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Eronson, Emma. "Tillgänglighet, Läsförståelse och Skapande förräderi, eller, Den nutida svenska läsarens möjligheter att förstå de litterära allusionerna i Jane Austens romaner." Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-16566.
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The aim of this Master’s thesis is to investigate the modern Swedishreader’s possibilities to understand the literary allusions in Jane Austen’sfirst three novels in light of young people’s decreasing readingand understanding of classic literature. This is done by examining historicaloverviews of literature written in Swedish, curriculums forliterature courses at three Swedish universities and library holdings inSwedish libraries, both public and academic.In the thesis three different elements are combined – informationabout the alluded authors and texts, a comparison between the Swedishand the English versions of the novels and the result from theabove mentioned investigation. The description of the alluded authorsand texts provide information about the connotations that can be madeby an allusion to them. The comparison between the English and theSwedish novels show whether or not the allusions still exists in thetranslated text and if there are any differences that might affect theunderstanding of the novels.The theoretical framework is based upon literary sociology, especiallythe work of Escarpit. His concept creative treason is an inspiration forthe thesis. The hermeneutic theory of understanding is also consulted.That previous understanding effect the interpretation of a text is afundamental idea upon which the importance of the three chosen resources(curriculums, historical overviews of literature, library holdings)are based.Program: Bibliotekarie
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Cartellier-Veuillen, Éléonore. "Through the Looking-glass World of Harry Potter : Literature, Language and History." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL019/document.
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« À travers le monde-miroir de Harry Potter : littérature, langage et histoire » (« Through the Looking-glass World of Harry Potter : Literature, Language and History ») est une thèse qui propose d’analyser Harry Potter non pas comme un ouvrage à succès mais en tant que littérature à part entière. Les films, la marchandisation, le parc à thème et autres annexes aux œuvres sont donc mis de côté pour se concentrer sur le texte qui recèle un nombre important de joyaux littéraires. Notre but sera de démontrer que Harry Potter fait partie du canon littéraire et qu’il permet au lecteur de re-découvrir son propre monde.Quatre grands thèmes dans l’œuvre de J. K. Rowling sont mis en avant – le lien avec la littérature de jeunesse, l’intertextualité, le langage et l’Histoire – pour mieux étudier la qualité littéraire de Harry Potter. Notre problématique se centre sur la question de passage entre notre monde et le monde magique à travers la notion de langage. En effet le langage permet de créer un pont entre notre culture, notre littérature, nos mythes et notre histoire et le monde enchanté du livre. Cette transposition permet au lecteur de redécouvrir son propre monde à travers un habile jeu de miroirs dans le texte. En poursuivant sa lecture le lecteur est capable de passer à travers le miroir et de découvrir un univers à la fois merveilleux et terrible qui reflète et déforme le nôtre.Cette thèse se propose d'analyser la littérarité du texte tout en pointant les liens avec notre propre culture, que ce soit avec la réécriture des classiques anglophones pour adultes et enfants dans Harry Potter, ou la réécriture de notre Histoire. Ce travail a pour but de démontrer que Harry Potter est digne du canon de la littérature et qu'un examen poussé de l’œuvre permet d’apprécier et de découvrir cette saga à un niveau universitaire“ travers le monde-miroir de Harry Potter : littérature, langage et histoire » (« Through the Looking-glass World of Harry Potter : Literature, Language and History” is a thesis whose aim is to analyse J. K. Rowling’s set of magical novels through the lens of literature. We will focus on the text in order to uncover the literary gems which are hidden within the weft of the text. The aim of this thesis is to explain why Harry Potter can be considered as part of the literary canon and how the text creates a mirror-universe which enables the reader to rediscover his own world.In order to better analyse the literary qualities of the text four main themes are put forward in this thesis: the links with children’s literature, intertextuality, language and history. Our thesis question centres on the question of passage between our world and the magical one through the notion of language. Indeed, language enables bridges to be built between our culture, our literature, our myths and our history and the magical universe of the books. This transposition enables the reader to rediscover his own world thanks to a clever hall of mirrors effect. Through his reading process the reader is thus able to go through the looking-glass and discover a wonderful and terrifying world where the best and the worst of our society and history is represented.This thesis reveals how in-depth analyses of intertextuality, language and history display the literary qualities of Harry Potter and enable an academic reading of the text
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Palmer, John. "Wichi goodwill : ethnographic allusions." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389785.
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Mead, Ruth Mary Judith. "Wordsworth's poetry of allusion." Thesis, University College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369103.
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Kelly, Gavin. "Ammianus Marcellinus : autopsy, allusion, exemplum." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395223.
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Hylen, Susan. "Allusion and meaning in John 6." Berlin New York de Gruyter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2672622&prov=M&dok_var=1&dok_ext=htm.
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Yu, Teresa Yee-Wah. "Li Shangyin : the poetry of allusion." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31118.
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A major poet of the Tang period, Li Shangyin is highly regarded yet criticized because his work is densely allusive. Dazzling and rich in meaning, it is also difficult and obscure because of its pervasive allusiveness.
Chapter I reviews critical opinion of Li's use of allusion. Many traditional critics see allusion as an ornamental rhetorical device and consider Li's profuse allusiveness an idiosyncrasy to be tolerated in an esteemed poet.
Chapter II studies allusion broadly and precisely as a literary concept: generally, allusion is a "connector" of texts, a link between a poet's work and his literary heritage; specifically, it is a linguistic device serving metaphorical functions. Allusion viewed as extended metaphor generates multiple meanings. An approach to reading allusion is here developed, to interpret allusive texts on literal, allegorical, and symbolic levels. The chapter concludes that it is a misconception to say that the heavy use of allusion necessarily leads to inferior poetry.
Chapter III relates Li's allusions to major motifs in his work, finding that his historical and mythological allusions fall into clusters and patterns. The profusion of mythological allusions yields symbolic meanings, both in individual poems and in the larger context of his collected works. Examining Li's characteristic use of allusion, the chapter shows how it functions as a major stylistic signature and is the principal reason for the plurisignation and ambiguity in his poetry.
