, English;
Michael Aronson, Member, English;
Mark Quigley, Member, English;
Jenifer Presto, Outside Member, Comparative Literature
34
Gagas, Jonathan. "Late Modernist Schizophrenia: From Phenomenology to Cultural Pathology." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/263194.
Der volle Inhalt der QuelleAnnotation:
English<br>Ph.D.<br>My dissertation demonstrates how representations of schizophrenic characters in novels can combat widespread misuses of psychiatric terms and help readers empathize with mentally ill people if we read these novels with some understanding of psychiatry and the psychoanalysis that influenced them. I undertake a critical genealogy of the schizophrenia concept's migration from the mental health professions to fiction, concentrating on the period from the German invasion of Paris in June 1940 to the events of May 1968, with some attention to contemporary uses of the schizophrenia concept by cultural theorists. Experimental novelists writing during the apogee and aftermath of National Socialism from the 1940s to the 1970s represent schizophrenia as they understood it to express the painful emotions produced by World War II's challenge to the value of experimental writing. In the postwar fiction of Samuel Beckett (1906-1989) and Georges Perec (1936-1982), imitating schizophrenia results in careful disclosures of disintegrating life-worlds: in Beckett's case, the dissolution of the James Joyce circle and the communities of modernist exiles it exemplified, which the German invasion of Paris destroyed; in Perec's case, the deaths of his parents in the defense of France and the Holocaust, and the annihilated six million Jews including his mother. Reading Beckett and Perec's novels develops readers' abilities to empathize with both schizophrenic people and the loved ones of Holocaust victims. While those who avoided the concentration camps like Perec did not experience their horrors firsthand, losing relatives and other loved ones transformed their lives, just as losing two thirds of its Jewish population devastated European culture despite reticence to acknowledge the Holocaust's monstrous effects in the postwar years. Late modernist fiction can thus both help readers understand the Holocaust's cultural impact and foster the skills necessary to understand experiences of severe mental disorder. Such empathic understanding is more humane than romanticizing or stigmatizing schizophrenia or other mental illnesses, and it helps us register the Holocaust's degradation of humanity anew rather than walling off this event in the past or regarding it solely as a Jewish issue. Late modernist fiction provides a more precise, caring alternative to the romanticizing/stigmatizing binary perpetuated by postwar cultural theorists because, from the 1930s to the 1970s, the fiction gradually transitions from reinforcing that binary to enabling empathy for traumatized and mentally ill people. Such fiction anticipated recent phenomenologies of schizophrenia - real experiences of distress and impairment rather than socially constructed concepts of madness - and traumatic shame, an emotional experience of oneself or one's community as inadequate in response to failure, especially the Holocaust as a failure of European culture and modernity. Both traumatic shame and severe mental disorder can make the body conspicuous, alienate people from their cultures, and disintegrate structures of salience and belonging that make sustained relationships and projects possible. Recent existential-phenomenological theories of mental disorder enable reintegrating schizophrenia representation in fiction into the history of literary modernism, especially its concern with historical forces disrupting the minds of individuals. These theories explain changes in mentally ill people's sense of possibilities for developing themselves and relating to others, from the way they experience their bodies to the way they use language. Hence I use these theories to demonstrate how knowledge of schizophrenia enabled post-Holocaust novelists to travesty and transform earlier novelists' uses of fictional minds to interrogate cultural change.<br>Temple University--Theses
35
Melo, Gedivânio Feitosa Mateus. "Caligrafia apagada = silêncio na escrita de Esperando Godot." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284351.
Der volle Inhalt der QuelleAnnotation:
Orientador: Mario Alberto de Santana<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T23:51:27Z (GMT). No. of bitstreams: 1
Melo_GedivanioFeitosaMateus_M.pdf: 950720 bytes, checksum: a03d9be3609069f0698b30f07a486418 (MD5)
Previous issue date: 2011<br>Resumo: Considerando o Silêncio como um elemento inerente aos processos de criação do teatro moderno, esta pesquisa dedica-se à investigação do Silêncio na obra "Esperando Godot", de Samuel Beckett, construindo cuidadosa reflexão sobre a sua presença em categorias específicas da dramaturgia beckettiana. As inquietações que surgiram ao longo da pesquisa convergiram para que essa análise se configurasse a partir da seguinte proposição: o Silêncio que subsiste em "Esperando Godot" não se restringe à partitura das rubricas e ao dialogismo pautado na palavra, mas na dialética construída a partir da linguagem de seus elementos cênicos inseridos na escrita e no visual estético. Por ora, esta pesquisa denomina "Caligrafia Apagada" o Silêncio aqui investigado<br>Abstract: Considering the Silence as an inherent element to creation processes of Modern Theater, this research is devoted to research the Silence on the Play "Waiting for Godot" by Samuel Beckett, building careful reflection on its presence in specific categories in the Beckettiana dramaturgy. The concerns that arose during the research have converged to make this analysis shaped by the following proposition: The Silence that remains in "Waiting for Godot" is not restricted to the punctuation of the rubrics and dialogism based on the word, but in the dialectic constructed from the language of their scenic elements inserted in the writing and the visual aesthetic. For now, this research is called "Off Calligraphy" Silence here investigated<br>Mestrado<br>Artes Cenicas<br>Mestre em Artes
36
Domareki, Sarah. "To Stay or to Go? A Literary and Historical Study of French-Canadian Emigration From Quebec to New England, 1820-1930." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/DomarekiS2005.pdf.
