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Dissertations / Theses on the topic 'Anglo-American literature'
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Al-Disuqi, Rasha Umar. "The Muslim Image in twentieth century Anglo-American Literature." Thesis, University of Wales Trinity Saint David, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504394.
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Holmgren, Lindsay. "Knowing children: telepathy in Anglo-American fiction, 1846-1946." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121144.
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"Knowing Children" describes the means by which telepathic devices present the mind of the child in novels by Charles Dickens, Henry James, William Faulkner, and Carson McCullers. An intellectual interest in the child and childhood flourished not only during the same period as the formal study of telepathy, but also within the same circles. "Telepathy" can be understood for my purposes as a mode of narrative representation of consciousness and knowledge. Because social, linguistic, and cognitive limitations generally prevent child characters from articulating the contours of their surprisingly complex knowledge, their minds can best be rendered through the use of telepathic literary techniques that enable the child figures themselves to influence the course of their narratives. The theoretical core of the thesis illustrates how telepathic techniques in fiction influence causality, characterization, and reader reception. More broadly, the thesis demonstrates how the telepathic mode challenges the historical assumptions, narrative effects, and readerly responsibilities of so-called omniscient narration, showing how characters' minds are revealed through those of other characters, especially those of children, who would properly be sheltered from the discourses of authority. Thus, the thesis also calls into question the conventional category of childhood itself.« Enfants savants » décrit les méthodes par lesquelles les dispositifs télépathiques présentent l'esprit des enfants dans les romans de Charles Dickens, Henry James, William Faulkner, et Carson McCullers. Un intérêt intellectuel pour l'enfant et l'enfance ont proliféré en tant qu'étude formelle de la télépathie, non seulement lors de la même période, mais aussi à l'intérieur des mêmes milieux. Pour mes fins, la "télépathie" peut être comprise en tant qu'un mode de représentation narrative de la conscience et de la connaissance. Puisque les limitations sociales, linguistiques et cognitives empêchent généralement les personnages d'enfant d'articuler les contours de leur connaissance étonnamment complexe, leurs esprits peuvent le mieux être traduits par le biais de dispositifs télépathiques-dispositifs qui permettent fondamentalement aux personnages d'enfants à influencer eux-mêmes le courant de leurs récits. Le principe théorique de ma thèse souligne la manière dont les techniques télépathiques influence la causalité, la caractérisation et la perception du lecteur. D'une manière générale, la thèse démontre la manière par laquelle le mode télépathique remet en question les suppositions historiques, effets narratifs et responsabilités du lecteur lors d'une narration autrefois omnisciente, montrant comment l'esprit des personnages est relevé à travers d'autres personnages, particulièrement ceux des enfants, qui seraient probablement gardés à l'écart des discours de l'autorité.
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Burr, Sandra. "Science and imagination in Anglo-American children's books, 1760--1855." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623463.
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Didactic, scientifically oriented children's literature crisscrossed the Atlantic in the eighteenth and nineteenth centuries, finding wide popularity in Great Britain and the United States; yet the genre has since suffered from a reputation for being dull and pedantic and has been neglected by scholars. Challenging this scholarly devaluation, "Science and Imagination in Anglo-American Children's Books, 1760--1855" argues that didactic, scientifically oriented children's books play upon and encourage the use of the imagination. Three significant Anglo-American children's authors---Thomas Day, Maria Edgeworth, and Nathaniel Hawthorne---infuse their writings with the wonders of science and the clear message that an active imagination is a necessary component of a moral upbringing. Indeed, these authors' books, most particularly Sandford and Merton (1783--1789), Harry and Lucy Concluded (1825), and A Wonder-Book for Girls and Boys (1852), are more than mere lessons: they are didactic fantasies intended to spark creativity within their readers.;These didactic fantasies are best understood in the context of the emerging industrial revolution and the height of the Atlantic slave trade. These phenomena, combined with the entrenchment of classicism in Anglo-American culture and the lesser-known transatlantic botany craze, shaped the ways in which Day, Edgeworth, and Hawthorne crafted their children's stories. Certainly dramatic changes on both sides of the Atlantic during the late eighteenth and early nineteenth centuries influenced the differences in the texts. More important to this study, however, are the vital connections among these stories. Each author draws heavily upon Rousseau's ubiquitous child-rearing treatise Emile and upon her or his literary predecessor to create children's books that encourage exploring nature through scientific experimentation and imaginative enterprise.;Yet these writers do not encourage the imagination run amok. Rather, they see the need for morally grounded scientific endeavor, for which they rely primarily on classicism and on gender ideology. Incorporating tales of the ancient world to inculcate the ideal of a virtuous, disinterested, and learned citizen responsible to the larger body politic, the three children's authors---but most notably and explicitly Hawthorne---tie a romanticized, classical past to the emerging industrial world.
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Galluzzo, Anthony Michael. "Revolutionary Republic of letters Anglo-American radical literature in the 1790s /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610469821&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Stearns, Thaine R. "A visible chaos : conflicted exchanges in Anglo-American modernism /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9507.
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Castiglione, Davide. "Difficulty in Anglo-American poetry : a linguistic and empirical perspective." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33560/.