Chapter IV interprets several typical poems by Li Shangyin in the context of the theoretical and historical framework of the foregoing chapters. It highlights some of the major functions of allusion in these poems. A positive response to the plurisignation of Li's allusive mode allows for an inclusive critical approach to diverse interpretations and discards those readings failing the standards of consistency, coherence, and completeness .
Chapter V concludes that Li's presumed vice is his virtue: his allusive texture makes his work difficult but gives it a rewarding richness. His unique use of allusion is organic. Far from being a mere ornamental device, allusion is the very poetry itself. He creates his own poetic mode, the Poetry of Allusion.Arts, Faculty of
Asian Studies, Department of
Graduate
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Solovei, Natalia. "L'allusion dans le texte journalistique : la création d'un monde de référence pour le savoir partagé entre l'auteur et le lecteur." Lille 3, 2007. http://www.theses.fr/2007LIL30043.
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Zeng, Li. "The art of allusion in Li Shangyin." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ28100.pdf.
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Grandage, Sarah. "Reading Shakespearean Allusion in Contemporary Newspaper Discourse." Thesis, University of Nottingham, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523064.
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Lyons, Brenda. "Textual voyages : platonic allusions in Virginia Woolf's fiction." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310069.
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Labadie, Elisabeth. "L'implicite dans l'oeuvre de E. M. Forster : du texte à l'écran." Paris 3, 1998. http://www.theses.fr/1998PA030187.
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E. M. Forster a de toute evidence, par un style tres particulier, a la fois descriptif, image, mais aussi porteur d'implicite et de non-dit, stimule l'imagination des cineastes. Cinq de ses six romans ont ete portes a l'ecran, dont a passage to india par david lean, a room with a view, maurice et howards end par james ivory. Les realisateurs, comme tout lecteur, sont appeles a combler les interstices presents dans le recit de l'ecrivain : ils prolongent l'uvre initiale, completent le texte, lui donnent une interpretation deliberee. La narration cinematographique amene necessairement a une autre organisation du recit. De plus, elle est contrainte d'expliciter certains elements tenus sous silence. Inversement des contenus clairement formules par forster semblent disparaitre a l'ecran. L'etude des analogies permet alors de constater que le cinema les exprime cependant, mais de maniere beaucoup plus implicite : angles de prises de vue, cadrages, eclairages, montage, accessoires, commentaires musicaux et silences viennent completer de leurs nombreux messages indirects ce que le jeu des acteurs et leur tenue vestimentaire suggerent par ailleurs. Le recit filmique, en revelant certains aspects du roman qui etaient dans l'ombre et en verifiant des hypotheses suggerees par le narrateur, complete l'uvre de l'ecrivain, meme s'il en occulte d'autres contenus : films et romans s'eclairent reciproquement et soulignent l'existence de ces codes culturels qui evoluent imperceptiblement d'une epoque a l'autre et permettent au lecteur/spectateur de decoder les messages implicitesE. M. Forster has no doubt stimulated filmmakers' imagination thanks to his very particular style, both descriptive and colourful, full of contents which are implicit or left unsaid. Five out of the novelist's six novels have been brought to the screen, amongst which a passage to india by david lean, a room with a view, maurice and howards end by james ivory. Like any reader, filmdirectors will fill the gaps of the writer's narrative : they extend the initial work, add to the text and give it their particular interpretation. Film must lead to a new organization of the story. Moreover it has to clarify some elements which have been left unsaid. But on the other hand some of the contents clearly expressed by forster seem to disappear on the screen. Studying analogies then reveals that cinema does express these contents but in a much more implicit way : shooting angles, framing, lighting, editing, props, musical comments and silence work as indirect messages and complete what acting and costumes otherwise suggest. Film narrative brings to light some aspects of the novel which have been kept in the shade. It checks some of the hypotheses which the narrator has suggested. Although it hides some of its contents it adds to the writer's work. Films and novels shed light on each other while underlining the existence of those cultural codes which surreptitiously change from one age to another and allow us to understand implicit messages
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Harrelson, Jeremiah James. "The miracle narratives in Luke allusions to classical mythology? /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
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Derbesy, Philip. "Reading Cinematic Allusions in the Post-1945 American Novel." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case158653951934268.
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Spencer, Herbert M. "The use of allusions in Charles Lamb's Essays of Elia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ52735.pdf.
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Greco, Antonio. "Voices and allusions in Tony Harrison’s 'Selected poems'." Thesis, Lancaster University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423927.
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Bartley, Christina Marie. "Calasiris the Pseudo-Greek Hero: Odyssean Allusions in Heliodorus' Aethiopica." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41921.
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This thesis seeks to analyze the Homeric allusions in the Aethiopica with an inclusive definition to explore Heliodorus’ authorial motives. To approach this project, I use textual analysis to avoid arguments rooted in assumptions of the historical context of the novel, about which we know almost nothing. I explore how links to Homer’s Odyssey are visible within the structural organization of the text and the content of the text. I also explore how the content of the novel reproduces actions and compatible settings of Odyssean characters, which therefore qualifies Heliodorus’ characters in a metaliterary commentary with Homer’s archaic epic poem. The division of Odyssean actions and traits depicted in Heliodorus’ characters introduce a new addition to the heroic legacy established by Homer and distances the hero from Greek identity. I conclude that Heliodorus’ adherences to epic conventions and departures thereof inform the subtextual commentaries conveyed in the Aethiopica.
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Lee, Myung-Ji. "The Art of Borrowing: Quotations and Allusions in Western Music." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849772/.