Der volle Inhalt der Quelle
37
Zimmermann, David H. (David Howard). "Myths, Hierophanies, and Sacraments in William Faulkner's Yoknapatawpha Fiction." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277821/.
Der volle Inhalt der QuelleAnnotation:
Critical reactions to the religious experiences contained in William Faulkner's fiction have tended to fall within the context of traditional Christian belief systems. In most instances, the characters' beliefs have been judged by the tenets of belief systems or religions that are not necessarily those on which the characters base their lives. There has been no effort to understand the characters' spirituality as the basis of an independent religious belief system. Mircea Eliade's methods and models in the study of comparative religion, in particular his explanation of the interaction of the sacred and the profane during a hierophany (the manifestation of the sacred), can be applied to the belief systems of Faulkner's characters to reveal the theologies of the characters' religions, the nature of the belief systems on which they base their lives. Identification of those stories associated with hierophanies in Faulkner's Yoknapatawpha fiction enables the isolation and analysis of the sacred stories and sacraments of Yoknapatawpha County's civil religion. The storytellings examined appear in Flags in the Dust, "A Justice," and Absalom, Absalom!. The storytellers and the audiences are all a part of the Yoknapatawpha community, and the stories are drawn from a common history. The sacralization and use of particular stories to explain certain events reflects the faith life of the community as a whole, as well as that of the individual participating in the ritual. The explication of the profane experiences the myths are meant to sanctify will reveal that the individuals, and consequently, the community, are in the process of discarding their old, civil religion. As a result, they have lost the ability to adapt their ancestral myths to fit the existential crises they presently face. Unable to infuse the present with the sacred, Yoknapatawpha1s younger generation is overwhelmed by the chaos that surrounds it.
38
James, Ian. "Re-making urban space : writing social realities in the British city." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/10606.
Der volle Inhalt der QuelleAnnotation:
In this thesis I investigate the narrative rendering of urban experiences and the place of agency within these renderings, looking in particular at the personal stories of urban dwellers. Grounded in anthropological fieldwork in Britain - in the town of Romford (Essex) to the east of London - but also relying on written sources on British social realities, this thesis challenges the idea and practice of a traditional place-based ethnography, calling in turn for an anthropological appreciation of the individual writing of human experience. This I define as the considered ordering of the forms in terms of which individuals experience their lives. I recognise that such ‘writing', conceived as a cognitive pursuit, is possible within speech and not, as some may have it, the exclusive preserve of literary culture. In allowing that individuals may exercise authorship over their lives in this way, I find it is possible, as well as potentially illuminating, to compare individuals' writings, their personal accounts of their lives, with other genres for writing the reality of urban and peri-urban milieux in Britain. I hear significant correspondences between each story-genre, especially as regards the impacts of town planning on urban space for the populations that inhabit it, and discuss the possible theoretical implications of this correspondence. I focus extensively on two such genres in addition to personal stories: the sociological - examining Michael Young and Peter Willmott's sociological classic text ‘Family and Kinship in East London' - and the literary - a reading of the work of English poet and journalist John Betjeman. Running through the thesis is also an appreciation of the figure of the amateur, both as a real actor and as a metaphor for the postmodernist approach to culture to which I also subscribe.
39
Sigmund, Dana. "The Proud Galloping Image”: Sutpen, Wash, and the Gaze in Faulkner’s “Absalom, Absolom!”." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/726.
Der volle Inhalt der QuelleAnnotation:
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<br>Bachelors<br>Arts and Sciences<br>English Literature
40
Cabral, Fernando da Silva. "Uma contribuição à crítica literária brasileira: Antologia de literatura estrangeira, de Patrícia Galvão e Geraldo Ferraz, no Diário de S. Paulo." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21667.