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This project sets out to develop a model for a study of difficulty in poetry as systematic and nuanced as possible. In doing so, it endeavours to make a significant theoretical and practical contribution to the fields of stylistics, poetics and literary theory. Throughout the twentieth century, the notion of difficulty in poetry has never ceased to interest linguists, literary theorists, psychologists and researchers in education. The popularity of the notion among non-specialist is equally significant, as it is not uncommon for readers to justify their lack of interest in poetry on the grounds of its supposed difficulty. Notwithstanding this, the dynamics of text-reader interaction – the defining trait of difficulty, as argued in Chapter 1 – remains notably underexplored. This thesis addresses this gap in the literature by (a) providing a psychologically plausible and linguistically sound account of difficulty; and by (b) unifying under a coherent framework the insights offered by a large body of materials – from critical readings of literary works to anecdotal evidence, from psychological models of comprehension to controlled psycholinguistic experiments. In terms of methodology, a linguistic, text-based approach is intertwined with an empirical, reader-based one. This combined effort leads to an in-depth analysis of a set of poems from both perspectives (Chapter 3 to 5). Such a qualitative approach allows for the identification of textual and readerly components typical of difficulty. On the textual side, I identify twenty-four features, called linguistic indicators of difficulty and affecting all the linguistic levels – graphology, syntax, lexis, semantics and text structure. Based on scholarly remarks and experimental evidence, these indicators are likely to hamper readers’ comprehension and thus increase the processing effort they require. These two main readerly dimensions of difficulty I qualify as online (i.e. affecting the processing effort in actual reading) and offline (i.e. affecting the post-reading understanding of a poem). In turn, online and offline difficulty are cued by observable readerly behaviours (e.g. interpretive uncertainty, slowed-down reading, statements of rejection) that are explored in Chapters 4 and 5. Overall, difficulty is viewed as a response phenomenon that has a strong linguistic motivation. For reasons of focus and critical consistency, the model is applied to twentieth and twentieth-first century Anglo-American poems only. This temporal restriction acknowledges the critically established connection between difficulty and modernism (e.g. Adams 1991, Adamson 1999, Diepeveen 2003). The case studies from Chapter 3 to 5 focus on Wallace Stevens, Ezra Pound, Susan Howe and Jeremy H. Prynne as representing different aspects of difficulty. Chapter 6 extends this purview to a larger corpus, featuring Gertrude Stein, T. S. Eliot, E. E. Cummings, Hart Crane, Charles Olson, Dylan Thomas, John Ashbery and Charles Bernstein. All these poets have been deemed ‘difficult’ by other critics, so the corpus rests on an intersubjective agreement that was missing in previous accounts. The hope is that the model proposed will be fruitfully extended and applied to non-Anglo-American literary traditions as well as to poetry written in earlier centuries.
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DeToy, Terence. "It's All In the Family?Metamodernism and the Contemporary (Anglo-) -"American" Novel." Thesis, Tufts University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3728511.
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This dissertation examines the function of family as a thematic in the contemporary Anglo-American novel. It argues that contemporary aesthetics increasingly presents the family as an enabling platform for conciliation with the social totality: as a space of personal development, readying one for life in the wider social field. This analyses hinges on readings of Jonathan Franzen’s Freedom (2010), Zadie Smith’s NW (2012), A. M. Homes’ May We Be Forgiven (2012) and Caryl Phillips’ In the Falling Snow. In approaching these novels, this project addresses the theoretical lacuna left open by the much-touted retreat of postmodernism as a general cultural-aesthetic strategy. This project identifies these novels as examples of a new and competing ideological constellation: metamodernism. Metamodernism encompasses the widely cited return of sincerity to contemporary aesthetics, though this project explains this development in a novel way: as a cultural expression from within the wider arc of postmodernism itself. One recurrent supposition within this project is that postmodernism, in its seeming nihilism, betrays a thwarted political commitment; on the other hand contemporary metamodern attitudes display the seriousness and earnestness of political causes carried out to an ironic disregard of the political. Metamodernism, in other words, is not a wholesale disavowal of postmodern irony, but a re-arrangement of its function: a move from sincere irony to an ironic sincerity. The central inquiry of this dissertation is into this re-arranged role of family and familial participation amidst this new cultural landscape. My argument is that family and the political have maintained a tense relationship through the twentieth century in the American consciousness. They represent competing models of futurity in a zero-sum game for an individual’s life-energy. What metamodernism represents, so this dissertation will articulate, is a new form of anti-politics: a fully gratified impulse to depoliticize. Analyzing what this project terms the “politics of the local,” this dissertation will argue that the highly popular and successful models of conscientious capitalism have been superseded. Today, increasingly, redemption from consumerism guilt is itself wrapped up in commodities: the utopian impulse celebrated by Fredric Jameson has itself obtained a price tag. The contemporary novel thus reflects new social functions for that which has trumped the political: the family.
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Holmström, Josefin Maria Kristina. "Transatlantic Italy and Anglo-American periodical writing, 1848-1865." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/275892.
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This is a thesis about English and American imaginative identification with Italy in the period 1848–1865, facilitated by and expressed through periodicals and newspapers. At the centre of the thesis sits New England magazine The Atlantic Monthly, which during the Civil War emerged as a vehicle for abolitionist literature, but which also published extensively on Italy. The Risorgimento, the movement that sought Italian unification, triumphed in 1861—the same year that the battle of Fort Sumter signalled the start of the American Civil War that would last until 1865. This thesis investigates the transatlantic relationship between the Risorgimento and the Civil War as it emerged in The Atlantic Monthly, The Springfield Daily Republican and other nineteenth–century publications, and it does so through contextualised readings of Arthur Hugh Clough, Harriet Beecher Stowe, and Emily Dickinson. These three seemingly very disparate authors are connected by The Atlantic Monthly: Clough’s epistolary poem on the fall of the 1849 Roman Republic, Amours de Voyage, was first published there in 1858; Harriet Beecher Stowe serialised her historical Italian romance Agnes of Sorrento in The Atlantic Monthly between 1861 and 1862; and Dickinson was inspired to write a series of poems on Italy and volcanoes after reading both The Atlantic Monthly and local morning newspaper The Springfield Daily Republican. They are also connected by their fascination with Italy. This thesis argues that nineteenth–century periodicals need to be studied in a transatlantic context: they cannot be read, in the traditional style of Benedict Anderson, as simple affirmations of nationalism and national culture. Another way of putting it is to say that this thesis is about a series of exchanges of influence and thought that get attached to national projects but are in themselves international.
