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Syme, Neil. "Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21768.
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This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches.
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Bull, Jeoffrey Steven. "Trying nothing, appraisals on nihilism in American fiction of the 1970s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27883.pdf.
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Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
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Stilley, Harriet Poppy. "From the delivered to the dispatched : masculinity in modern American fiction (1969-1977)." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23498.
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There has long been a critical consensus that the presiding mood of America in the late sixties and early seventies was one of pervasive social upheaval, with perpetual ‘crisis’ seeming in many ways the narrative rule. Contemporaneous critics such as Erich Fromm, David Riesman, and William Whyte, together with late-twentieth century writers, Michael Kimmel, Sally Robinson, and David Savran, congruently agree that the post-war American epoch connoted one of expeditious adjustment for white, middle-class men in particular. The specific aim of this thesis is, thus, to elucidate the ways in which the literary fiction of this period by authors John Cheever, James Dickey, Toni Morrison, Cormac McCarthy, and new journalist, Michael Herr, reflects a significantly increased concern for such alterations in the values and attitudes of contemporary cultural life through representations of modern American masculinities. Multiple liberation struggles, including Civil Rights, Feminism, and sexual politics, converged with core economic shifts that transformed the US from an industrial based to a consumerist model. For hegemonic masculinity, this is a transferal from ‘masculine’ industrial labour and the physically expressive body to ‘feminine’ consumerism. This study will first of all underline the extent to which fiction in this period registers those changes through the lens of a fraying of what was once a fortified fabric from which white, patriarchal power was normatively fashioned. What is most disrupted by the paradigm shifts of the era will appear, then, to be a monolithic, coherently bounded American masculinity. However, by way of an interrelated interpretation of contemporaneous feminist and Marxist theory, my research will subsequently show that, rather than being negated, the fabric of that dominant masculinity regenerated and reasserted itself, primarily through the fraught revival of a violent and mythologized hypermasculinity in mainstream US culture. Whether it is through the suburban maladjustment of Eliot Nailles and Paul Hammer, the fraudulent frontier ethic of Ed Gentry and Lewis Medlock, or the more perverse pugnacity of Lester Ballard and internalised racism of Cholly Breedlove, this thesis argues that, by the mid-seventies, numerous American novelists had sought to artistically magnify the ways in which fundamental changes in the patterns of national life were occurring – changes which are represented more often than not as damaging to the normative model of masculinity and the experiential consciousness of men.
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Marshall, Rodney Stephen Adam. "Voicing lost language : the politics of urban gay writing: American and British Fiction from the late 1970s to the early 1990s." Thesis, University of Exeter, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282666.
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Hinchliffe, Ian. "The documentary novel : fact, fiction or fraud? : an examination of three Scandinavian examples of the documentary novel from the 1960s and 1970s." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:8034.
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This study seeks primarily to examine three Scandinavian examples of the documentary novel. Initially I endeavour to isolate certain purported characteristics of the genre as a whole by considering which aspects of a narrative have prompted the critics to call it a 'documentary novel'. I then examine the three works in detail, applying standard techniques of literary criticism and comparing the facts on which the novels are based with the novels themselves to determine what makes them 'documentary' and what makes them 'novels'. The three novels share common techniques and all deal with the subject of Scandinavian polar exploration, but the author's relationship and attitude to the facts he has at hand are sufficiently different in each instance to permit a discussion of the literary form, ambitions and potential of the 'documentary novel'. The evidence suggests that the documentary novel uses authentic historical material but presents it through the techniques and forms of creative literature: the novelists adapt documented facts to support a view of a history which typically differs from accepted tradition. I then show that the conclusions to which this unorthodox view points, however, are invariably the same as those the authors draw about life in their other, non-documentary fictional works. Finally I demonstrate how the documentary novel is a fluid form which can be used in the service of fact, fiction or fraudulent propaganda, and I suggest a definition that embraces the three novels examined and the three kinds of documentary fiction that they represent.
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Blatchford, Mathew. "The old New Wave : a study of the 'New Wave' in British science fiction during the 1960s and early 1970s, with special reference to the works of Brian W. Aldiss, J.G. Ballard, Harry Harrison and Michael Moorcock." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22150.
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Bibliography: pages 174-184.<br>This thesis examines the 'New Wave' in British science fiction in the 1960s and early 1970s. The use of the terms 'science fiction' and 'New Wave' in the thesis are defined through a use of elements of the ideological theories of Louis Althusser. The New Wave is seen as a change in the ideological framework of the science fiction establishment. For oonvenience, the progress of the New Wave is divided into three stages, each covered by a chapter. Works by the four most prominent writers in the movement are discussed.
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Degim, Iclal Alev. "TURKISH FANTASY FICTION FILMS THEN AND NOW: AN ANALYSIS OF FANTASY FILMS PRODUCED IN EARLY 1970s TURKEY." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1303.
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Turkish cinema has produced very few examples of fantasy fiction genre films since its beginning in 1914 except for the 1970s Yeşilçam era. The first film ever to be made in Turkey by a Turkish filmmaker (Fuat Uzkınay) is credited as Ayastefanos’taki Rus Abidesinin Yıkılışı (The Destruction of the Russian Monument at Ayastefanos) (Panaite, 8), which is an actuality film similar to Lumiere brothers’ shorts. The lack of recognition of fantasy fiction in Turkish film history and literature can be attributed to the social and political movements along with the modernization process in the republic’s history to migration, alienation, and the contradictory Turkish identity. A survey of Turkish novels reveals a parallel lack of fantasy fiction in literature. In analyzing this lack of fantasy fiction films in literature, Veli Uğur concludes that it is the late modernization process (he claims starts with early 2000’s) within the Turkish social, cultural sphere that influenced this almost complete non-existence of the genre (136). A late modernization is not sufficient to explain the fantasy fictions rise in 1970s and complete disappearance afterwards in Turkish cinema. This project’s main concern is to identify the reasons behind the lack of fantasy fiction films in Turkish cinema by analyzing the films produced in the early peak period of Yeşilçam (early 1970s). I look at the cinematic texts through the lens of attachment to realism and tradition, the refusal and re-appearance of folklore, the definition of Turkish identity prior to the acceptance of Islam, and the severed ties with the Ottoman identity. These factors all created a crisis for the modern Turk. The investigation addresses the effect of the emerging Turkish culture of the early 1970s on the production and perception of fantasy in films as a way of unearthing the social struggles and desires of that time. Contrary to mainstream literature, the Yeşilçam (Green Pine) era (roughly between 1960 and 1980) produced quite a few examples (36 in total from 1970 to 1979 (Önk, 3875)); however, these are only A movies and thus the perception that there aren’t many fantasy films produced in Turkey is wrong. If B films with low-budgets are added the total number rises to 135 films out of a total of roughly 200 films were produced during this nine-year period. The influence of European and American culture after the proclamation of Turkey as a republic in 1923 aided a rise in art and cultural events (such as film festivals) that affected the production of films. Yeşilçam was the peak of this movement towards modernization, and although the production values and budgets for the films were very low, became they extremely successful. These films were produced and distributed for the Turkish audience. Turkish movie theaters of the 1970’s were mainly in big cities.