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Music travels across the past in the form of composers borrowing from each other. Such musical borrowings and quotations involve not only the use of melodic materials but also musical structures, texts, symbolism and other types of inspiration. The pre-existing musical idea being used is linked to a specific memory of a particular composer and time. The artistic allusions of composers connect the present and the past. Music also travels across the present and into the future. The outcome of contemporary composers borrowing from each other influences the present period and affects later composers' musical inspiration, i.e., it affects future composers, and therefore, the future. Composers frequently refer to melodies or musical idea from contemporaries and reinterpret them in their own compositions. This is largely because composers do not write in isolation and have been inspired and influenced by contemporary musicians and cultural contexts. However, these musical borrowings sometimes raise questions about the composers' creativity and authenticity. This is largely due to the nature of inspiration and imagination, which determines who or what is original. With this in mind, why do composers still borrow musical ideas despite the risks involved? In what ways do they overcome criticism and demonstrate the excellence of their own compositions while referring to the work of others? In what ways do artistic allusions influence new compositions? In this dissertation, I attempt to examine these questions and address the reasons for and the effects of musical quotations and allusions.
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Buglass, Abigail Kate. "Repetition and internal allusion in Lucretius' 'De Rerum Natura'." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:b20951f7-d299-4c5f-8470-5e67be1340ff.
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This thesis aims to solve the apparent problem of the frequent repetitions in Lucretius' De Rerum Natura (DRN). Verbal repetitions of many different lengths pervade DRN, and are noted in the scholarship. Yet a consensus has not been reached as to their purpose and function, or even if they rightly belong in the text. Multi-linear repetitions are viewed as a temporary stop-gap which Lucretius would have removed or adjusted had he lived long enough to effect it; or as later interpolations; while shorter repetitions are underplayed or even ignored altogether. But repetitions and internal allusions in DRN are part of a purposeful, meaningful didactic and rhetorical strategy, and they form much of the intellectual structure of the poem. These internal connections combine in DRN to form a remarkably complex intratextual network. The thesis argues that repetition is a crucial way in which Lucretius conveys his arguments and persuades the reader to pursue a rational life. Chapter 1 analyses the ways in which Lucretius' epic predecessors used repetition and how Lucretius may have applied these models. Chapter 2 looks at the internal evidence for the alleged unfinished state of the poem and examines the function of long repetitions in DRN. Chapter 3 investigates the rhetorical background to and functions of different kinds of repetition in DRN. Chapter 4 explores the didactic and psychological effects of repetitions and internal allusions. Chapter 5 shows how repetition creates an image of the world Lucretius describes: just as Lucretius tells us that atoms and compounds make up different substances depending on their arrangement in combination, so repetitions perform different functions and produce different outcomes depending on their placement in the text. Throughout the poem, repetition serves again and again to reinforce Lucretius' message, creating argumentative unity, and bringing order from chaos.
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Haywood, Jan Liam Thomas. "Intertext and allusion in Herodotus' Histories : authority, proof, polemic." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/12277/.
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This study considers anew the central question of Herodotus’ relationship with literary and textual sources. It examines how Herodotus comes to define his own work in a context where many artists (both narrative and visual) are seeking to accumulate, delineate, and ultimately dictate cultural memory. Rather than applying traditional Quellenforschung, my analysis centres on examining significant intertextual and allusive relationships in his work. In each chapter, I address the nature of Herodotus’ engagement with certain textual rivals/genres, namely early prose writers, inscriptions, poets (expecially Homer, Simonides, Aeschylus, Sophocles), and oracles. From this emerges a highly nuanced engagement with myriad texts in the Histories (principally: as authoritative voices; as persuasive evidence; and as voices for disputation). Such engagement furnishes considerable authority for the writer of the Histories, to the extent that he provides a superior view of the past, compared to the more limited, partisan perspectives offered by his textual rivals. My study reinforces the salient point that Herodotus is no historian in any modern sense of the word; his interaction with other literary traditions does not appear in a way that is expected of an academic monograph. Nevertheless the evidence for his engagement with a wide and diverse group of texts—both contemporary and non-contemporary—clearly militates against the consensual view that Herodotus was working with predominantly unfixed, oral traditions. Indeed, through this interplay with other literary works Herodotus most clearly defines for the reader his own unique intellectual achievement: the invention of historiography.
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De, Girolamo Debbie. "The fugitive identity of mediation : negotiations, shift changes and allusionary action." Thesis, London School of Economics and Political Science (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.566267.
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Despite much having been written about what mediation is, direct observations of commercial mediations are limited. This doctoral thesis provides an opportunity to observe mediation in action and to provide external commentary about the actions observed. Mediation is approached ethnographically as a social process that is informed by structures, rules and norms that colour the environment within which it operates. As Malinowski observed, one had to live among a society one was studying in order to really learn about the society. Ethnography permits us to see beyond the act. to understand how and why people behave as they do, and to make clear that which is obscure. Through the ethnographic method, a process leading to negotiated order is examined, baring its elements, identifying its influences and studying the movement to order. The result is the reconceptualization of mediation. Mediation is a process inextricably linked to negotiation, providing a contextual layer to bi-lateral negotiation while retaining the processual shape of negotiation. The mediator is invited into the negotiation as third party intervener. He creates the process of mediation, defining the process by his actions, which ultimately merges mediator with process. The mediator becomes part of the negotiation process, at times separate from the parties, aligned with the parties or in opposition to the parties. She takes on their identity in addition to her own. The mediator is mediator; she is party; she is party adviser. She takes on the mantle of these personas during mediation: the mediation becomes her negotiation; the party becomes her client. For the parties, however, the mediator remains the non-aligned third party intervener suggested by the literature. The negotiation remains their negotiation and the mediation remains a process ancillary to their negotiation, views aided in their formulation bv mediators' statements regarding mediator role and mediation process.
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Beetham, Christopher A. "Echoes of scripture in the letter of Paul to the Colossians." Theological Research Exchange Network (TREN), 2005. http://www.tren.com/search.cfm?p088-0156.
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Harmon, Matthew S. "She must and shall go free Paul's Isaianic gospel in Galatians /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p088-0155.
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Costabile, Beatrice. "Traduzione di elementi culturospecifici e allusioni nella versione italiana di Friends." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18384/.