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Dunn, Angela Frances. "The continental drift : Anglo-American and French theories of tradition and feminism." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63972.
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Woolf, Paul Jonathan. "Special relationships : Anglo-American love affairs, courtships and marriages in fiction, 1821-1914." Thesis, University of Birmingham, 2007. http://etheses.bham.ac.uk//id/eprint/73/.
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Special Relationships examines depictions of love affairs, courtships and marriages between British and American characters in nineteenth-century and early twentieth-century American short stories and novels. I argue that these transatlantic love stories respond to shifting Anglo-American cultural, political, and economic exchanges during the period. In some cases, texts under consideration actually helped shape those interactions. I also suggest that many authors found such transnational encounters a useful way to define ideal versions of American national identity, and to endorse or challenge prevalent attitudes regarding class, race, and gender. Special Relationships begins with Cooper’s The Spy (1821), which I discuss in the Introduction. Part One examines works published by Cooper, Irving, Frances Trollope, Lippard, Warner, and Melville during the 1820s, 30s and 40s, and traces the emergence of the “fairytale” of the American woman who marries into English aristocracy. Part Two places works by Henry James, Burnett, and several other writers in the context of a real-life phenomenon: the plethora of American women who between 1870 and 1914 married into European nobility. I conclude by discussing the Anglo-American political rapprochement of the 1890s and the use by Jack London and Edgar Rice Burroughs of Anglo-American love stories to promote racial ‘Anglo-Saxonism.’
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Su, Genxing. "The seduction of culture: Representation and self-fashioning in Anglo-American popular culture." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290379.
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One important means by which a society maintains and reproduces its dominant ideology is through cultural seductions. By creating in its viewers/readers a good feeling about themselves and the world they live in, popular culture entices individuals into approving of, supporting and embracing the dominant social, political and economic orders of our world. What Louis Althusser calls ideological "interpellation," therefore, is frequently a form of seduction involving the use of sweeteners that render certain values, beliefs and social positions enticing and attractive. Among such seducers are money, women (sexual pleasure), fear, an illusion of power and the semblance of dissent/rebelliousness, many of which are, or are generated by the representation of, the cultural and political "others" of the West. At the same time, the reproduction and maintenance of the dominant orders in the West, to which these "others" make no insignificant contributions, ultimately reinforce their subordinate and underprivileged statuses. Driving such illusion-based ideological seductions are capitalism and its colossal culture industry--a symbol of the postmodern convergence of the cultural, ideological and the economic--whose insatiable desire for profit casts the "others" of the West into the vicious circle of mis-representation and domination.
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Cheng, Po-suen. "The theme of alienation in modern Chinese and Anglo-American fiction /." [Hong Kong : University of Hong Kong], 1985. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12317135.
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Howell, Victoria. "Disordered subjects : narratives of 'becoming' in contemporary Anglo-American and French feminist theory and women's fiction." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387574.
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Zheng, Baoxuan, and 鄭寶璇. "The theme of alienation in modern Chinese and Anglo-American fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31206803.
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Dabek, Diana I. "Misinterpreted experiences : the tension between imagination and divine revelation in early 19th century Anglo American Gothic fiction." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/2649.
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The purpose of this study was to analyze the ways in which 19th century Gothic fiction novelists Charles Brockden Brow and James Hogg explore the themes of religious enthusiasm and divine revelation. A close look at these texts reveals a common interest in the tension between the imagination and reality. By analyzing the philosophical and theological roots of these issues it becomes clear that Wieland and Confessions of a Justified Sinner mirror the anxieties of 19th century Anglo American culture. Questions regarding voice and authority, the importance of testimony, and religious seduction are common to both novels. I maintain that these authors comment on the obscure nature of human rationale by presenting readers with narrators that exhibit traits of delusion and spiritual awakening.
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Hazzard, Oli. "Trying to have it both ways : John Ashbery and Anglo-American exchange." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:87f922c5-79dc-4fd5-85dd-50c4a7661015.
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This dissertation explores John Ashbery's interactions with several generations of English poets, during a period which ranges from the late 1940s to the present day. It seeks to support two principle propositions: that Ashbery's engagements with contemporaneous English poets had a decisive influence on his poetic development; and that Ashbery's own poetic and critical work can be employed to revise our understanding of mid-to-late 20th century English poetry. The dissertation demonstrates that Ashbery's relationships with four English poets - W.H. Auden, F.T. Prince, Lee Harwood and Mark Ford - occurred at significant junctures in, and altered the course of, his poetic development. Ashbery's critical and poetic engagements with these poets, when read together, are shown to constitute an idiosyncratic but coherent re-reading of the English poetry of the past and present. The dissertation addresses the ways in which each poet theorises the difficulties posed, and opportunities afforded, by perceived changes in Anglo-American poetic relations at different points during the 20th century. Chapter one re-evaluates Ashbery's relationship with Auden. It traces the legacy of Auden's coterie poetics in The Orators for Ashbery and Frank O'Hara, offers a revisionary reading of The Vermont Notebook as a strident response to Auden's late-career conservativism, and reads in depth Ashbery's unpublished, highly ambivalent elegy for him, "If I had My Way, Dear". Chapter Two attends to the extensive correspondence between Ashbery and Prince, argues that Prince's work provided a model for Ashbery's "encrypted" early lyrics addressing his homosexuality, and reads "Clepsydra" as an early elaboration of Ashbery's conception of a reciprocal influential model. Chapter Three examines Lee Harwood's "imitations" of Ashbery, and considers the latter's first critical formation of an English "other tradition" through his association of Harwood with the work of John Clare. Chapter Four portrays Ashbery's relationship with Mark Ford as a successful enactment of reciprocal influence, a form of engagement which allows Ashbery a means to "shake off his own influence" and to retain his status as a "major minor writer".