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Goodenberger, Beth Ann. "Then and Now: A Look at the Messages Young Adult Fiction Sends Teenage Girls in the 1970s and 2000s." Ohio Dominican University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=odu1449249421.
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Ferguson, Naomi Joy. "Literary Alchemy - Turning Fact into Fiction, Songs My Mother Taught Me, Songs My Mother Taught Me - Revised Edition, In Defence of Love." Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/5062.
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My MFA portfolio consists of two scripts for performance and a research essay exploring the methods and process of writing these.
Songs My Mother Taught Me is a one-woman cabaret piece; set in 1972, it explores hippie culture in New Zealand and a young women‟s search for independence. This portfolio contains two versions of this script. Both versions of this piece have been performed.
In Defence of Love is a play for three actors, each of whom plays one aspect of an abused woman trying to find her way out of a destructive relationship.
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Nakayama, Shintarô. "La figure du sujet lyrique dans la poésie contemporaine : Jacques Dupin, Philippe Jaccottet et Jacques Réda." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2023.
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Notre étude s’attache à cerner les figures du sujet lyrique dans la poésie de Jacques Dupin (1927- 2012), Philippe Jaccottet (1924- ) et Jacques Réda (1928- ), trois écrivains majeurs de l’après-guerre dont le travail poétique a contribué à l’évolution de la poésie lyrique contemporaine. Sans pour autant négliger l’œuvre antérieure et postérieure de ces poètes, notre étude se concentrera principalement sur les ouvrages des années 1960 et 1970. A cette période, en effet, la poésie lyrique s’est trouvée prise dans une situation critique sans précédent du fait l’avènement du structuralisme et du « textualisme » proclamé par l’avant-garde. En réaction au textualisme des années 1960 et 1970, Dupin, Jaccottet et Réda poursuivent une quête opiniâtre du lyrisme. Notre étude n’a pour but ni d’élaborer des critères globaux et universels afin de définir les caractéristiques universelles de la « poésie lyrique » en tant que genre littéraire, ni d’élaborer une réflexion philosophique sur le Sujet ou l’En-soi. A travers l’analyse des figures de sujet lyrique, nous étudierons les caractéristiques de chacun de nos poètes, ainsi que les modes de la poésie lyrique au cours de cette période malaisée. La notion de « sujet lyrique » nous servira de paramètre en vue d’éclairer la singularité et l’historicité des poèmes, voire de la poétique propre à chaque écrivain. Traditionnellement, la poésie lyrique est souvent associée à l’emphase ou au sentimentalisme. La poésie de Dupin, Jaccottet et Réda s’acharnent à se dégager de l’embrasse du lyrisme traditionnel encombré d’égocentrisme. La poésie lyrique n’est plus un genre qui exprime les sentiments et la subjectivité du poète. Nos poètes sont à la recherche d’une nouvelle forme de poésie lyrique, qui convienne à leur époque. L’impersonnalité, que nous trouvons souvent dans leur poétique, s’associe à la production d’une nouvelle modalité de la subjectivité, éloignée de la métaphysique de la subjectivité. Le refus d’une certaine forme de subjectivité coexiste avec la recherche d’une parole singulière, ainsi que d’une nouvelle figure de sujet lyrique<br>Our study aims to examine the figures of the lyric subject in the poetry of Jacques Dupin (1927- 2012), Philippe Jaccottet (1924-) and Jacques Réda (1928-), three major poet of the postwar whose poetic work contributed to the evolution of contemporary lyric poetry.Without neglecting the anterior and posterior work of these poets, our study will focus mainly on the works of the 1960s and 1970s. At that time, in fact, the lyric was taken in a critical situation without precedent because of the advent of the structuralism and the “textualism” proclaimed by the avant-garde. In response to textualism of 1960s and 1970s, Dupin, Jaccottet and Réda continue an obstinate search of lyricism.Our study doesn’t aim to develop global and universal criteria to define the universal characteristics of "lyric poetry" as a literary genre, nor to develop a philosophical reflection on the subject or the En-soi. Through the analysis of the figures of lyric subject, we will study the characteristics of each of our poets, as well as patterns of lyric poetry during the difficult period. The notion of "lyric subject" will serve as a parameter in order to clarify the singularity and the historical nature of the poems, and those of the poetic peculiar to each writer.Traditionally, lyric poetry is often associated with the emphasis or sentimentality. The poetry of Dupin, Jaccottet and Reda struggle to free themselves from the traditional lyricism based on the egocentricity. Lyric poetry is no more a genre that expresses the feelings and subjectivity of the poet. Our poets are looking for a new form of lyrical poetry, which is suitable for the times. The impersonality, we often find in their poetic, is associated with the production of a new form of subjectivity, far from the metaphysics of subjectivity. The refusal of some form of subjectivity coexists with the search for a singular word and the new figure of lyric subject
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Cadenhead, Stefanie. "1980s and 1990s French fiction and the 'retour au reÌcit'." Thesis, University of Liverpool, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402408.
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Arthur, Erica. "Emasculation at work : white-collar protest fiction in the 1950s and 1990s." Thesis, University of Nottingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401544.
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Amato, Jean M. "The representation of ancestral home and homeland in Chinese American fiction (1960s-1990s) /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181080.
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Thesis (Ph. D.)--University of Oregon, 2005.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 307-317). Also available for download via the World Wide Web; free to University of Oregon users.