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Lo scopo del presente elaborato è analizzare le strategie traduttive applicate nella resa di elementi culturospecifici e allusioni nella versione italiana della sitcom americana Friends. Nel primo capitolo verranno delineate brevemente l’evoluzione e le caratteristiche della sitcom come genere televisivo, premessa necessaria per comprendere e analizzare gli aspetti problematici che il doppiaggio di Friends presenta. Il secondo capitolo sarà quindi dedicato alla definizione del concetto di “culturema” e all'esposizione delle strategie traduttive disponibili per la resa di riferimenti culturospecifici. Seguirà poi un’analisi dettagliata delle caratteristiche e della funzione di diversi riferimenti culturali presenti nella serie, accompagnati da un commento sull'efficacia delle strategie adottate. Infine, la terza parte dell’elaborato verterà sulla definizione, categorizzazione e traduzione delle allusioni, secondo il modello della linguista finlandese Ritva Leppihalme. Analogamente al secondo capitolo, verranno presentati numerosi esempi di riferimenti allusivi, con commento delle relative scelte traduttive adottate nella versione italiana.
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何鳳雯 and Fung-man Ho. "Historical, mythological and literary allusions in LiBai's Gufeng and Yuefu poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40676511.
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Kline, Jonathan Greenlee. "Transforming the Tradition: Soundplay as an Interpretive Device in Innerbiblical Allusions." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11499.
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The present study concerns the use in the Hebrew Bible of paronomasia (soundplay) for the purpose of alluding to and interpreting antecedent literary traditions also found in the Bible. The focus of the investigation lies on the biblical writers' use of allusive paronomasia for the purpose of constructing theological discourse, that is, in service of their efforts to describe the nature of God and his relationship to humanity. By showing that a variety of biblical texts contain examples of allusive paronomasia employed for this purpose, the study demonstrates that this literary device played an important role in the growth of the biblical text as a whole and in the development of ancient Israelite and early Jewish theological traditions.Near Eastern Languages and Civilizations
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Comelek, Barbara Kay Zumwalt. "Allusions to the vocal art in selected wind instrument pedagogical sources." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/454807.
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The problem addressed by this study was the search for ways to relate knowledge of wind instrument playing methods to the study of voice. The purpose of the study was to examine historical and contemporary brass and woodwind teaching sources to determine whether allusions to the vocal art were documented by reputable wind teachers.The ninety-one available sources were written between 1545 and 1981, and included books, treatises, periodicals, and other studies written by scholars, musicians, and teachers from Europe, Asia, and North America. Allusions to the vocal art appeared in eighty percent of the sources studied and occurred with nearly equal frequency in brass and woodwind sources.The study revealed both direct and indirect allusions made in reference to such matters as the relationship of wind instruments to voice, breathing and breath control, tone production, facility, and musicianship.ConclusionsBased on the finding that numerous allusions to the vocal art have been documented in wind instrument pedagogical sources, the following conclusions are drawn:1. A very close relationship exists between the wind instruments and voice.2. A common body of pedagogical theories may be found in vocal and wind instrument teaching methods.3. These theories have been used by wind pedagogues to teach wind instruments.4. A preparatory background in the study of voice and singing methods provides a desirable foundation for the study of wind instrument playing.5. Many authors, it would appear, assume that the wind instrument student already possesses a functional knowledge of the art of singing.
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Paulien, Jon. "Decoding revelation's trumpets : literary allusions and interpretation of Revelation 8,7-12 /." Berrien Springs (Mich.) : Andrews university press, 1988. http://catalogue.bnf.fr/ark:/12148/cb35694102w.
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Skakov, Nariman. "Word and image : textual allusions in the cinema of Andrei Tarkovsky." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508669.
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Ngo, Lập Tu McLaughlin Robert L. "Literature as allusion processing and teaching Vietnam-American war literature." Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1225141141&SrchMode=1&sid=6&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1177941823&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2006.Title from title page screen, viewed on April 30, 2007. Dissertation Committee: Robert L. McLaughlin (chair), Ronald Strickland, Aaron Smith. Includes bibliographical references (leaves 196-207) and abstract. Also available in print.
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Lethbridge, Stefanie. "James Thomson's defence of poetry intertextual allusion in The Seasons /." Tübingen : Max Niemeyer, 2003. http://catalogue.bnf.fr/ark:/12148/cb39081893j.
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Petrides, Antonios Kyprou. "Faces of allusion : intertextuality and the mask of new comedy." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615067.
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Higgins, Peter. "The Wolfhound Century Trilogy : world building through genre and allusion." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/34188/.
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A PhD In Creative Writing by Publication, comprising a trilogy of published novels – Wolfhound Century (2013), Truth and Fear (2014) and Radiant State (2015), described collectively as the Wolfhound Century trilogy – and an accompanying commentary. The published novels are historical fantasy thrillers, engaging with Russian (predominantly Soviet) history and culture of the period approximately 1900 to 1960. The novels do not portray Russia directly, but create a refracted, re-imagined world of Russian-ness, troped as 'the Vlast'. The commentary discusses the writing of the novels as practice-based research. It explores how the trilogy puts into practical fiction-writing use some concepts about literary tradition, genre and intertextual allusions which I first developed as an academic researcher in literary history. It describes the results of a writing process based on the use of wide-ranging and deliberate allusiveness and multiple, shifting genres and narrative voices, ranging from those of popular fiction to the highly literary and poetic: a practice which grew out of my prior study of literary modernism and classical and Renaissance epic. It explores how these formal strategies are used to extend and complement the novels' thematic concerns with the interaction between the totalizing, collectivizing state and the openness and plenitude of individual human consciousness. The commentary also discusses my novels as a contribution to knowledge, specifically to certain genres of fantasy writing and to the interface between fiction seen as popular or mass market and fiction seen as literary. It examines the relationship of the Wolfhound Century trilogy to fantasy thriller, alternate history, historical fantasy, steampunk, and cultural/historical mashup and pastiche. It describes how my novels adopt aspects of those genres but also reshape and extend them by integrating heightened and more 'literary' modes of writing and an extensive and programmatic allusiveness to literary and cultural texts and ideas which lie outside the conventional boundaries of current fantasy and science fiction writing. It concludes that while the Wolfhound Century trilogy is related to and engages with a number of different genres, its foundational and driving creative purpose is ultimately that of high (or epic, or heroic) fantasy.