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Xiong, Ying. "Herbs and Beauty: Gendered Poethood and Translated Affect in Late Imperial and Modern China." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23739.
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My dissertation is a comparative analysis of the juncture at which Chinese poetry became “modern.” The catalyst for this development was the early twentieth-century translation into Chinese of the European Romantics, which was contemporaneous with changes and permutations within the “herbs and beauty” myth crucial to the conception of the Chinese poet. I argue that the convergence of the two serve as an anchor for examining China’s literary responses, in both form and content, to drastic social change brought about by rapid modernization and dramatic revolutions.
Through a diverse selection of written and visual texts, I scrutinize and accentuate two ambivalences that, I argue, China’s struggle for modernity required and to which the “herbs and beauty” myth gives form. On the one hand, I locate a moment when the essential femininity of the traditional Chinese poet (man or woman) came to be displaced onto the Western new woman, as the Southern Society, a large community of Chinese poets in the early 20th century, revamped the “herbs and beauty” allegory through their project of translating the European Romantics into Chinese. On the other hand, I investigate how modern Chinese poets and intellectuals, torn between their residual attachment to a hallowed national literary tradition and their new quest for non-indigenous (European) sources, partook in the difficult moments of China’s modern transformation by constantly redefining the interconnections between the beautiful and the virtuous through translation and transcultural relation.
In each instance in question, the influence of translation causes a shift in modes of representation that require new definitions of what it means to be a poet in an increasingly unspiritual and commodified world: together, these examples enable me to conceptualize the poetics and politics of what I call “translated affect” and “affective modernity.”10000-01-01
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Earnhardt, Eric Donavon. "The "Sentient Plume" : The Theory of the Pathetic Fallacy in Anglo-American Avian Poetry, 1856-1945." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1459369357.
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Shaik, Zuleika Bibi. "Anthropology and literature: Humanistic themes in the ethnographic fiction of Hilda Kuper and Edith Turner." University of Western Cape, 2021. http://hdl.handle.net/11394/8167.
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Magister Artium - MAThis mini-thesis makes an argument for the significance of a female-dominated hidden tradition of experimental ethnographic writing in British social anthropology. It argues that the women anthropologists who experimented with creative forms of ethnography were doubly marginalised: first as women in an androcentric male canon in British social anthropology and American cultural anthropology, and second as creative writers whose work has been consistently undervalued in sombre scholarly circles. The study proposes that Hilda Beemer Kuper (1911-1995) and Edith Turner (1921-2016) should be regarded as significant in a still unexcavated literary tradition or subgenre with Anglo-American anthropology. It showcases the narrative craft of Kuper through a detailed textual analysis of her two most accomplished experimental ethnographies A Witch in My Heart (written in 1954, performed in 1955, and published in siSwati in 1962 and English in London in 1970) and A Bite of Hunger (written in 1958 and published in America in 1965). I highlight Kuper‟s multiple literary techniques in evoking of the fraught position of young Swazi co-wives, modern women and women accused of witchcraft in a patriarchal culture with particular attention to her gifts in creating dramatic plots, complex characters and dialogue rich in vernacular metaphor and proverbs. It then celebrates the even more experimental creative writing of Edith Turner. While Turner has sometimes been acknowledged for her hidden contributions to the co-production of her deeply loved and more famous husband Victor, she has not been given her due as an experimental ethnographer, also placing the experiences of African women centre-stage. In what she overtly advertised as “female literary style”, Turner‟s belatedly published 1987 novel The Spirit and the Drum. A Memoir of Africa is analysed with meticulous attention to the literary techniques by which she seeks to explore an anthropology of experience and empathy. These accomplished but under-acknowledged women creative writers sought to explore what they both explicitly conceived of as gestures of humanist cross-cultural engagement.
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Hassan, Saman Salah. "Women and literature : a feminist reading of Kurdish women's poetry." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/13903.
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This research work is a detailed feminist reading of the poetry of a selected group of Kurdish women poets which has been written in Sorani Kurdish. The poets come from two different locations, but are originally from Iraqi Kurdistan. A group of them live in the diaspora and the rest are home-based. Thus, it is the study of the Sorani-written poetry produced by Kurdish women poets locally and externally. The study chooses the time extending from 1990 to 2009 as its scope. There are clear reasons for the selection of this time as it stands for the most hectic period when Kurdish women’s poetry flourishes at a fast pace in southern Kurdistan. The study argues that the liberation of southern Kurdistan in 1991 from the overthrown Iraqi Ba’th regime plays a vital role in the productive reemergence of Kurdish women’s poetry after decades of silence and suppression being inflicted by the male-dominated Kurdish literature. Reliance on Anglo-American feminist criticism, Showalter’s gynocritics and some limited theories about the relation between gender and nationalism for the thematic analysis of the poetry of Kurdish women poets is another influential aspect of this study. The study justifies the importance of these theories for giving Kurdish women’s poetry the literary and social value it deserves and placing it within the larger repertoire of Kurdish literature. It is these theories that reveal the misjudgment and misapprehension of Kurdish women’s poetry by Kurdish male critics. Meanwhile, an extensive thematic analysis of the poetry of diasporic and home Kurdish women poets forms the core content of this work. The work studies the poetic texts of seventeen Kurdish women poets, seven from the diaspora, and ten from home. The themes to be focused on significantly represent the life realities of Kurdish women and the attitudes of Kurdish society towards their rights and existence. Through the exposition of the themes, this study aims to present a realistic picture of Kurdish women and urge for actions required to guarantee gender justice in southern Kurdistan. The themes symbolise a long-term war waged jointly by Kurdish women poets at home and in exile against the classic Kurdish patriarchy and its misogynistic laws. They reflect the injustice committed against women in a century when the respect of women’s rights have taken big steps forward elsewhere and should theoretically be ensured. The conclusion the study reaches is an emphasis on the overall condition of Kurdish women’s poetry and the challenges lying ahead of it. It indicates the level of progress Kurdish women’s poetry has made in southern Kurdistan and the role feminist criticism in unison with certain gender theories that criticise the link between women and nation can play in further developing this type of poetry. Moreover, a rather detailed comparison between the thematic structure and form of the poetry of diasporic and home Kurdish women poets is what enriches the conclusion. The influence of exile on diasporic Kurdish women poets and its relation to freedom of expression is also underlined and measured against opposite conditions back at home. Finally, the point where the poets of the two different localities converge is not omitted.