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Farwick, Christine. "Welcome to the interzone writing/reality in cult fiction of the 1980s and 1990s." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2004. http://d-nb.info/1002141680/04.
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Hamilton, Jennifer L. "Held together by words : the bull calves and the Scottish fiction of Naomi Mitchison (1930s-1960s)." Thesis, University of Aberdeen, 2004. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=229125.
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Naomi Mitchison (1897-1999) was an accomplished Scottish author noted for her historical fiction. Her literary career was prolific and lengthy, moving through several phases. From the early 1930s through the 1960s, Mitchison wrote primarily Scottish works. Whether in setting, characterisation, or concern, her literature during these years was for the Scottish people. In this reader’s estimation, Mitchison’s greatest contribution to the Scottish literary world was her ability to write engaging story while constructively recreating strong national mythos and setting forth models of healthy, loyal communities. Mitchison first is artist; therefore, any social agenda she embraces finds expression in art (whether these concerns be socialism, feminism, education, the arts, agricultural practices, or fishing, to name a few). This thesis will trace the themes in her earlier and later periods of the Scottish phase of her literary art, with <i>The Bull Calves </i>as focal point not only of this study, but also of the Scottish period of her writing. Exploration of the early works (1930s-40s) and the later works (1950s-60s and the later <i>Early in Orcadia</i>) will highlight themes that recur throughout her literary career. While not new to her particularly Scottish works, recurring themes take on new significance in light of Mitchison’s political involvement with the Labour Party and her local Community of Carradale. Mikhail Bakhtin’s study of narratology acknowledges the inherent political nature of language, and how the lexical range of characters within a text signifies particular class, occupation, religious and/or political propensity. When examining <i>The Bull Calves, </i>Bakhtinian method will be applied to the text, illustrating Mitchison’s utilisation of the facets of language to refract meaning within the text.
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Lister, Ashley R. "Five plots : the relationship between plot and genre in short fiction." Thesis, University of Bolton, 2018. http://ubir.bolton.ac.uk/1970/.
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This thesis explores the notion that, in short fiction, plot is a component part of genre. Using original fiction, and with reference to classic and contemporary examples from a broad range of short stories, the thesis investigates this relationship through an examination of the semantic and syntactic features found in a variety of genres. The thesis begins with an examination of horror, romance and erotic fiction, three of the five supergenres examined and the genres that are perceived to have the strongest focus on character, and on characters’ inter-relationships. The thesis then moves on to consider plot-focused supergenres, such as the mystery and the adventure, arguing that the whodunit, fantasy and science fiction are basic level genres, subordinate to either the mystery or adventure supergenres. The thesis concludes by discussing further original, and somewhat experimental fiction that has come from this approach to the notion of plot being a component part of genre. It is hoped that this study will be of value to writers on both theoretical and practical levels. From a theoretical perspective, this material demonstrates one writer’s approach to analysing genre fiction, which should prove a useful model for other writers to use or appropriate. From a practical point of view, the contents of this thesis should prove an aid to writers, who will be able to see what it is that makes their fiction successful, or not, from a genre perspective.
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Pridmore, Joseph Lawrence. "Fiction and subversion in the 1930s." Thesis, Nottingham Trent University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431888.
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Zeilig, Hannah. "Older people and their families in 1920s popular fiction : fictions of age and their importance for social gerontology." Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313516.
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Meoto, Elvira N. Huff Cynthia Anne. "The evolution and formation of identity a case study of West African women's fiction from 1960s to 1990s /." Normal, Ill. : Illinois State University, 2007. http://proquest.umi.com/pqdweb?index=0&did=1432770681&SrchMode=2&sid=2&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1216232418&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2007.<br>Title from title page screen, viewed on July 16, 2008. Dissertation Committee: Cynthia A. Huff (chair), Ronald L. Strickland, Paula Ressler. Includes bibliographical references (leaves 270-282) and abstract. Also available in print.
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Sterry, Emma. "Transgressive sexuality and cultural hierarchy : the representation of the single woman in women's fiction, 1920s to the 1940s." Thesis, University of Strathclyde, 2011. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=15573.
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Croft, A. "Socialist fiction in Britain in the 1930s." Thesis, University of Nottingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373609.
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Kanakova, A. "Ordinary observers : London fiction of the 1930s." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1400117/.
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This thesis examines the London novel of the 1930s, with a focus on texts that made the ordinary, or typical, Londoner’s visual experience of the city their subject. While the main emphasis is on works by Patrick Hamilton, Jean Rhys, Storm Jameson, and George Orwell, several less-known and neglected London writers of the period are also considered. While the curiosity about the inner lives of ordinary city dwellers was not new in the 1930s, the rendering of Londoners’ interiorities through their visual perceptions became a prominent trend in the London novel during the decade. Importantly, visual experiences of the city in the novels under discussion are no longer the exclusive property of a sensitive, omniscient narrator. Rather, London is increasingly seen from the unexceptional, typically lower-middle-class observer’s point of view. The London novels discussed here were set in the city's spaces of leisure - cinemas, teashops, café bars, and the brightly lit streets of the West End. For the writers under discussion, these were much more than just settings. The spatial organisation of London’s public sphere between the Wars shaped not only the external appearance of the city, but also modes of being within it. In this thesis, then, the cultural history of 1930s London informs readings of the period’s writing. Readings of 1930s photographs form an integral part of the thesis. Literature and photography, insofar as the ordinary Londoner was concerned, occupied similar fields of enquiry. As the art form that was not only itself visual, but that frequently made others’ looking its subject, photography is closer to the 1930s London novel than any other mode of expression, and photographs both illustrate and illuminate the literary works under discussion.
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Kershaw, Angela. "Gender, politics and fiction in 1930s France." Thesis, University of Nottingham, 1998. http://eprints.nottingham.ac.uk/14337/.