Der volle Inhalt der QuelleAnnotation:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-04T11:45:56Z
No. of bitstreams: 2
Fernando da Silva Cabral - V1.pdf: 11383627 bytes, checksum: 47bcc40c95715b0820340ea018fa4d31 (MD5)
Fernando da Silva Cabral - V2.pdf: 25604283 bytes, checksum: 4bfa6dd8905a2a8311ad59b83967ab2b (MD5)<br>Made available in DSpace on 2018-12-04T11:45:56Z (GMT). No. of bitstreams: 2
Fernando da Silva Cabral - V1.pdf: 11383627 bytes, checksum: 47bcc40c95715b0820340ea018fa4d31 (MD5)
Fernando da Silva Cabral - V2.pdf: 25604283 bytes, checksum: 4bfa6dd8905a2a8311ad59b83967ab2b (MD5)
Previous issue date: 2018-10-15<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The main purpose of this paper is the first year of publication of the biobibliographic
studies, prepared by Geraldo Ferraz (1905-1979) and Patrícia Galvão (1910-1962) in
the literary supplement of the Diário de S. Paulo, entitled Anthology of foreign literature,
published between November 24, 1946 to November 28, 1948. This research
aimed to investigate a sampling of 9 articles that point to a historical moment of tension
between the review, whose anecdotal-biographical traits were common in the
field of journalism when it comes to literary criticism in the 1940’s, and specialized
criticism, most commonly found within the academy. The hypothesis we propose is
that this critique is articulated in three strands: firstly, the one whose discursive dominance
resides in the sheer dissemination of the work and the author, passing through
an intermediary model between review and critical academic commentary, and finally,
the third model in which the specialized critical discourse prevails, taking advantage
of an aesthetic-literary nature. For this, this study was structured based on the qualitative
research to describe, to understand and to explain the forces that stress the
critical project developed by the couple of organizers of the column. In this sense, the
essay by Flora Süssekind (2002), Rodapés, tratados e ensaios, a formação da crítica
brasileira moderna, is the starting point of this research, as well as the works developed
by Afrânio Coutinho (1987, 2001, 2004) to understand the phenomenon of Brazilian
literary criticism in the 1940s. In addition to contributing to the study of Brazilian
literature, this project aims to retrieve the articles published in the column and, thus,
to observe how the work of the literary critic was being performed in a period in which
systematic academic criticism was being forged as the mainstream<br>Este trabalho tem por objeto central o primeiro ano de publicação dos estudos biobibliográficos,
elaborados por Geraldo Ferraz (1905-1979) e Patrícia Galvão
(1910-1962) no suplemento literário do Diário de S. Paulo, intitulados Antologia de
literatura estrangeira, publicados entre 24 de novembro de 1946 a 28 de novembro
de 1948. Esta pesquisa se propôs a investigar uma amostragem de 9 artigos que
apontam para um momento histórico de tensão entre o review, de tratamento anedótico-
biográfico, e a crítica especializada. A hipótese que projetamos é a de que essa
crítica se articula em três vetores: primeiramente, aquele cuja dominância discursiva
reside na divulgação da obra e do autor, passando por um modelo intermediário entre
o review e o comentário crítico acadêmico, e, finalmente, o terceiro modelo no
qual prevalece o discurso crítico especializado, de cunho estético-literário. Para tanto,
este estudo se estruturou com base na pesquisa qualitativa para descrever, compreender
e explicitar as forças que tensionam a projeto crítico desenvolvido pelo casal
de organizadores da coluna. Nesse sentido, o ensaio de Flora Süssekind (2002),
Rodapés, tratados e ensaios, a formação da crítica brasileira moderna, é o ponto de
partida dessa investigação, assim como os trabalhos desenvolvidos por Afrânio Coutinho
(1987, 2001, 2004) para compreender o fenômeno da crítica literária brasileira,
nos anos de 1940. Além de contribuir para o estudo da literatura brasileira, este projeto
pretende resgatar os artigos publicados na coluna e, assim, observar como se
efetivou o trabalho do crítico literário num período que a crítica sistemática, acadêmica,
se configurava enquanto ofício
41
Martins, Jeferson Tadeu. "A categoria da ação política em Hannah Arendt." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20990.