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Costa, Marília Borges. "Fios diaspóricos nas narrativas de "The woman warrior", de Maxine Hong Kingston." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09042003-174326/.
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O presente trabalho focaliza os processos de formação da identidade, observados em narrativas da escritora sino-americana Maxine Hong Kingston. Documentando as contradições e a fragmentação do sujeito, procura-se iluminar os vários sentidos de subjetividade presentes em uma pessoa de origem chinesa que vive nos Estados Unidos na época da pós-modernidade. O quadro teórico utilizado na análise desses processos é construído a partir da crítica sobre o romance pósmoderno e dos estudos culturais sobre a diáspora. Focaliza-se o livro de memórias da autora, The woman warrior memoirs of a girlhood among ghosts, publicado pela primeira vez em 1976. Desde meados do século XVIII, um grande número de imigrantes asiáticos deslocou-se para os Estados Unidos, trazendo consigo seus próprios valores materiais e espirituais e seus distintos padrões de comportamento. A formação das gerações que cresceram nessa encruzilhada de culturas só poderia ser difícil e conflituosa. Esta dissertação procura descobrir, por um lado, como se efetivam os processos de identificação dos sino-americanos, visto que estão sujeitos a dois sistemas de valor diferentes e, por outro, como se articulam os diversos elementos culturais, tanto na constituição da identidade das personagens como na construção do romance. As narrativas de Maxine Hong Kingston revelam processos de hibridização, característicos de um autor diaspórico.This dissertation deals with the processes of identity formation as observed in the works of the Chinese-American writer Maxine Hong Kingston, especially in her book The woman warrior memoirs of a girlhood among ghosts, first published in 1976. The different meanings of subjectivity that can take shape in an American of Chinese descent, encompassing an individuals contradictions and fragmentation, are analyzed. The theoretical framework is based on critics of postmodernism and on cultural studies about diasporas. Since the middle of the eighteenth century a great number of Asian immigrants moved to the United States, taking along with them their different values and behavior patterns. A person growing up in the intersection of cultures has to deal with conflicts and paradoxes, resulting in identities that are contradictory and fragmentary. This dissertation seeks to unravel, on one hand, the processes of identity formation among the Chinese-Americans, faced as they are by two distinct value systems. On the other hand, find out how the different cultural elements are articulated both in the identity formation of the characters and in the construction of the novel. The narratives of Maxine Hong Kingston reveal processes of hybridization, which are characteristic of a diasporic author.
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CORIONI, ELENA. "LA (RI)SCOPERTA DI JOHN EDWARD WILLIAMS. LO STILE, I SOTTOGENERI E I TEMI DI BUTCHER'S CROSSING, STONER E AUGUSTUS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/100258.
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Negli ultimi anni l’autore americano John Edward Williams (1922-1994) è stato riscoperto grazie all’incredibile successo del suo terzo romanzo, "Stoner" (1965), ripubblicato negli Stati Uniti nel 2006 e apparso in Europa tra il 2009 e il 2013. Per molto tempo Williams era stato uno scrittore poco considerato dal pubblico e dalla critica perché la sua prosa misurata ed elegante era in controtendenza rispetto alle forme dominanti nella letteratura americana della seconda metà del Novecento. Oggi egli è apprezzato soprattutto come maestro di stile, ma l’analisi dei suoi tre romanzi principali ("Butcher’s Crossing", "Stoner", "Augustus") rivela anche altri aspetti originali della sua opera. Innanzitutto, Williams sfida le rappresentazioni egemoniche dell’eroismo americano: i suoi protagonisti sono, infatti, caratterizzati dalla capacità di sopportazione, dalla pazienza e dal senso di responsabilità verso il loro lavoro. Inoltre, egli si distanzia dalle narrazioni trionfalistiche della storia statunitense: tracciando la parabola discente dell’impero americano dalla fine dell’Ottocento fino al secondo dopoguerra, i suoi romanzi mostrano come una nazione fondata sulla conquista, la distruzione e le disuguaglianze sociali sia destinata all’autodistruzione. Nel primo capitolo di questa tesi viene tratteggiata la carriera di Williams come romanziere, accademico, critico e poeta, esaminando le sue posizioni letterarie nel contesto culturale degli anni Sessanta e Settanta. I tre capitolo successivi sono invece dedicati a "Butcher’s Crossing" (1960), "Stoner" e "Augustus" (1972), analizzati in relazione ai loro sottogeneri (western, "academic novel" e romanzo storico) e ad alcuni temi che emergono nell’opera di Williams (la relazione tra l’uomo e la natura, l’eredità puritana, la raffigurazione dei personaggi femminili).In recent years, the American author John Edward Williams (1922–1994) has been rediscovered, thanks to the incredible success of his third novel, "Stoner" (1965), which was republished in the United States in 2006 and appeared in Europe between 2009 and 2013. For a long time, Williams had been neglected as a writer because his restrained and elegant prose was antithetical to the dominant forms of late-twentieth-century American literature. Today he is considered a master of style, but an analysis of his three major novels ("Butcher’s Crossing", "Stoner", and "Augustus") reveals other original elements in his fiction. First, Williams challenges hegemonic representations of American heroism: his protagonists are characterized by endurance, patience, and a sense of responsibility to their jobs. Moreover, Williams distances himself from triumphalist narrations of American history: tracing the descending parable of the American empire from the end of the nineteenth century to the second half of the twentieth century, his novels show that a nation founded on violence, conquest, and social contradictions is bound to destroy itself. In the first chapter of this thesis, I trace Williams’s career as a novelist, academic, critic, and poet, examining his literary positions in the cultural context of the sixties and seventies. The study then proceeds by analyzing "Butcher’s Crossing" (1960), "Stoner", and "Augustus" (1972) in relation to their subgenres (Western, academic novel, and historical novel) and some themes that emerge in Williams’s writing (the relationship between man and nature, the American Puritan heritage, and the representation of female characters).