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This study examines French political fiction of the 1930s, taking gender as its primary category of analysis. It considers texts by female novelists whose work has been largely excluded from critical attention, in order to bring their particular contribution to inter-war French literature to light. It integrates this analysis into a consideration of relevant and representative texts of the exclusively male canon of French political fiction dating from the 1930s, exploring points of contact and divergences to show how the work of the female authors relates to the wider context of French inter-war literary activity. Texts by eight writers are considered in detail, namely Madeleine Pelletier, Edith Thomas, Henriette Valet, Louise Weiss, Louis Aragon, Pierre Drieu la Rochelle, André Malraux and Paul Nizan. The analysis of the female-authored novels informs the study of their male counterparts, whose texts also offer fertile ground for an analysis in terms of gender. The corpus is approached, in broad terms, through the themes of commitment, sexuality and the body. These themes permit an investigation of the gendering of politicization as it is manifested in 1930s literature.
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McGarry, Paul William. "Subcultural fictions of 1990s Britain." Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496531.
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Jones, Matthew William. "The British reception of 1950s science fiction cinema." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-british-reception-of-1950s-science-fiction-cinema(b180c812-ec8b-4369-afe7-97da1bc14890).html.
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Scholarship on 1950s American science fiction cinema has tended to explore the relationship between these films and their domestic contexts of production and reception. They are often characterised as reflections of US anxieties about communism and nuclear technology. However, many such films were exported to Britain where these concerns were articulated and understood differently. The ways in which this different national context of reception shaped British interpretations of American science fiction cinema of this era has not yet been accounted for. Similarly, although some research has addressed 1950s British science fiction, this scholarship has been comparatively concise and has left gaps in our knowledge about the domestic reception of these films. Unable to draw on a British reception history of domestic and US 1950s science fiction cinema, debates about the genre have sometimes been underpinned by the presumption that western audiences responded to these films in a uniform manner. This thesis seeks to complicate our understanding of the genre by suggesting the specificity of the British reception history of science fiction cinema during the 1950s. The paucity of documentary evidence of British responses to 1950s science fiction films makes an audience study impossible. Within the intellectual framework of the New Film History, this thesis instead employs a contextually- activated approach to reception. Making extensive use of archival sources, newsreels, newspapers, magazines and other such documentary evidence, it explores some of the different contexts in which 1950s science fiction cinema was received in Britain and suggests how these factors might have shaped the interpretation of the genre. The thesis examines the interplay between American and British 1950s science fiction cinema and the British public understanding of communism, immigration, nuclear technology and scientific advancement. It contributes to our knowledge of these films by demonstrating that Britons did not necessarily understand 1950s science fiction cinema in the same way as Americans because they were party to a differently inflected series of public debates. It exposes the flexibility of the metaphors utilised by the genre during this period and their susceptibility to reinterpretation in different national contexts. This research makes visible, in a more extensive manner than has yet been accomplished, the specificity of the British reception history of 1950s science fiction cinema, and thereby provides a means to resist assumptions about the similarity of western audiences during this decade. Its conclusions call for further research into other national reception histories of these films, so that they too are not overshadowed by the better known American history of the genre, and into the possibility that the British reception history of other genres might similarly have been obscured.
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Elder, Catriona, and catriona elder@arts usyd edu au. "Dreams and nightmares of a 'White Australia' : the discourse of assimilation in selected works of fiction from the 1950s and 1960s." The Australian National University. Faculty of Arts, 1999. http://thesis.anu.edu.au./public/adt-ANU20050714.143939.
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This thesis is an analysis of the production of assimilation discourse, in
terms of Aboriginal people’s and white people’s social relations, in a small
selection of popular fiction texts from the 1950s and 1960s. I situate these
novels in the broader context of assimilation by also undertaking a
reading of three official texts from a slightly earlier period. These texts
together produce the ambivalent white Australian story of assimilation.
They illuminate some of the key sites of anxiety in assimilation discourses:
inter-racial sexual relationships, the white family, and children and young
adults of mixed heritage and land ownership. The crux of my argument is
that in the 1950s and early 1960s the dominant cultural imagining of
Australia was as a white nation. In white discourses of assimilation to
fulfil the dream of whiteness, the Aboriginal people – the not-white – had
to be included in or eliminated from this imagined white community.
Fictional stories of assimilation were a key site for the representation of
this process, that is, they produced discourses of ‘assimilation
colonization’. The focus for this process were Aboriginal people of mixed
ancestry, who came to be represented as ‘the half-caste’ in assimilation
discourse. The novels I analyse work as ‘conduct books’. They aim to
shape white reactions to the inclusion of Aboriginal people, in particular
the half-caste, into ‘white Australia’. This inclusion, assimilation, was an
ambivalent project – both pleasurable and unsettling – pleasurable
because it worked to legitimate white colonization (Aboriginal presence as
erased) and unsettling because it challenged the idea of a pure ‘white
Australia’.
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Harland, Rachel Fiona. "The depiction of crowds in 1930s German narrative fiction." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:c8357884-eaf2-4daf-987b-82539148b38b.
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This study of 1930s German fiction adds a new dimension to existing scholarship on the depiction of crowds in literature. Whereas previous surveys on the topic have predominantly focused on the crowd as a revolutionary phenomenon judged on the basis of class perspectives, or as a feature of mass society, this investigation deals specifically with reactions to the crowd in its incarnation as a manifestation of and symbol for political fascism. Drawing on a number of contemporaneous theoretical treatises on crowds and mass psychology, it seeks to demonstrate that war, extreme socio-political upheaval and the rise of Nazism produced intense multidisciplinary engagement with the subject among German-speaking intellectuals of the period, and examines the portrayal of crowds in works by selected literary authors in this context. Exploring the interplay between literature and concurrent theoretical works, the thesis asks how writers used specific possibilities of fiction to engage with the theme of the crowd at a time when the worth of art was often questioned by literary authors themselves. In doing so, it challenges the implication of earlier criticism that authors uncritically appropriated the findings of theoretical texts for fictional purposes. At the same time, it becomes clear that although some literary crowd portrayals support a distinction between the nature of theoretical and literary writing, certain crowd theories are as imaginative as they are positivistic. Extrapolating from textual comparisons, the thesis thus challenges the view held by some authors that knowledge produced by theoretical enquiry was somehow truer and more valuable than artistic responses to the politics of the age.
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Galletly, Sarah. "Work, class and gender in Canadian fiction, 1890s-1920s." Thesis, University of Strathclyde, 2012. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=25538.
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Kolitsi, Philothei. "Tradition and modernity in Greek prose fiction of the 1920s." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403388.