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Cattle, Simon Matthew James. "Myth, allusion, gender, in the early poetry of T.S. Eliot." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/8986.
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T.S. Eliot's use of allusion is crucial to the structure and themes of his early poetry. It may be viewed as a compulsion, evident in even the earliest poems, rather than just affectation or elitism. His allusions often involve the reversal or re-ordering of constructions of gender in other literature, especially in other literary treatments of myth. Eliot's "classical" anti-Romanticism may be understood according to this dual concern with myth and gender, in that his poetry simultaneously derives from and attacks a perceived "feminised" Romantic tradition, one which focuses on female characters and which fetishises, particularly, a sympathetic portrayal of femmes fatales of classical myth, such as Circe, Lamia and Venus. Eliot is thus subverting, or "correcting", what are themselves often subversive genderings of myth. Another aspect of myth, that of the quest, is set in opposition to the predatory female by Eliot. A number of early poems place flâneur figures in the role of questers in a context of constraining feminine influence. These questers attempt, via mysticism, to escape from or blur gender and sexuality, or may be ensnared by such things in fertility rituals. A sadomasochistic motivation towards martyrdom is present in poems between 1911 and 1920. With its dual characteristics of disguise and exposure, Eliotic allusion to ritual and myth is itself a ritual (of literary re-enactment) based on a myth (of literature), namely Eliot's "Tradition". Allusive reconfiguration being a two-way process, Eliot's poetry is often implicitly subverted or "corrected" by its own allusions. Thus we are offered more complex representations of gender than may first appear; female characters may be viewed as sympathetic as well as predatory, male ones as being constructed often from representations of femininity rather than masculinity. The poems themselves demonstrate intense awareness of this fluctuation of gender, which appears in earlier poems as a threat, but in The Waste Land as the potential for a rapprochement between genders. This poem comprises multiple layers of re-enactments and reconfigurations of gender-in-myth, centring upon Shakespeare's Venus and Adonis. The Waste Land's treatment of myth should not be seen as merely reflecting a passing interest in anthropology, but as the culmination of concerns with myth and gender dating back to the earliest poetry. The complex interrelation of the two aspects leaves it unclear whether Eliot's allusive compulsion derives principally from a concern with mythologies of literature or from a concern with mythologies of gender.
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Griffith, Joseph K. II. ""That That Nation Might Live" - Lincoln's Biblical Allusions in the Gettysburg Address." Ashland University Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=auhonors1399998979.
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Maxwell, Julie. "The part of allusion : religious controversy on the English Renaissance stage." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403417.
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Jolivet, Jean-Christophe. "Allusion et fiction épistolaire dans les "Héroïdes" : recherches sur l'intertextualité ovidienne /." Rome : Paris : École française de Rome ; diff. De Boccard, 2001. http://catalogue.bnf.fr/ark:/12148/cb38807426b.
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Thomas, Jayne. "From allusion to intertext : reading Wordsworth in Tennyson, Browning and Hopkins." Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/69317/.
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Critics have long acknowledged the allusive effect of William Wordsworth’s language in the poetry of Alfred, Lord Tennyson, Robert Browning and Gerard Manley Hopkins. This thesis abjures allusive influence to focus on the intertextual presence of Wordsworth in poems by each of these authors. Its methodology hinges on a separation between an intentional authorial allusivity and an involuntary, or unbidden, intertextuality. As a result of this heuristic, the poets are seen to be caught within a Wordsworthian web, which complicates the way in which their poetry functions. The authorial entrapment that results is anxiety-generating, but the thesis does not place this anxiety within a Bloomian paradigm. Its concentration on male, canonical authors is Bloomian, however, as is its acceptance that the meaning of the texts by Tennyson, Browning and Hopkins discussed is a Wordsworthian poem. Chapter One investigates the intertextual strategies of Tennyson’s ‘Ulysses’ (1842), which work to expose the loss attendant upon the Wordsworthian transcendent moment. The poem’s recasting of Arthur Henry Hallam’s own unconscious Wordsworthian allegiance in ‘Timbuctoo’ (1829) leads into the analysis, in Chapter Two, of Tennyson’s In Memoriam (1850) and its implicit reliance on the language of Wordsworthian transcendence as a means by which both to assuage the poet’s grief at the death of Hallam and his dissatisfaction with contemporary scientific and theological discourse. Chapter Three develops the previous chapters’ findings by tracing how Tennyson’s ‘Tithonus’ (1860) rewrites Wordsworth’s ‘Tintern Abbey’ (1798). Chapter Four examines Wordsworth’s presence in two Browning monologues, ‘Saul’ (1855) and ‘A Death in the Desert’ (1864), demonstrating how the poems find a new use for the language of lyrical interiority. Chapter Five considers Hopkins’ unconscious inscription of Wordsworth’s poetry and the threat it poses to his Incarnationalism and linguistic practice alike. The thesis finds its conclusion in the literary-historical effects that the after-presence of Wordsworth’s language engenders, which become an embodiment of legacy. The depth of each poet’s literary dependency on Wordsworth is also brought into focus, allowing the thesis to claim the earlier poet as a primary influence upon the trinity of later figures it addresses.
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Pehrson, Benjamin J. "Noachic allusion and echo in James 3:1-12 implicatures of new creation eschatology /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Kim, Jin Gyo. "The song of Moses in the book of Revelation : allusions, memories, and identity." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/17878.