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CORIONI, ELENA. "LA (RI)SCOPERTA DI JOHN EDWARD WILLIAMS. LO STILE, I SOTTOGENERI E I TEMI DI BUTCHER'S CROSSING, STONER E AUGUSTUS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/100258.
Full textAbstract:
Negli ultimi anni l’autore americano John Edward Williams (1922-1994) è stato riscoperto grazie all’incredibile successo del suo terzo romanzo, "Stoner" (1965), ripubblicato negli Stati Uniti nel 2006 e apparso in Europa tra il 2009 e il 2013. Per molto tempo Williams era stato uno scrittore poco considerato dal pubblico e dalla critica perché la sua prosa misurata ed elegante era in controtendenza rispetto alle forme dominanti nella letteratura americana della seconda metà del Novecento. Oggi egli è apprezzato soprattutto come maestro di stile, ma l’analisi dei suoi tre romanzi principali ("Butcher’s Crossing", "Stoner", "Augustus") rivela anche altri aspetti originali della sua opera. Innanzitutto, Williams sfida le rappresentazioni egemoniche dell’eroismo americano: i suoi protagonisti sono, infatti, caratterizzati dalla capacità di sopportazione, dalla pazienza e dal senso di responsabilità verso il loro lavoro. Inoltre, egli si distanzia dalle narrazioni trionfalistiche della storia statunitense: tracciando la parabola discente dell’impero americano dalla fine dell’Ottocento fino al secondo dopoguerra, i suoi romanzi mostrano come una nazione fondata sulla conquista, la distruzione e le disuguaglianze sociali sia destinata all’autodistruzione. Nel primo capitolo di questa tesi viene tratteggiata la carriera di Williams come romanziere, accademico, critico e poeta, esaminando le sue posizioni letterarie nel contesto culturale degli anni Sessanta e Settanta. I tre capitolo successivi sono invece dedicati a "Butcher’s Crossing" (1960), "Stoner" e "Augustus" (1972), analizzati in relazione ai loro sottogeneri (western, "academic novel" e romanzo storico) e ad alcuni temi che emergono nell’opera di Williams (la relazione tra l’uomo e la natura, l’eredità puritana, la raffigurazione dei personaggi femminili).In recent years, the American author John Edward Williams (1922–1994) has been rediscovered, thanks to the incredible success of his third novel, "Stoner" (1965), which was republished in the United States in 2006 and appeared in Europe between 2009 and 2013. For a long time, Williams had been neglected as a writer because his restrained and elegant prose was antithetical to the dominant forms of late-twentieth-century American literature. Today he is considered a master of style, but an analysis of his three major novels ("Butcher’s Crossing", "Stoner", and "Augustus") reveals other original elements in his fiction. First, Williams challenges hegemonic representations of American heroism: his protagonists are characterized by endurance, patience, and a sense of responsibility to their jobs. Moreover, Williams distances himself from triumphalist narrations of American history: tracing the descending parable of the American empire from the end of the nineteenth century to the second half of the twentieth century, his novels show that a nation founded on violence, conquest, and social contradictions is bound to destroy itself. In the first chapter of this thesis, I trace Williams’s career as a novelist, academic, critic, and poet, examining his literary positions in the cultural context of the sixties and seventies. The study then proceeds by analyzing "Butcher’s Crossing" (1960), "Stoner", and "Augustus" (1972) in relation to their subgenres (Western, academic novel, and historical novel) and some themes that emerge in Williams’s writing (the relationship between man and nature, the American Puritan heritage, and the representation of female characters).
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Fantuzzi, Fabio. ""All the Way from New Orleans to New Jerusalem": Norman Raeben e Bob Dylan." Doctoral thesis, Università degli Studi Roma Tre, 2020. https://hdl.handle.net/10278/5007482.
Full textAbstract:
Artista e insegnante di pregio e fine teorico, Norman Raeben è conosciuto soprattutto per l’influenza esercitata su Bob Dylan, il quale ne frequentò l’atelier nel 1974. L’assenza di materiali e la carenza di studi sul pensiero e l’opera raebeniani hanno fatto, però, di questa influenza un mistero quarantennale della critica. Obiettivo della tesi è colmare questo vuoto di studi.
Nella prima sezione si ricostruiscono la vita e l’opera di Raeben, del quale si studiano il pensiero e le metodologie didattiche. Della complessa teoria artistica raebeniana sono approfonditi i temi di maggiore importanza: la ricerca di un principio di sintesi tra la tradizione ebraica e la filosofia euroamericana, l’ideale dell’Art for Life’s Sake, le teorie su tempo, spazio, metafora e palinsesto, e come queste si traducano nella sua pittura unendo le lezioni del Realismo americano e del Postimpressionismo francese.