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Perreur, Nathalie. "Information et fiction : le mélange des genres à la télévision américaine." Paris 2, 2010. http://www.theses.fr/2010PA020059.
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Cette recherche doctorale a pour objet le mélange des genres à la télévision aux États-Unis, envisagé à travers le traitement du crime dans l’information télévisée et la fiction sérialisée policière et judiciaire des années 1980 à 2000. L’information télévisée a connu, à partir du début des années 1980, des transformations structurelles profondes : devenue une valeur marchande à part entière, l’information devient davantage inféodée à l’audimat. Ces bouleversements l’ont amenée à assumer une fonction de divertissement, en privilégiant des thématiques susceptibles de capter l’attention du public, et en ayant recours à un traitement sensationnaliste et racoleur des sujets traités. L’un des corollaires de la course à l’audience est la mise en avant insistante du crime dans l’information télévisée, et ce alors même que la criminalité mesurée ne cesse de diminuer. Ce faisant, l’information télévisée néglige son rôle principal de commentateur éclairé pour mettre en avant un usage plus récréatif de l’information. Un sujet comme le crime, traité de manière sensationnaliste, lacunaire et perméable aux pressions politiques, pâtit principalement de cette chute qualitative de l’information. A l’inverse, l’émergence parallèle d’une « néo-fiction » de qualité au cours des années 1980 contribue à favoriser le glissement du divertissement vers le sérieux et le réflexif. Les séries policières et judiciaires peuvent alors servir de palliatif aux dérives ou aux raccourcis pris par l’information en matière de crime. En proposant une voix alternative souvent critique, incitant à la réflexion, cette fiction se défend d’envisager le crime de manière univoque : procédant à l’exposé réaliste des faits criminels et de leurs causes et implications sociales, elle développe une réflexion sur l’ambivalence de la notion de bien et de mal, sur la complexité des ressorts du crime et de ses acteurs, et contribue, en plus de le divertir, à informer le téléspectateur sur la réalité sociale du crime. A travers une étude croisée de ces deux genres et de leurs modes de production, ce travail conclut à confluence des deux genres sur la représentation du crime et de la justice.
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Hayter, Irena Eneva. "Words fall apart : the politics of form in 1930s Japanese fiction." Thesis, SOAS, University of London, 2008. http://eprints.soas.ac.uk/29296/.
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This thesis presents an analysis of Japanese modernist texts from the 1930s, with an emphasis on the writings of Takami Jun (1907-1965), Ishikawa Jun (1899-1987) and Dazai Osamu (1909-1948). Rather than discuss these experiments within the problematic of influence and see them as secondary gestures imitating the techniques of Gide or Joyce, I attempt to show that Japanese modernist fiction is deeply implicated in its cultural, political and technological moment. 1 begin with a mapping of the historical and discursive forces behind the so-called cultural revival (bungei fukko) and the revolt against the epistemic regime of Westernized modernity: its soulless positivism, its logic of instrumentality which objectified nature and the historical teleologies which inevitably relegated Japan to a secondary place. I examine the works of Takami, Ishikawa and Dazai in this context, against close-ups of specific material and discursive developments. The transgressions and dislocations of linear narrative in Takami Jun's novel Should Auld Acquaintance Be Forgot (Kokyu wasureu beki, 1936) are read as radical deconstructions of the deeply ideological discourse of tenko (the official term for the political conversion of leftists) as a regeneration of the self, as the return to a natural organic Japaneseness. The narrative of Ishikawa Jun's Fugen (Fugen, 1936) is structured by dualistic tropes which can be seen as configurations of mediation and unity; I explore the meaning of these narrative strategies against the collapse of political mediation in the mid-1930s and the swell of fascist longings for oneness with the emperor. The marked reflexivity of the stories in Dazai Osamu's first published collection The Final Years (Bannen, 1936) is discussed in the context of the profound anxieties generated by the accelerated logic of cultural reproduction and the technologically altered texture of experience. I argue that in their shared emphasis on discursive mediation and the materiality of language, the texts of Takami, Ishikawa and Dazai become figures of resistance to a nativism which strove for immediate authenticity and abandoned representation for the metaphysics of timeless Japaneseness.
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Holland, Anika R. "Grokking Gender: Understanding Sexual Pleasure & Empathy in 1960s Science Fiction." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492389983184444.
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Litherland, Kate. "Pulp : youth language, popular culture and literature in 1990s Italian fiction." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/31136.
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In this thesis I analyse a selection of Italian pulp fiction from the 1990s. My approach combines sociolinguistics and literary criticism, and uses textual analysis to show how this writing fuses influences from contemporary youth cultures and languages, and Italian literary tradition. The key themes of my analysis are pulp's multifaceted relationships with Anglophone culture, in particular punk music, its links to previous generations of Italian authors and intellectuals, and its engagement with contemporary Italian social issues. In Chapter 1, I review the existing literature on 1990s Italian pulp. Following on from this, I outline how a primarily linguistic approach allows me to consider a selection of authors, such as Rossana Campo, Silvia Ballestra, Aldo Nove, Enrico Brizzi and Isabella Santacroce, from a unifying perspective, and how this approach offers a means of considering the varied but contemporary perspectives on Italian culture, society, politics and literature offered by this group of writers. In Chapter 2, I show how pulp authors construct their linguistic style on the basis of spoken youth language varieties, and consider their motivations for doing so. Chapter 3 traces the literary precedents for this use of language, using comparative textual analysis to examine the nature of the relationships between pulp and American literature, and late twentieth century Italian fiction by Arbasino, Tondelli and Pasolini, in order to question some of the myths surrounding the literary sources of pulp. Chapter 4 deals with the relationship between pulp and popular culture, contrasting the notion of popular culture presented in this fiction to that proposed by earlier generations of Italian intellectuals, and discussing the theoretical perspectives that this reveals. Finally, I debate the extent to which pulps often disturbing and controversial subject matter reflects an attempt to deal with ethical issues, and consider pulp's success in achieving these aims.
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Burke, Debra Pauline. "Pandora's box : sexual fiction by Spanish and Latin-American women from the late 1970's to 2000 /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Quaquarelli, Lucia. "Objets de fiction, quelques fonctions narratives de l'objet romanesque (France-Italie 1980-1990)." Paris 3, 2003. http://www.theses.fr/2003PA030088.