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Thesis (MTh)--Stellenbosch University, 2011.ENGLISH ABSTRACT: This research aims to trace the exodus motif in the book of Revelation in general and Rev. 12-20 in particular, and to examine the socio-rhetorical function of the use of the exodus motif. Our hypothesis is that Rev. 12-20 constitutes a coherent unit in terms of narratology and that the exodus motif plays a significant role in forming the structure and the message of the book of Revelation, specifically of Revelation 12-20. Significantly, the song of Moses and the Lamb in Rev. 15 plays a pivotal role in the development of the thread of the chapter 12-20 as a plot. In the chapter 2, an overview of the history of interpretation of Revelation is provided and also the limitation of current studies of the song of Moses is highlighted. In addition, a new approach to the song of Moses in Revelation is suggested. The main goal of the chapter 3 is to examine Rev. 12-20 according to four narrative elements and from which Rev 12-20 can be deduced as a discrete literary unit constituting a plot. It will be argued that Rev. 12-20, as a plot, is highly stylized in the chiastic structure which has the song of Moses and the Lamb at the centre. Chapter 4 investigates Exod. 1-15 as a coherent story and explains how the author of Revelation adopts the exodus motifs in forming both the theme and the structure of Revelation. Moreover, it will be argued that the exodus motif generated certain sociorhetorical meanings to the audiences or the readers who were assimilated into the Roman Empire. For understanding the socio-rhetorical meanings, we examine the socio-rhetorical context, namely Asia Minor as part of the Roman Empire, and deal with the socio-rhetorical role of the exodus motif in the book of Revelation. In the chapter 5, firstly, drawing on the theoretical assumptions from social psychology, we build up a framework in which we can deal with Rev. 12-20 in terms of identity issues. Then, the covenantal identity based on the covenant in the book of Exodus will be suggested as an alternative identity. Thus, the exodus motif in Rev. 12-20 challenges the assimilated identity of the audiences or the readers to be renewed in the covenantal identity, so that they may be holy apart from the culture and the structure of the Roman Empire. The song of Moses and the Lamb reinforces the covenantal identity.
AFRIKAANSE OPSOMMING: Hierdie navorsing ondersoek die gebruik van die eksodus-motief in Openbaring in die algemeen en in Op 12-12 in die besonder, terwyl dit ook die sosio-retoriese funksie van hierdie motief bestudeer. Die hipotese is dat Op 12-20 in terme van narratologiese analise ‘n koherente eenheid beslaan, en dat die eksodus-motief ‘n betekenisvolle rol speel in die struktuur en boodskap van Openabring, en Op 12-20 in besonder. Verder is dit betekenisvol dat die Lied van Moses en die Lam in Op 15 ‘n kernrol speel in die deurlopende lyn van Op 12-20 as plot. In hoofstuk 2 word ‘n oorsig oor die interpretasiegeskiedenis van Openbaring aangebied en beperkinge ten opsigte van huidige studies oor die Lied van Moses beklemtoon. In aanvulling daarby word ‘n nuwe benadering ten opsigte van die Lied van Moses in Openbaring voorgestel. Die hoofdoel van hoofstuk 3 is om Op 12-20 aan die hand van vier naratiewe elemente te ondersoek. As resultaat kan Op 12-20 as diskrete literêre eenheid sowel as die plot van Openbaring beskou word. As plot vertoon Op 12-20 ‘n noukeurige styl, met chiastiese strukture waarvan die Lied van Moses en die Lam die middelpunt vorm. Hoofstuk 4 ondersoek Eks 1-15 as koherente narratief en verduidelik hoe die outeur van Openbaring die eksodus-motief in die vorming van beide die tema en struktuur van die boek ingespan het. Die eksodus motief sou ook sekere sosio-retoriese betekenisse onder die gehore of lesers wat met die Romeinse Ryk geassimileer was, gegenereer het. Twv die beter verstaan van sulke sosio-retoriese betekenisse, word die sosio-historiese konteks naamlik Klein-Asië as deel van die Romeinse Ryk bestudeer. Vervolgens word die sosio-retoriese rol van die eksodus-motief in die boek van Openbaring behandel. In hoofstuk 5 word eerstens van teoretiese uitgangspunte binne die sosiale sielkunde gebruik te maak vir die konstruering van ‘n raamwerk om identiteitsake in Opn 12-20 te hanteer. Vervolgens word verbondsidentiteit soos dit voortvloei uit die verbond in Eksodus as alternatiewe identiteit voorgestel. Die eksodus motief in Op 12-20 daag die gehore of lesers van die boek uit om hul verbondsidentiteit te hernu, sodat hulle heilig en dus anders as die kultuur en strukture van die Romeinse Ryk kan wees. Die Lied van Moses en die Lam versterk Openbaring se gehore of lesers se verbondsidentiteit.
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Gericke, Jacobus Wilhelm. "Possible allusions to ancient Near Eastern solar mythology in Qohelet an comprehensive enquiry /." Pretoria : [s.n.], 2002. http://upetd.up.ac.za/thesis/available/etd-04202005-095806/.
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January, LaTricia M. "Beyond the Threshold: Allusions to the Òrìsà in Ana Mendieta's Silueta Series." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1391.
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The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and 80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.