La seconda sezione esamina diacronicamente la produzione di Dylan, mettendo in luce soprattutto il ruolo che le lezioni raebeniane hanno avuto sull’evoluzione della sua poetica. Lo studio prende le mosse dalle considerazioni dell’autore stesso, che affermò a più riprese di essere riuscito, proprio grazie a Raeben, a riconnettersi con le Muse dopo un lungo periodo di crisi artistica. L’analisi si concentra in particolare sull’uso dell’immagine, della metafora e del palinsesto, sull’influsso della cultura ebraica e afroamericana e sulle sperimentazioni sul tempo. Dalla disamina emerge come tali ricerche contraddistinguano i dischi degli esordi fino all’incidente del 1967 e quelli successivi al 1974, ma vengano invece meno nella produzione intermedia risalente al ritiro a Woodstock. Tramite un’analisi dettagliata delle opere e delle interviste successive alle lezioni si dà conto del fatto che Dylan comprende e impugna la propria poetica giovanile, perfezionandone e padroneggiandone le modalità compositive in maniera più matura e misurata. Ciò dipende in parte anche dal fatto che, basandosi sulla metodologia raebeniana, Dylan elabora un vero e proprio modus scribendi, che sperimenta per la prima volta nei libretti su cui compone l’album Blood on the Tracks e che continua a impiegare e a perfezionare nei decenni a seguire. Un approfondimento specifico è dedicato anche alla produzione pittorica di Dylan, di cui si rilevano gli elementi di continuità e di discontinuità rispetto ai precetti del mentore. Sono infine affrontati il problema del canone e del rapporto con le fonti e con la tradizione e le sperimentazioni sul tempo, temi a loro volta fortemente influenzati dalle lezioni raebeniane.
Se con la riflessione di Raeben la tradizionale contrapposizione tra Atene e Gerusalemme studiata dalla critica si arricchisce di un binomio nuovo, che ruota attorno a Parigi e New York, la ricerca di Dylan risponde a sua volta a due diversi princìpi, simboleggiati, come appare in Blind Willie McTell, da New Orleans e ‘New Jerusalem’: quello afroamericano, rappresentato dalla città simbolo dell’incontro tra musica africana e occidentale, e quello ebreo americano, incarnato dalla ‘Nuova Gerusalemme’. In entrambi i casi si tratta di un’arte della diaspora, la cui concezione messianica del processo artistico fa delle loro produzioni delle opere intermediali, aperte e in continua evoluzione.
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Pignagnoli, Virginia <1984>. "Paratexts 2.0: new perspectives on twenty-first century literary narrative." Doctoral thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/3974.
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In this study, I argue for the need to extend Genette’s typology of the paratext to analyze twenty-first century literary narratives. “Paratexts 2.0” are formalized in a model that presents the new categories of material peritexts and digital epitexts and their main functions. The new model provides a heuristic for contemporary narratives whose authors exploit various semiotic modes in their printed books, and the affordances of Web 2.0 technologies in the digital world. My dissertation is therefore also an attempt to complement the rhetorical approach to narrative with investigations on mediality and modality, and a discussion on the extra-textual dimension of authorial agency. Finally, according to a diachronic perspective, this study explores the ethical values embedded in the choice of using paratexts 2.0 as resources of narrative communication in relation to post-postmodern American literature.In questo lavoro, si tenta di dimostrare la necessità di estendere la categorizzazione di paratesto di Genette per analizzare narrazioni letterarie del ventunesimo secolo. I “paratesti 2.0” vengono formalizzati in un modello che presenta due nuove categorie, quella dei peritesti materiali e quella degli epitesti digitali, con le rispettive funzioni principali. Il nuovo modello si propone di offrire una chiave di lettura per narrazioni contemporanee i cui autori fanno uso di diversi modi semiotici nel libro stampato e sfruttano le proprietà del Web 2.0 nel mondo digitale. La mia dissertazione è pertanto un tentativo di completare l'approccio retorico alla narrazione attraverso studi su medialità e modalità, e con una discussione circa la dimensione extra-testuale dell'autore. Infine, da una prospettiva diacronica, questo studio esamina i valori etici determinati dalla scelta di usare i paratesti 2.0 come una risorsa narrativa in relazione alla letteratura americana post-postmoderna.
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Santini, Sara <1994>. ""Worldling" American Literature: A Study of Two Novels of Migration." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19693.
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Il presente lavoro di tesi riguarda il concetto di “mondializzazione” (“worldling”) della letteratura americana, inteso come un’apertura della disciplina ad una dimensione planetaria. Si tratta quindi di prendere in considerazione il recentissimo dibattito sulla letteratura mondiale (“world literature”) ed il modo (o modi) in cui è possibile declinarlo nell’ambito dell’Americanistica, una disciplina che almeno negli ultimi vent’anni ha assunto una dimensione sempre più transnazionale. Infatti, tale approccio implica, almeno in parte, un ripensamento della genealogia della letteratura americana in senso globale, di mettere in discussione il concetto di nazione e di cosa significhi essere americano/a o cosa sia l’America stessa. In particolare, la mia analisi si concentrerà sui modi in cui tale apertura planetaria ("worldling") avviene nei seguenti romanzi di migrazione: "The Moor's Account" di Laila Lalami e "The Sympathizer" di Viet Thanh Nguyen.
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Burford, Arianne. "Between Women: Alliances and Divisions in American Indian, Mexican American, and Anglo American Literatures of Protest to Colonialism." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195349.