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Ce travail se consacre à une étude des objets romanesques. De ces objets magiques il trace un chemin d'analyse " fonctionnelle ", effectué sur la base, textuelle, d'un étroit nombre de romans italiens et français parus au cours des années Quatre-vingts. Bien que les objets du roman gardent généralement, tout comme leurs pareils dans le monde réel, une dimension essentielle d'usage (par une nécessité de vraisemblance et de motivation interne), ils possèdent également, toujours, un rôle fictionnel et fonctionnel qui la dépasse. Un rôle qui s'affirme, d'une fois à l'autre, sur le rapport que les objets instaurent avec les personnages et les événements de l'histoire, ou encore, à un autre niveau, avec la narration. Un rôle, enfin, qui enregistre des constantes au sein de l'histoire du roman, à partir desquelles il est intéressant de mesurer l'écart, ainsi que les points de contact (et de reprise), qui marquent la plus récente production romanesque. C'est pourquoi cette étude propose deux parcours distincts parmi les objets qui pointillent les romans des années Quatre-vingts. Le premier suit les traces du rapport qui lie les objets fictifs aux personnages et le deuxième enquête sur les fonctions des objets fictifs à l'égard de la narration. Deux parcours seulement dans l'ample et articulé réseau de rapports invisibles au cœur duquel se trouve l'objet de fiction, qui se déplient bien loin de toute volonté de taxonomie et d'exhaustivité. Deux itinéraires d'analyse qui répondent à la nécessité de rendre compte de la spécificité du corpus romanesque choisi avec, comme toile de fond, une dimension littéraire diachronico-dialectique à partir de laquelle cette spécificité peut véritablement être saisie<br>This work deals with the study of objects in novels. It lays out a " functional " analytical path of these magical objects, based on the reading of a number of Italian and French novels from the Eighties. Although these fictive objects generally manifest an important utility profile - in a similar way to their cousins in the real world (by the necessity of resemblance and internal motivation) - they equally always possess a fictional and functional role which goes beyond such a profile. It is a role which appears around the relation the objects establish with the characters and the events of the story or, on another level, with the narration. A role which registers constants within the history of the novel, from which it is interesting to measure the distance, rather than the points in common, which mark the most recent production. This is the reason why this study proposes two distinct paths between the objets which punctuate the novels of the Eighties. The first follows the traces of the relation which ties the fictive objects to the characters and the second questions the functions of the fictive objects with regard to the narration. Only two paths are proposed in the vast and complex network of invisible relations at the heart of which the object can be found; two paths which pan out far from the will to taxonomize or be exhaustive. Two analytic itineraries which respond to the necessity to account for the specificity of the corpus of fiction chosen, with for a backdrop a diachronic-dialectic literary dimension from which this specificity can be grasped
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Tanner, John Edward. "Language as Object : the Achievement and context of Richard Brautigan's 1960s' fiction." Thesis, Bangor University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528314.
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Hertaud-Wright, Marie-Helene. "Masculinity, hybridity and nostalgia in French colonial fiction films of the 1930s." Thesis, Loughborough University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327684.
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Perfect, Michael John. "Celebrated fictions of multicultural London of the 1990s and 2000s." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609563.
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Voskuyl, Heather. "Plainsong or polyphony? : Australian award-winning novels of the 1990s for adolescent readers /." Electronic version, 2008. http://epress.lib.uts.edu.au/dspace/handle/2100/923.
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Llompart, Pons Auba. "The good seed childhood and the gothic in children’s fiction (1990s– early 2000s)." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/285098.
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Aquesta tesi estudia el gòtic a la literatura infantil de finals del s. XX i principis del XXI, i analitza com la tendència a transgredir del gòtic entra en conflicte amb el caràcter didàctic de la literatura infantil i el seu afany per promoure models de comportament socialment acceptables. Actualment, castells gòtics i cementiris, víctimes innocents perseguides pels dolents, la figura inquietant del doble, i molts altres motius propis del gòtic han passat a formar part de la literatura infantil. La infància es representa com una època plena de pors i preocupacions, i es qüestionen, aparentment, visions bucòliques i romàntiques de la infància. Segons estudis anteriors, aquesta irrupció relativament recent del gòtic en la literatura infantil reflecteix una preocupació amb la infància pròpia del tombant de segle, així com l’actual escepticisme de la nostra cultura pel que fa a la innocència dels nens, una qualitat que ja no es dóna per feta, degut, en gran part, als avenços en psicologia infantil i a esdeveniments recents que han fet palès que els nens també són capaços de cometre crims i altres actes de crueltat. El principal objectiu d’aquesta tesi és qüestionar la idea que les novel·les gòtiques per nens reflecteixen, d’una manera tan directa, les preocupacions actuals envers la infància. Tot i que les històries sobre nens estan ambientades en indrets cada cop més foscos, cal destacar que la figura del nen/a com a refugi de la bondat és més visible que mai. Per tal d’argumentar aquesta tesi, els quatre capítols que composen el meu treball ofereixen una lectura detallada de quatre de les novel·les gòtiques per nens més populars publicades en anglès des de la dècada dels 90: la saga de Harry Potter de J.K. Rowling (1997-2007), Coraline de Neil Gaiman (2002), la trilogia His Dark Materials de Philip Pullman (1995-2000) i A Series of Unfortunate Events de Daniel Handler (1999-2006). El gòtic en aquestes novel·les ofereix, certament, moltes possibilitats per qüestionar visions romàntiques de la infància i complicar els rols de ‘nen/a víctima’ i ‘adult dolent’. Tot i així, una lectura detallada dels texts revela que els elements gòtics no són gairebé mai utilitzats per qüestionar, de manera permanent, la creença en la bondat inherent del nen, d’acord amb les convencions del gènere infantil que estableixen la representació positiva dels nens gairebé com una norma. Així, la caracterització del nen/a revela una gran insistència en preservar una visió idealitzada de la infància, més que no pas un intent de subvertir aquests ideals.<br>This dissertation sets out to examine Gothic elements in children’s novels written in the 1990s and early 2000s, exploring the tension between the Gothic’s concern with the transgression of boundaries, on the one hand, and the preference of children’s literature for keeping certain boundaries fixed and promoting acceptable behavior, on the other. Gothic castles and graveyards, innocent victims persecuted by Gothic villains, the disruptive figure of the double and many other Gothic motifs are all now part of children’s novels. Childhood is depicted as a time that is not devoid of fears and anxieties, and pastoral and romanticized views of childhood are, apparently, challenged. According to previous studies, this relatively recent irruption of the Gothic in children’s literature reflects a turn-of-the-century preoccupation with childhood, as well as our culture’s current skepticism over the innocence of children, which is no longer taken for granted. This is in great part due to advances in child psychology as well as recent events that have proved children capable of perpetrating crimes and other acts of cruelty to others. The main objective of this dissertation is to question the idea that children’s Gothic novels reflect, in such a straightforward manner, these present-day anxieties over childhood. I argue that, although the child’s environment has indeed become Gothicized, the child figure as a repository of goodness is more visible than ever. To support my thesis, the four chapters composing my dissertation provide close readings of four of the most celebrated and popular works of children’s Gothic published in English during the 1990s and early 2000s; namely, J.K. Rowling’s Harry Potter series (1997-2007), Neil Gaiman’s Coraline (2002), Philip Pullman’s His Dark Materials trilogy (1995-2000) and Daniel Handler’s A Series of Unfortunate Events (1999-2006). Certainly, the Gothic in these novels offers many opportunities to question romantic visions of innocent childhood and complicate the ‘child victim’/’adult abuser’ status. Yet, a close examination of the texts reveals that Gothic elements hardly ever question permanently the belief in the child’s inherent goodness, in keeping with children’s literature conventions that establish positive visions of children as the norm. The child’s characterization in children’s Gothic thus reveals an insistence on clinging to an idealized vision of childhood, rather than an attempt to subvert these ideals.