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Cherney, Kenneth A. "Allusion as translation problem : Portuguese versions of second Isaiah as test case." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95847.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: An allusion in the source text poses a serious problem for a translator. A relevance-theoretic approach would define an “allusion” as the re-use of language from a prior text such that, by calling the prior text to mind, an implied reader is aided in his/her attempt to plausibly reconstruct the alluding author’s meaning. For this to happen, the reader’s “context” in the relevance-theoretic sense must include the source of the borrowed language. To explicate the connection for the reader, however, can thwart the pragmatic effects of an allusion, since these often require maintaining some “openness” in the text; hence the translator’s dilemma. Isaiah 40-55 (Deutero-Isaiah or DtI), a richly allusive text, furnishes an ideal test case for a descriptive translation study (DTS) focused on this source-text feature. This investigation of eleven Portuguese versions will attempt to determine whether and how the translators’ decisions with regard to DtI’s allusions might be accounted for. Source-oriented approaches to translating often tend toward lexical concordance; therefore, these approaches—in theory—should tend to preserve instances of vocabulary that is shared between an alluding- and an alluded-to text. Target-oriented approaches (e.g. “functional equivalence”) are more interested in contextual clarity than lexical concordance; these could then be expected to produce target texts that are less allusive. Increased sophistication in translation theory should result in more sophisticated approaches to allusion in translating. Collaborative and coordinated translation projects should produce more allusive target texts than those whose procedures are more piecemeal. The investigation reveals less correlation than expected between general source-orientedness and allusiveness in the target text. Target-oriented approaches—e.g., classical functional equivalence—do tend to produce less allusive target texts. In addition, there is a correlation between a translation project’s organization and the perspicuity of allusion in the target text, but it is mostly negative. That is, projects that do their work piecemeal produce unallusive versions, but more collaborative and coordinated projects still leave many inter-textual resonances inaudible. It appears that translations will preserve this source-text feature in a way that tends toward randomness unless the perspicuity of inter-textual allusions is articulated as a conscious value in translating. Above all, “allusion-friendly” translating will require target cultures that want more allusive Bibles. Translators, as “model readers” themselves, will need to recognize the presence and function of allusions in the source text and make the attempt to represent these in translation a priority.
AFRIKAANSE OPSOMMING: Sinspeling in ’n bronteks kan aansienlike probleem skep vir vertaler. Relevansie-teoretiese benadering definieer “sinspeling” as die hergebruik van taal uit vroeëre teks tot so mate dat veronderstelde leser, deur die vroeëre teks voor die gees te roep, in sy/haar poging om die sinspelende outeur se bedoeling te rekonstrueer, gesteun word. Om dit te bewerkstellig, moet die leser se “konteks,” in die relevansie-teoretiese sin van die woord, die bron van die ontleende taaluiting insluit. Om die verband aan die leser te verklaar kan egter die pragmatiese effekte van sinspeling teenwerk, aangesien sinspeling as sulks dikwels die handhawing van mate van “openheid” in die teks vereis; vandaar die vertaler se dilemma. Jesaja 40-55 (Deutero-Jesaja of DtJ), teks met baie gevalle van sinspeling, bied die ideale geleentheid vir beskrywende vertalingstudie (BVS) wat op hierdie brontekskenmerk fokus. Hierdie ondersoek van elf Portugese vertalings sal poog om te bepaal of en hoe die vertalers se vertaalkeuses met betrekking tot DtJ se sinspelings verklaar kan word. Bron-georiënteerde benaderings tot vertaling neig dikwels tot leksikale konkordansie; daarom behoort hierdie benaderings – in teorie – te neig om die gevalle van woordeskat wat tussen sinspelende en opgesinspeelde teks gedeel word, weer te gee. Teiken-georiënteerde benaderings (bv. “funksioneel-ekwivalente benaderings”) stel meer in die verstaanbaarheid van uitdrukkings in die konteks waarin dit gebruik word as in leksikale konkordansie belang; van hierdie vertalings sou dan verwag kon word om teikentekste op te lewer wat minder sinspelend is. Toenemende sofistikasie in vertalingsteorie behoort tot meer gesofistikeerde benaderings tot sinspeling in vertaling te lei. Gesamentlike en gekoördineerde vertalingsprojekte behoort meer sinspelende teikentekste voort te bring as die waarvan dit nie die geval is nie. Die ondersoek openbaar minder korrelasie as wat verwag is tussen algemene brongeoriënteerdheid en sinspeling in die teikenteks. Teiken-georiënteerde benaderings neig wel om minder sinspelende teikentekste te produseer. Daar is boonop korrelasie tussen vertalingsprojek se organisasie en die duidelikheid van sinspeling in die teikenteks, maar die korrelasie is meestal negatief. Dit wil sê, projekte wat hul werk stuksgewys doen, produseer niesinspelende weergawes, maar meer gesamentlike en gekoördineerde projekte laat steeds baie intertekstuele resonansies nie tot hulle reg kom nie. Dit blyk dat hierdie brontekskenmerk slegs op ‘n lukrake wyse in ’n vertaling tot sy reg sal laat kom, tensy die duidelikheid van intertekstuele sinspelings as bewuste waarde in die vertaling uitgespel word. Bowendien, “sinspelingsvriendelike” vertaling sal teikenkulture vereis wat meer sinspelende Bybels wil hê. Vertalers, as “modellesers” hulself, sal die teenwoordigheid en funksie van sinspelings in die bronteks moet herken en die poging om hierdie in vertaling te verteenwoordig prioriteit maak.
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Williams, Christopher. "Readings in Eliot : allusion as technique in the poetry of George Seferis." Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362880.
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Morra, Linda. "Charlotte Bronte's books of revelation: Apocalyptic and prophetic allusion in the novel." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/10446.
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The Bible proved to be a rich resource for Charlotte Bronte; with the exception of The Professor, Bronte's novels are saturated with references to prophecy and apocalypse. These allusions are crucial underpinnings in her novels, for they give shape to character, theme, and plot, even as the significance of these allusions alters with Bronte's own darkening vision. The introductory chapter analyses the religious and cultural milieu out of which Bronte's novels flourished. The second chapter examines how the prophet is closely aligned to the "poet"--and consequently, both the novelist and the narrator of Jane Eyre. The third chapter examines how prophecy affects the narrative structure in Shirley. The final chapter of the thesis examines revelation in Villette and how it may reveal and conceal: this ambiguity suggests a shift in the prophet's role from divine oracle of God's word to the overwrought imagination susceptible to interpretive subjectivity.
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Lee, Soo Mi. "Princess Shokushi's poetry and its allusions to women's unseen narratives in the Genji Monogatari." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/4174.
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This thesis aims to offer a scholarly approach to the poetics of Princess Shokushi,
one of Japan’s most celebrated and influential female poets of the pre-modem era.