Der volle Inhalt der QuelleAnnotation:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-09T13:03:27Z
No. of bitstreams: 1
Jeferson Tadeu Martins.pdf: 1332410 bytes, checksum: 83dcc9eedfc7d3309e7885c7cd112abd (MD5)<br>Made available in DSpace on 2018-04-09T13:03:27Z (GMT). No. of bitstreams: 1
Jeferson Tadeu Martins.pdf: 1332410 bytes, checksum: 83dcc9eedfc7d3309e7885c7cd112abd (MD5)
Previous issue date: 2018-03-06<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work aims to study the category of political action in the book The Human Condition by Hannah Arendt. This is a category that evidences the search of the author in valorizing the vita activa, understood as labor, work and action. Considering that the totalitarianism of the twentieth century caused a rupture with the tradition of western political thought, Arendt proposes to think of the category of political action from a recovery of what she believes has been relegated to oblivion throughout tradition, to investigate some political phenomena, as originally manifested. In this dissertation, after the proposal of Arendt’s work is presented in general, the author's understanding about vita activa was evidenced, briefly addressing the categories of labor and work, and then presenting the main aspects of the action, based on the book The Human Condition. Finally, Arendt's analysis of modernity is clarified, along with the process of alienation from the world and the reflection on the system of councils, in which, for Arendt, political action is manifested in an authentic way<br>Este trabalho tem como objetivo estudar a categoria da ação política na obra A Condição Humana de Hannah Arendt. Essa é uma categoria que evidencia a busca de Arendt em valorizar a vita activa, entendida enquanto trabalho, obra e ação. Partindo da consideração de que o totalitarismo do século XX ocasionou uma ruptura com a tradição do pensamento político ocidental, Arendt se propõe a pensar a categoria de ação política, a partir de uma recuperação daquilo que ela acredita ter sido relegado ao esquecimento ao longo da tradição, para investigar alguns fenômenos políticos, tal qual se manifestaram originalmente. Nesta dissertação, após se apresentar de modo geral a proposta de trabalho arendtiana, evidencia-se sua compreensão a respeito da vita activa, abordando de maneira sucinta as categorias de trabalho e obra, para depois apresentar os aspectos principais da ação, tendo como base sua obra A Condição Humana. Por fim, esclarece-se a análise arendtiana a respeito da modernidade, juntamente com seu processo de alienação frente ao mundo e à reflexão acerca do sistema de conselhos, nos quais, para Arendt, a ação política se manifesta de modo autêntico
42
Alves, Fernanda Andrade do Nascimento 1983. "Entre sicários e pistoleiros = uma leitura comparada de O invasor, Rosario tijeras e Un asesino solitario." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270134.
Der volle Inhalt der QuelleAnnotation:
Orientador: Miriam Viviana Gárate<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-26T02:58:40Z (GMT). No. of bitstreams: 1
Alves_FernandaAndradedoNascimento_D.pdf: 3070692 bytes, checksum: 507a0ac805dbc5e0b114974427b8d3d6 (MD5)
Previous issue date: 2014<br>Resumo: O presente trabalho propõe a leitura de três textos literários latino-americanos: O invasor, do brasileiro Marçal Aquino, Rosario Tijeras, do colombiano Jorge Franco, e Un asesino solitario, do mexicano Élmer Mendoza, elegendo como eixo de análise a figuração de um personagem emblemático, o pistoleiro/sicário. Nas três obras, é possível destacar aspectos semelhantes: o delineamento de um outro social, o bandido, ao qual se opõe ou com o qual se relaciona organicamente um representante da classe média/alta; a construção de uma voz narrativa que, em diferentes medidas, coloca em tensão essa relação; a configuração de cidades atravessadas pelo crime e de discursos sobre a violência; a recuperação de um personagem, o bandido, presente na tradição literária anterior de cada país; a adesão a gêneros populares, como o melodrama e o romance policial. Considerando esses aspectos, a tese divide-se em duas partes. Centrando-se no espaço e na voz narrativa, os dois capítulos da primeira parte buscam mostrar como os romances constituem a relação com a alteridade no território urbano e como constroem, ao mesmo tempo, um discurso sobre a cidade e sobre o delinquente. A segunda parte dedica-se ao imaginário cultural em torno do bandido e da figuração da violência. Assim, o terceiro capítulo aborda marcas do romance noir em O invasor, traços melodramáticos em Rosario Tijeras e elementos de tramas policiais em Un asesino solitario. O quarto capítulo propõe um estudo da elaboração da figura do marginal nas literaturas brasileira, colombiana e mexicana, passando, respectivamente, por tipos como o malandro e o cangaceiro, o pájaro e o bandolero. Por fim, o último capítulo dedica-se ao diálogo desses textos literários com os presentes em outros meios, como a televisão, o cinema e a música<br>Abstract: This study proposes the reading of three Latin American literary texts: O Invasor, written by Brazilian Marçal Aquino, Rosario Tijeras, written by Colombian