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Masters, Benjamin Scott. "The ethics of excess : style and morality in British fiction since the 1960s." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648740.
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Moulds, Alison. "The construction of professional identities in medical writing and fiction, c. 1830s-1910s." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:e78862c0-1b16-404b-8096-d6701cc7f443.
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This thesis examines the representation of medical practitioners between the 1830s and 1910s in Britain and its Empire, drawing on the medical press and fiction. Moving away from the notion that practitioners' identities were determined chiefly by their qualification or professional appointment, it considers how they were constructed in relation to different axes of identity: age, gender, race, and the spaces of practice. Each chapter concentrates on a different figure or professional identity. I begin by looking at the struggling young medical man, before examining metropolitan practitioners (from elite consultants to slum doctors), and the hard-working country general practitioner. I then consider how gender and professional identities intersected in the figure of the medical woman. The last chapter examines practitioners of colonial medicine in British India. This thesis considers a range of medical journals, from well-known titles such as the Lancet and British Medical Journal, to overlooked periodicals including the Medical Mirror, Midland Medical Miscellany, and Indian Medical Record. It also examines fiction by medical authors such as Arthur Conan Doyle and W. Somerset Maugham, and lesser-known figures including Margaret Todd and Henry Martineau Greenhow. I read these texts alongside other contemporary writing (from advice guides for medical men to fiction by lay authors) to scrutinise how ideas about practice were shaped in the medical and cultural imagination. My research demonstrates not only how medical journals fashioned networks among disparate groups of practitioners but also how they facilitated professional rivalries. I reveal the democratising tendency of print culture, highlighting how it enabled a range of medical men and women to write about practice. Ultimately, the thesis develops our understanding of medical history and literary studies by uncovering how the profession engaged with textual practices in the formation of medical identities.
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Gjellstad, Melissa L. "Mothering at millennium's end : family in 1990s Norwegian literature /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6581.
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Hidalgo, Emilse Beatriz. "From mourning to reconstruction : Argentine postdictatorial fictions of the 1980s-2000s." Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/10870/.
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This thesis proposes to read Argentine postdictatorship fictions of the 1980s–2000s not, as has frequently been the case, from the point of view of mourning, memory and defeat but from a more positive perspective oriented towards the reconstruction of a fuller national history and identity. As in Borges’s “Pierre Menard”, the argument is essentially a critical hermeneutic one: it is based on a dynamic rather than static thinking of history and textuality that seeks to open up the reading of texts to the present rather than leave their interpretation statically closed off in the past. The social, political, and economic crisis known as “the Argentinazo” (December 2001), the annulment of the Amnesty Laws in August 2003, and the politics of memory and human rights that ensued thereafter provide in this thesis a distinct historical context from which to rethink both “early” (1980s/1990s) and “new” (post–2001) postdictatorial literature. My suggestion all along is that the linkage of literature, artistic and activist cultural politics, including a politicised reading of literature, will necessarily have as its aim the formation of a popular or collective critical consciousness. Overall the main contributions of this thesis are twofold. Firstly, the interpretation of postdictatorial fictions from a pedagogico-political perspective makes the textual analysis of these fictions new and original in their own right. And secondly, this research demonstrates that postdictatorial fictions constitute a cultural reservoir or a cultural archive of historical resistance, dissent, and human rights struggles from which it is hoped present and future generations can learn to live more democratically.
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Chevaillier, Flore. "L'écriture du corps : une érotique du langage dans la fiction contemporaine américaine." Orléans, 2008. http://www.theses.fr/2008ORLE1092.