Princess Shokushi is generally regarded as a poet of imagination, mainly because she
wrote a number of passionate love poems despite her lifelong celibacy, imposed on her
by her position as imperial princess. While some scholars conclude that Shokushi’s
poetry came from her mastery of the traditional craft and a vigorous poetic imagination,
others see her poetry as the personal expression of her innermost feelings and life
experiences. Focusing on this controversy over whether or not her poetry is, in fact,
based on real life experiences or merely invented—which some claim she did by
exploiting the poetic conventions of the Japanese male poets of the day—this paper
explores Shokushi’s distinctive poetic expression through her use of the literary
technique called honka-dori, allusive variation. This research pays special attention to
the poems that allude to The Tale ofGenii and reveals how Shokushi’s frequent allusions
to this tale and its characters signal her profound interest in the story beyond the
conventional literary trends of her time. Shokushi often refers to the specific female
characters in her poems—Oigimi, Ukifune, and Lady Murasaki—, abandoned imperial
princesses, whose lack of strong family support leaves them in close confinement deep in
the mountains. By examining Shokushi’s poetry in the contexts of this narrative,
ultimately, this paper will show how, in alluding to these female characters, Shokushi not
only furthers her own image as an isolated imperial princess, but also throws light on
these female characters’ inner sufferings, which are unknown to the male characters with
whom they associate.
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Casimir, Stephen P. 1936. "A critical review of characterization in the fourth Gospel's structure of anonymous disciple allusions /." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79829.
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This investigation is about characterization in the Fourth Gospel as it relates to the "disciple"---the mysterious, anonymous figure that pervades the structure of allusions in this narrative. The question as to who this character is and what s/he does in this gospel text has both attracted and intrigued generations of biblical scholars.The first part of the investigation examines divergent views of premodern, modern and reader-oriented criticism with regard to the "disciple's" identity and function, highlighting the respectively allegorical, historical and reader-oriented understanding of his/her character as proposed by these three critical approaches.
The second part of the investigation re-examines the question with a novel approach. The approach involves a detailed analysis of the structure of allusions. This analysis concludes that the allusions constitute a set of interactive linguistic phenomena which are meant to shed light on the anonymous figure within them. On the basis of this finding, the investigation proposes a new understanding of the structure of allusions and of the question of identity and function that it raises.
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Khordoc, Catherine (Catherine M. ). 1967 Carleton University Dissertation French. "Noms, ballons, allusions: quelques aspects du comique dans la bande dessinee, Asterix le Gaulois." Ottawa.:, 1993.
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Rees, Kathryn. "Reading Gosse's reading : a study of allusion in the work of Edmund Gosse." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/552643/.
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Gosse’s reputation, both during his lifetime and thereafter, was compromised by his propensity for error, a trait that Henry James famously described as ‘a genius for inaccuracy’. Though much of his biographical and critical writing justifies this criticism, my study of Gosse’s use of the device of allusion, mainly in his fictional writing, reveals a strategy of misprision that is creative and innovative. Since the concepts of Modernism and Postmodernism have changed the way in which texts are read, it is now time to re-read Gosse, and to explore the potential meaning of passages that would hitherto have been dismissed as error or exaggeration. Using Ziva Ben-Porat’s characterisation of allusion ‘as a device for the simultaneous activation of two texts’ as my methodology, I explore the complex and often subversive resonances of Gosse’s allusive practice. Allusion requires four participants: author, reader, the source text by the precursor, and the alluding text. Because a phrase does not ‘become’ an allusion until all four parties have been ‘activated’, many of Gosse’s allusions have for a long time lain dormant in the palimpsest of his writings. I argue that Gosse’s evangelical, tract-writing mother, rather than his father, exerted primary influence on him. I foreground the impact of her prohibition of fiction as the genesis for Gosse’s idiosyncratic vision, showing that its legacy was more bewildering, and ironically more creative, than has hitherto been recognised. Using the revisionary ratios of Bloom’s theory of the anxiety of influence, I establish a trajectory of charged interactions between the texts of Gosse as ephebe and those of his mother as precursor. Many hitherto puzzling and unresolved aspects of Gosse’s writing now make sense in the context of his ‘answering back’ the spectral Bowes. Although Gosse never fully extricates himself from his maternal precursor, he metaphorically orphans himself, and transfers his ephebe allegiance to a host of literary fosterfathers, constantly invoking them in his texts. He thus secures his ‘mental space’ through the covert mode of allusion, and the zenith of this practice is manifested in Father and Son. My thesis demonstrates the potential of allusion as a methodological tool in literary analysis. By his acts of re-reading, Gosse achieves the paradoxical act of simultaneously arresting and promoting a sense of cultural continuity. On the one hand, Gosse arrests tradition by fragmenting texts: by importing a phrase or a passage from a past work into his present text, he engenders textual instability in both. On the other hand, Gosse promotes cultural continuity by importing into his work fragments that serve as allusive bridges forging connections through space and time. I hope that this exploration of his practice will initiate a reassessment of Gosse’s role in relation to the allusive mode as employed by the early Modernists.
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Gerner, Desiree E. 1978. "A Matter of Life and Death: Gladiatorial Games, Sacrificial Ritual and Literary Allusion." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10637.
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vii, 65 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Roman gladiatorial games had significance far beyond that of mere spectacle and were more than savage and brutal entertainment for depraved emperors and bloodthirsty crowds. Classifying the games as a form of ritual, and by extension a means of communication, this study approaches Roman gladiatorial games as a type of text and employs literary theories regarding allusion to bring to light the more profound implications of the games. I focus on the ways in which gladiatorial games alluded to funerary and sacrificial ritual as well as to the idealized representations of masculine virtue in Roman literature and the native myths and legends that Romans used to define themselves. The gladiator was both the community's ideal agent and its sacrificial offering, and gladiatorial combat was the embodiment of Roman social values, religious practice, and national identity.
Committee in Charge: Dr. Mary Jaeger, Chair; Dr. Lowell Bowditch; Dr. Cristina Calhoon