Jorge Franco and Un asesino solitario, written by Mexican Élmer Mendoza. Elected analysis axis was the emblematic character figuration, the gunman/assassin. In all three texts, it is possible to highlight similar aspects: the design of a social other, the gangster, opposed by or to which organically relates a representative of the middle/upper class; the construction of a narrative voice that, in different measures, puts strain on that relationship; the configuration of cities crossed by the crime and discourses about violence; recovery of a character, the bandit, present in the earlier literary tradition of each country; the adherence to popular genres such as melodrama and detective novel. Considering these aspects, this thesis is divided in two parts. Focusing on space and narrative voice, the two chapters of the first part aim to show how the novels constitute the relationship with otherness in the urban area and how they build up, at the same time, a speech about the city and the delinquent. The second part is devoted to the cultural imaginary around the bandit and the violence figuration. Thus, the third chapter approaches marks of the novel noir in O Invasor, melodramatic traits in Rosario Tijeras and police plots elements in Un asesino solitario. The fourth chapter proposes a study of the development of the marginal figure in Brazilian, Colombian and Mexican literature, through, respectively, types like the trickster and the outlaw, the pájaro and the bandolero. Finally, the last chapter is devoted to dialogue these literary texts with the stories present in other media, such as TV, cinema and music<br>Doutorado<br>Teoria e Critica Literaria<br>Doutora em Teoria e História Literária
43
Ventura, Telma Regina. "A (des)construção do silenciamento da voz feminina na narrativa performática de Fazes-me falta." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21174.
Der volle Inhalt der QuelleAnnotation:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-21T12:35:55Z
No. of bitstreams: 1
Telma Regina Ventura.pdf: 990261 bytes, checksum: f67f9c75786c9133ffe85d9e40344651 (MD5)<br>Made available in DSpace on 2018-06-21T12:35:55Z (GMT). No. of bitstreams: 1
Telma Regina Ventura.pdf: 990261 bytes, checksum: f67f9c75786c9133ffe85d9e40344651 (MD5)
Previous issue date: 2018-04-10<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The present research aims to investigate the deconstruction of the feminine voice silencing in the contemporary Portuguese writer Inês Pedrosa’s novel Fazes-me Falta (2002). For this purpose, it is intended to undertake an analysis of the modes in which the literary formal components are constituted in order to engender a structure distinguished as a performative narrative. In the pedrosina’s performative narrative in analysis, the convergence of the literary strategies – such as the genological hybridity, the inter-artistic dialogue, the moving writing construction – are composed simultaneously and in combination with the plot, in an inter-artistical dialogue with the Galician-Portuguese troubadour-like medieval lyric, particularly with Troubadour love songs and the Troubadour friendship ones. Considering that Art constantly constitute a political action and Inês Pedrosa, in her both journalistic activity and career as an writer, lodges an active politic attitude in the Portuguese Society, it is observed that the resumption, on Perdrosa’s literary work, of the twelfth century literary structure which excluded the women’s voice produces meanings that denotes the social situation of the contemporary Portuguese women: even achieving social and political rights, women have still been subjected to the voice silencing, as long as their social voices and claims have not been incorporated on political actions. Therefore, the investigation is outlined into three chapters. The first chapter, entitled “The Performative Realism and the writing configurations in the Comtemporary Portuguese Literature”, presents the theoretical background of Linda Hutcheon, Erik Schollhammer and Marcos Siscar, supporting the Post-modernism aesthetics in a dialogue with the new realisms in Literature, and associated with Miguel Real and Álvaro Gomes produces the characterization of the literary performative realism in Portugal. The chapter 2, “Performative narrative: contemporary quests”, embraces the concepts related to the performative narrative, as established by Graciela Ravetti, as well as defines an historical overview of performative arts, taking Renato Cohen’s studies as reference. At last, the third chapter, “The Aesthetic-critical tracing of the Portuguese feminine voice silencing in the performative narrative of Fazes-me Falta”, outlines the construction elements of the corpus examined, characterized as a performative narrative – Giles Deleuze, Lúcia Castelo Branco, Graciela Ravetti and Mário Perniolla assemble the theoretical basis, elucidating the pedrosina’s novel literary formal particularities. Segismundo Spina and Natália Correia devise the aspects of the (in)existence of both poetic and authorship feminine voices in the Galician-Portuguese troubadour-like medieval lyric<br>A presente pesquisa tem como proposta