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"L'écriture du corps : une érotique du langage dans la fiction contemporaine américaine" se concentre sur quatre romans américains récents : Plus (1977) de Joseph McElroy, AVA (1993) de Carole Maso, DICTEE (1982) de Theresa Hak Kyung Cha, et VAS (2002) de Steve Tomasula. Plus, AVA, DICTEE et VAS, de par l'usage non-conforme qu'ils font des structures linguistiques, sont à l'origine d'un questionnement sur l'institution d'un "moi" stable, questionnement qui se trouve à la source même de l'expérience érotique. Ces textes postmodernes, par leur caractère excessif, visent à orchestrer la multiplication des sens du langage, ce qui force le lecteur à atteindre une compréhension des textes qui aille au-delà de leur contenu. En effet, la perte de cohérence mène à une perte du contrôle de soi et à une approche de la matérialité du texte, troublant ainsi les oppositions entre sujet et objet. Ceci permet à l'oeil de devenir un organe du toucher et d'établir ainsi un parallèle entre le toucher et le regard érotique. Cette expérience sensuelle remet en cause la suprématie patriarcale car elle révèle que les modèles patriarcaux censurent le corps dans les usages linguistiques. Ainsi, les fictions contemporaines américaines révèlent les idéologies sous-jacentes aux formations narratives et soulignent la valeur politique des stratégies esthétiques postmodernes. Notre étude élabore donc une explication de la politique féministe des textes postmodernes qui nous pousse à repenser le corps dans l'écriture, la lecture et la pensée<br>This study proposes a new interpretive apparatus to examine readers'experience of sensuality in their engagement with the language of fiction. Postmodern texts explore literature's ability to signify and materialize experiences, mediating the physical conditions of everyday existence with the physical conditions of reading and writing. In this exploration, avant-garde writers disrupt traditional signifying techniques, emphasizing the materiality of the medium of their texts - print, sound, page, orthography, syntax, etc. This disruption provokes an erotic examination of language and encourages a bodily relationship with the textual medium. I investigate this mode of writing and its political consequences in Joseph McElroy's Plus (1977), Carol Maso's AVA (1993), Theresa Hak Kyung Cha's DICTEE (1982), and Steve Tomasula and Stephen Farrell's VAS (2002), as they produce examples of both thematic and structural erotics through visual experiments, metaphors, or allegorical representations of theoretical connections between pleasure and language. Informed by feminist theorists Julia Kristeva and Hélène Cixous, film critic Laura Marks, philosopher Georges Bataille, art historian Georges Didi-Huberman, and the writings on avant-garde literature by Roland Barthes, this study clarifies American experimental literature's ability to counterbalance and demystify contemporary rhetorical apparatuses that fosters political agendas. This project thus repositions postmodern texts as feminist practices that call for a political reevaluation of social systems which confine fictional examinations of the body, and their interpretations, to patriarchal paradigms
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Tchernava, Irina. "Le cinéma de non-fiction en URSS : création, production et diffusion (1948-1968)." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0095.
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Le cinéma de non-fiction, qui comprend les actualités, les films documentaires, industriels et éducatifs, est rarement étudié en tant que secteur professionnel faisant l'objet d'attentes politiques spécifiques. Ce travail porte sur le quotidien de la fabrication des images en URSS, de la fin des années 1940 à la mise en place des réformes Kossyguine dans la deuxième moitié des années 1960. Il s'attache à retracer une histoire sociale de l'industrie cinématographique à travers l'étude des pratiques professionnelles des cinéastes de la république soviétique de Lettonie et de la région de Sverdlovsk. Il traite ce faisant des mutations en cours dans la production et la diffusion des films, en analysant la dimension territoriale, les conditions de travail, le rôle économique changeant de la non-fiction, et la matérialité des pratiques. Cette période se caractérise par la consolidation d'une autonomie professionnelle, à travers laquelle les cinéastes s'efforcent de mettre à distance la commande, quelles qu'en soient les origines (sociales, politiques, industrielles)<br>The non-fiction cinema, which includes chronicles, documentaries, industrial and educative films is rarely studied as a professional area and as an object of specific political expectations. This studying carries on the daily fabrication of films in Soviet Union from the end of the 1940s till the Kossygin economic reforms in the second half of the 1960s. This work tries to shape up a social history of the soviet cinema industry by studying the professional practices of the film-makers in the Soviet socialist republic of Latvia and in the Sverdlovsk region. It concerns the transformations in film production and distribution by analysing territorial aspect, work conditions, shifting economic role of the non-fiction and materiality of the practices. The period is that of the strengthening of the professional autonomy and the film-makers try to distance themselves from the command whatever are its sources (social, political, industrial)
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Bottom, Karin Athena. "The cartel model : fact or fiction? : developments in West European politics since 1970." Thesis, University of Manchester, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493518.
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Scholarly analysis has a proclivity to try and understand party behaviour through the lens of 'ideal types'. While a surfeit is available, four appear to dominate the party literature: cadre, mass, catch-all and cartel. This dissertation develops a number of arguments relating to the latter that was introduced by Katz and Mair. in 1995. Essentially proposing that party behaviour has been reflective of that shown by business cartels since 1970, the Katz/Mair model suggests that in order to survive, party cartelisation has seen specific sets of parties capturing and controlling markets of their choice.
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McFaden, Gwen M. "Fending off feminization : erecting gender/ed boundaries and preserving masculinity in 1930s British fiction." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1247890.
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Adverse economic and social conditions during the 1930s prompted fears that Britain and its populace were becoming feminized. Mass unemployment, the collapse of the older forms of masculinist industry, and the sudden expansion of London's consumer culture were three major events that contributed to perceptions of declining masculinity and rampant feminization. Unemployment, it was feared, transformed muscular, self-reliant laborers into emasculate, dependent idlers. The demise of industry (coal mining, ship building, and iron/steel working) turned symbolic garrisons of imperial strength and power into derelict wastelands. London's consumerism in the form of cheap goods and escapist entertainment was thought to pacify and enfeeble the (male) inhabitants. These three pivotal events fueled apprehensions about the breakdown in traditional, patriarchal structures and heightened sensitivities to and furthered the use of masculine/feminine dichotomies within public discourse.The aim of my dissertation is to explore the ways in which complex networks of gender anxieties resonate in 1930s British fiction through the establishment and erosion of rhetorical gender/ed boundaries. Although fears regarding the political landscape, social unrest, and war were instrumental in shaping the literary responses of the decade, those fears were also informed by and articulated through a gender-conscious rhetoric. Emasculation imagery worked in concert with the complementary feminization imagery to capture the popular imagination. Apprehensions about women's potential to disrupt traditional boundaries (sexualized women, i.e. women taking men's jobs) merged with generalized fears of the feminine (constructed Woman, i.e. an undefined fear femaleness), and both were inscribed with the power to disrupt, threaten, and subsume. These "discourses of gender and gendered discourses," to adopt Lyn Pykett's phrase, played an integral part in shaping how the 1930s populace interpreted their rapidly changing world. By promoting gender to the center of my interpretive paradigm, I aim to identify how representations of the private realm interact with and contribute to the public/political narrative thrusts.<br>Department of English
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Stainer, Jonathan. "Nationalism, sectarianism, division and hybridity : representations of place in Belfast fiction of the 1990s." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274091.
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