investigar a desconstrução do silenciamento da voz feminina na obra Fazes-me Falta (2002), da escritora portuguesa contemporânea Inês Pedrosa. Para tanto, empreender-se-á uma análise dos modos pelos quais os componentes formais se constituem a fim de engendrar uma estrutura caracterizada como uma narrativa performática. Na narrativa performática pedrosina em análise, a convergência de determinadas estratégias composicionais – o hibridismo genológico, o diálogo interartístico, a escritura movente e rizomática – compõem-se em simultâneo e, em conjunto ao enredo, dialogam interartisticamente com a Lírica Medieval Trovadoresca galego-portuguesa, em especial com as Canções de Amor e as Canções de Amigo. Sabendo-se que a Arte invariavelmente se constitui em uma ação política e que Inês Pedrosa, tanto em sua atividade jornalística quanto como escritora, possui uma postura política ativa na sociedade portuguesa, observa-se que a retomada, na escrita pedrosina, de uma estrutura literária do século XII que excluía a voz da mulher, gera sentidos que evidenciam a situação social da mulher portuguesa contemporânea: mesmo tendo adquirido o direito à voz, ainda se encontra submetida ao silenciamento, visto que, mesmo falando, não é ouvida. Assim, a pesquisa apresenta-se dividida em três capítulos. O primeiro capítulo, intitulado “O Realismo Performático e as configurações da escrita na Literatura Portuguesa Contemporânea”, traz as contribuições teóricas de Linda Hutcheon, Erik Schollhammer e Marcos Siscar, subsidiando as estéticas do Pós-modernismo em diálogo com os novos realismos na Literatura e, associados a Miguel Real e Álvaro Gomes, compõem a caracterização do Realismo Performático literário em Portugal. O capítulo II, “Narrativa Performática: Demandas contemporâneas”, abarca as conceituações relativas à narrativa performática, como estabelecida por Graciela Ravetti, delineando também o Histórico das artes performáticas, tendo como referência as pesquisas de Renato Cohen. Por fim, o terceiro capítulo, “A tessitura estético-crítica do silenciamento da voz da mulher portuguesa na narrativa performática de Fazes-me Falta”, evidencia os elementos de construção do corpus em estudo, os quais o caracterizam enquanto uma narrativa performática; para tanto, Giles Deleuze, Lúcia Castelo Branco, Graciela Ravetti e Mário Perniolla compõem a fundamentação, elucidando as especificidades formais da obra pedrosina. Na sequência, os pressupostos de Segismundo Spina e Natália Correia auxiliam a pontuar os aspectos formais das da (in)existência da voz poética e da voz autoral femininas na Lírica Medieval Galego-portuguesa
44
Tamura, Celia Mitie. "O mito quixotesco na literatura de Cyro dos Anjos." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270230.
Der volle Inhalt der QuelleAnnotation:
Orientador: Antonio Arnoni Prado<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-17T22:03:48Z (GMT). No. of bitstreams: 1
Tamura_CeliaMitie_D.pdf: 1027325 bytes, checksum: 2ca25de2d53580dbba08ba3b4838b342 (MD5)
Previous issue date: 2011<br>Resumo: Esta tese propõe uma nova leitura da obra literária de Cyro dos Anjos, tendo como ponto de partida a questão do mito quixotesco, constantemente referida nos romances do Autor. Estuda-se, assim, o mito, tendo como base a obra de ciência das religiões, de Mircea Eliade, bem como a fenomenológica de Gaston Bachelard. O caráter quixotesco é fundamentado em afirmações amplamente consagradas pela clássica crítica literária acerca da obra de Cervantes, sendo os estudos mais importantes, os de Miguel de Unamuno e José Ortega y Gasset. Esse caráter quixotesco é representado por toda a esfera imaginativa, sobretudo a arte e a poesia. Para Cyro, a poesia é a própria vida, compreendendo também o amor, a memória, o sonho, a música, a crença religiosa e até mesmo Deus, a poesia suprema. A tese aponta Cyro dos Anjos como partidário do quixotismo cervantino, revelando-o como um Autor que transpõe o idealismo mítico universal para uma obra genuinamente brasileira<br>Abstract: This study proposes to present a new interpretation of the literary work of Cyro dos Anjos, based on the Quixotesque myth, constantly mentioned in the Author's novels. The myth is discussed from the work of Mircea Eliade, based on the study of religions, as well as from the fenomenology of Gaston Bachelard. The Quixotesque characteristics are based on already established ideas by the classical literary criticism of Cervantes's works, such as the studies by Miguel de Unamuno, José Ortega y Gasset. Art and Poetry are the major representatives of the Quixotesque, that means the imaginative sphere. For Cyro dos Anjos, Poetry is Life, and also includes love, memory, dream, music, religious belief, and even God - the supreme Poetry. This study presents Cyro dos Anjos as a follower of Cervantes's Quixotesque, but as an Author who carries this universal mythical idealism to a genuine Brazilian novel<br>Doutorado<br>Literatura Brasileira<br>Doutor em Teoria e História Literária
45
Cassell, Holly. "Looking through a Different Lens, Beyond Censorship: The American Reception of Lady Macbeth of the Mtsensk District." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011793/.
Der volle Inhalt der QuelleAnnotation:
The censorship of Lady Macbeth of the Mtsensk District is a familiar story to musicologists, but reception of the opera is not frequently mentioned. Examining the reception of a work can bring a work's relative importance into focus. In this thesis, German literary and reception theorist Hans Robert Jauss's model of the horizon of expectations is applied to reviews of American productions of Lady Macbeth. Curiosity about communism following the Great Depression in 1930s, America and American music critics' knowledge that Soviet composers worked for the Soviet regime led to the belief that Lady Macbeth was officially approved export from the Soviet Union. When the article condemning the opera as a Western formalism appeared in the Soviet magazine, Pravda, Americans needed to adjust their understanding of Lady Macbeth as a socialist expression. Following the work's revival in San Francisco in 1981, the influence of Solomon Volkov's Testimony is prevalent in many reviews. Many reviewers use Volkov's narrative of Shostakovich as covert dissident of the Soviet Union to assert that the censorship of the opera was about the content of the plot and not the music. Following the Soviet rejection of the work, American critics tried to claim Shostakovich for the West based on the values of individual freedom and feminism set forth in Lady Macbeth.
46
崔雪櫻. "胡適詞學主張及創作實踐". Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2485504.
Der volle Inhalt der Quelle
47
Lawrence, Faith. "'True receivers': Rilke and the contemporary poetics of listening (Part 1) ; Poems: Small weather (Part 2)." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7418.
Der volle Inhalt der QuelleAnnotation:
Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'.
48
Caetano, Priscila Miranda. "Caderno de um ausente, de João Anzanello Carrascoza: a escrita autorreflexiva." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20868.
Der volle Inhalt der QuelleAnnotation:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-03-14T12:03:21Z
No. of bitstreams: 1
Priscila Miranda Caetano.pdf: 893859 bytes, checksum: 4274fad36f32a72684ceb281e6a989a4 (MD5)<br>Made available in DSpace on 2018-03-14T12:03:21Z (GMT). No. of bitstreams: 1
Priscila Miranda Caetano.pdf: 893859 bytes, checksum: 4274fad36f32a72684ceb281e6a989a4 (MD5)
Previous issue date: 2018-02-16<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This study aims to investigate how Caderno de un ausente (2014), written by João Anzanello Carrascoza, through a careful work with and in the language, reveals a self-reflexive narrative, in which the empirical author gives way for a fictional author/ narrator, whose purpose is to show, through fiction, the process of literary creation. In the attempt to emphasize Carrascoza's self-referentiality, the study also brings to the scene, Menina escrevendo com o pai (2017), demonstrating the dialogue between the two narratives, as well as the process of literary (des)construction through fragmented narratives in which word and silence become linguistic signs to (dis)veil absences. This research, bibliographic and exploratory-descriptive, considers the hypothesis that the writing in process developed by the author reveals a constant search for the resignification of life, through language, in the attempt of a reconciliation of the individual with himself and with the other, in demand of a hypothetical lost totality of the human being in contemporaneity. The research is organized in three chapters: in the first, we present a panorama of Carrascoza's work aiming to demonstrate the marks of his writing; in the second, we analyze the novel Caderno de um ausente, evidencing his poetic, metalinguistic and metafictional writing, based on the concepts of Jakobson, Paz, Barthes and Hutcheon; in the third, we propose the dialogue between the corpus and Menina escrevendo com o pai, evidencing the staging of the writing and the process of self-reflexivity that is observed between them, as well as the discussion of the effect of meaning generated by this writing that is revealed, in constant state of process, based on the considerations of Hutcheon and Bauman<br>Esta dissertação tem como objetivo investigar de que maneira a obra Caderno de um ausente (2014), de João Anzanello Carrascoza, por meio de um primoroso trabalho com e na linguagem, revela-se como uma narrativa autorreflexiva, na qual o autor empírico cede espaço para um autor ficcional/narrador, cujo objetivo é encenar, por meio da ficção, o próprio processo de criação literária. No intento de enfatizar a autorreferencialidade da escrita de Carrascoza, o estudo traz à cena, também, Menina escrevendo com o pai (2017), demonstrando o diálogo que se evidencia entre as duas obras, bem como o processo de (des) construção do fazer literário por meio de narrativas fragmentadas em que a palavra e o silêncio tornam-se signos linguísticos a (des) velar as ausências. A pesquisa bibliográfica, de cunho exploratório-descritivo, parte da hipótese de que a escrita em processo desenvolvida pelo autor revela-se uma busca constante pela ressignificação da vida, via linguagem, na tentativa de uma reconciliação do indivíduo consigo e com o outro, em demanda de uma hipotética totalidade perdida do homem contemporâneo. A pesquisa organiza-se em três capítulos: no primeiro, apresentamos um panorama da obra de Carrascoza em busca das marcas de sua escrita; no segundo, analisamos o romance Caderno de um ausente, evidenciando sua escrita poética, metalinguística e metaficcional, a partir das reflexões de Jakobson, Paz, Barthes e Hutcheon; no terceiro, propomos o diálogo entre o corpus eleito e Menina escrevendo com o pai, evidenciando a encenação da escrita e o processo de autorreflexividade que entre elas se observa, bem como a discussão do efeito de sentido gerado por esta escrita que se desnuda, em constante estado de processo, fundamentando-nos, para isso, nas considerações de Hutcheon e Bauman
49
Du, Plessis Irma. "Crafting popular imaginaries : Stella Blakemore and Afrikaner nationalism." Diss., University of Pretoria, 2002. http://hdl.handle.net/2263/25581.
Der volle Inhalt der Quelle
50
Jansen, Ena. "Elizabeth Eybers Se "Nederlandse" Bundels, 1962-1991." Thesis, 1992. https://hdl.handle.net/10539/25462.
Der volle Inhalt der QuelleAnnotation:
A thesis submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg,
for the degree of Doctor of Philosophy.<br>Since Eybers went to live in Amsterdam in 1961 her poetry has always been
simultaneously published in Amsterdam and Cape Town. Nine of her sixteen collections
since she made her debut in 1936 can therefore be called "Dutch" in the sense that they
have not only been published in the Netherlands, but have also been reviewed there
extensively and very positively. She is regarded as a poet belonging to the Dutch literary
tradition, and was awarded the highest prize for Dutch literature in 1991. All of this has
happened without her losing her South African readership or status as one of the greatest
Afrikaans poets.
In this study I present an overview of the situation in Holland with regard to the scant
acceptance and Jack of knowledge of Afrikaans and of its literature at the time Eybers
went to live there. The uniqueness of her Dutch acceptance is analysed against this
background. An overview of her Dutch and South African reviews (1962-1992)clearly
shows that Dutch reviewers have always been fascinated by the fact that they can
understand her work in spite of the fact that Afrikaans is otherwise considered a language
from which texts need to be translated into Dutch in order to be readable and marketable.
Because Eybers lives in the Netherlands she shares a frame of reference with her Dutch
readers. Her language has incorporated many typical Dutch phrases, allowing her poetry
to become more accessible and familiar to Dutch readers. Basically,though, she still writes
in Afrikaans and South African readers still read and regard her as an Afrikaans poet In
her poems - which often describe her state of voluntary exile and In which memories of
the vast South African landscape are described - South African readers therefore find
much which is familiar to them. Her themes -Iove.Ionellness, ageing, death, estrangement
- are universal. In spite of this wide acceptance an in depth study or the particularities of
the Eybers Idiolect and fields of reference clearly shows that both sets of leaders are
constantly faced with quite severe comprehension problems. I therefore argue that the
work of Eybers offers a unique example of "making it strange", the element which the
Russian Formalists regarded as the essentiai difference between natural language and
poetic language. The "double world" and "go between" language of Eybers result in a
blend of intimacy and strengeness which two sets of readers experience in different ways.
I argue that particular "ungrammaticalities" make her "Dutch" volumes "doubly poetical".
Formalist, reception and semiotic theories are employed in a descriptive explanation of
the Eybers phenomenon.<br>Andrew Chakane 2018