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Between Women: Alliances and Divisions in American Indian, Mexican American, and Anglo American Literatures of Protest to Colonialism investigates nineteenth- and twentieth-century women writers' negotiation of women's rights discourses. This project examines the split between nineteenth-century women's rights groups and the Equal Rights Association to assess how American Indian, Mexican American, Anglo women, and, more recently, Chicana writers provide theoretical insights for new directions in feminisms. This study is grounded historically in order to learn from the past and continue efforts toward "decolonizing feminisms," to borrow a phrase from Chandra Mohanty. To that end, current feminist theories about alliances and solidarity are linked to ways that writers intervene in feminisms to simultaneously imagine solidarity against white male colonialist violence and object to racism on the part of Anglo women. Like all the writers in this study, Sarah Winnemucca's Life Among the Piutes: Their Wrongs and Claims (1883) challenges Anglo women to not be complicit with Anglo male colonialist violence. Winnemucca's testimony illuminates the history of alliances between Anglo and Native women and current debates amongst various Native women activists regarding feminism. Between Women traces how Anglo American writer Helen Hunt Jackson's Ramona (1884) protests effects of U.S. colonialism on Luiseno people and her negotiation of feminisms compared with Winnemucca's writing and Maria Amparo Ruiz de Burton's The Squatter and the Don (1885) and Who Would Have Thought It? (1872), novels that protest the effects of U.S. colonialism on Mexican Americans, particularly women. It then compares Ruiz de Burton's writing to Helena Maria Viramontes's Under the Feet of Jesus (1995) and Cherrie Moraga's Heroes and Saints (1994), texts that acknowledge the difficulties of forming alliances between women in the context of exploitation, pesticide poisoning of Chicanas/os, and border policies. The epilogue points to Evelina Lucero's Night Sky, Morning Star (2000), demonstrating how an understanding of the history that Winnemucca engages elucidates American Indian literature in the twenty-first century. By looking deeply at how nineteenth-century conflicts effect us in the present, scholars and activists might better assess tactics for feminisms in the twenty-first century that enact an anti-colonialist feminist praxis.
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PANZANI, Ugo Francesco Mauriz. "“I think, therefore I connect”. Database, connessionismo ed esopoiesi nel romanzo anglo-americano (1995-2011)." Doctoral thesis, Università degli studi di Bergamo, 2012. http://hdl.handle.net/10446/26702.
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The aim of this doctoral thesis is to analyse how the contents and the structures of the Anglo-American novel have been influenced by the emergence of digital and telematic media during the last two decades. One of the primary targets is to identify the common strategies adopted by electronic and printed novels to analyze the complexity and to try, at the same time, to escape from the “trap” of language. In my introduction I argue about the increasing relevance of the pattern/randomness dialectic into the narrative field. In the first chapter, while analysing the two novels Galatea 2.2 (1995) by Richard Powers and Exegesis (1997) by Astro Teller, I try to show how computational practices are affecting the literary fruition and authorship along with the role that the novel might play as an instrument of knowledge and cultural interaction. In the subsequent chapters I bring together literary analysis and network culture, focusing on different notions such as the database as a symbolic form, the properties of connectionist networks, the idea of transliteracy and the concepts of autopoiesis and exopoiesis. For this very reason, I examined five different works: David Foster Wallace's Infinite Jest (1996), William Gibson's Pattern Recognition (2003), Mark Z. Danielewski's Only Revolutions (2006), Kate Pullinger and Chris Joseph's Flight Paths (2007) and The Unknown (1998), developed by Scott Rettberg, William Gillespie, Dirk Stratton and Frank Marquardt. These literary texts propose different strategies to assimilate the structures and the dynamics proper to the networks in order to create new cognitive paradigms. It would seem that, through specific narrative structures and topics, some of the novelists of the last fifteen years are abandoning the self-reflexivity typical of the previous postmodern tradition in order to suggest an idea of fiction as an instrument to connect individual and contingency, reader and text, text and media ecology.
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King, Charla. "Middle Men: Establishing Non-Anglo Masculinity in Southwestern Literature." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4259/.
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By examining southwestern masculinity from three separate lenses of cultural experience, Mexican American, Native American and female, this thesis aims to acknowledge the blending of masculinities that is taking place in both the fictitious and factual southwest. Long gone are the days when the cowboys chased down the savage Indians or the Mexican bandits. Southwestern literature now focuses on how these different cultures and traditions can re-construct their masculinities in a way that will be beneficial to all. The southwest is a land of borders and liminal spaces between the United States and Mexico, between brown and white, legal and illegal. All of these borders converge here to create the last American frontier. These converging borders also encompass converging traditions, cultures, and genders. By blending the cowboy, the macho, and the warrior, perhaps these Southwestern writers can construct a liminal masculinity more representative of the southwest itself.
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Moffett, Joe. "The search for origins in the twentieth-century long poem : Sumerian, Homeric, Anglo-Saxon /." Morgantown, W. Va. : West Virginia University Press, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015671691&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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FERRACCI, GABRIELE. "On the River Road. In viaggio sui fiumi dell'Ovest, 1803-1861." Doctoral thesis, Università degli studi di Genova, 2019. http://hdl.handle.net/11567/986267.
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From the Louisiana Purchase (1803) to the beginning of the Civil War (1861), travel writing about journeys on the Mississippi and its tributaries contributed to spread themes, motives, symbols and characters of paramount importance for American imagination. Traveling was already a key part in American identity and the Western Rivers represented a landscape element endowed with great mythopoetic power. The present thesis analyses actual and fictional accounts of journeys on the Western Rivers in order to establish fruitful links between major works of American literature and less known texts, drawing especially from the memoirs of travelers and the sketches of Southwestern humorists.
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Soderblom, Matthew John. "Progressive Saxonism: The Construction of Anglo-Saxonism in Jack London's The Valley of the Moon and Frank Norris's McTeague." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3219.
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The purpose of my thesis seeks to uncover the constructed nature of the Anglo-Saxon ethnicity within two works of fiction. My thesis utilizes London’s The Valley of the Moon (1913) and Norris’s McTeague (1899) because they were published in a similar era. Both authors lived and wrote in the Bay Area during the Progressive Era of American politics. Therefore, there is political, stylistic, and regional proximity. Although Anglo-Saxonism has always been present in the United States, the construction of race was changing in the 1900s. The Valley of the Moon and McTeague both contain intriguing (and antiquated) notions of whiteness that further exacerbate the class struggle in California. This thesis describes the convergence of Progressive politics, eugenics, and Marxism within a unique chapter of American history. Through an exploration of Anglo-Saxonism, this examination of racial classifications is an attempt to reveal the inner workings of oppression in America.
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Wolf, Dominik [Verfasser]. "Reading the Game : Anglo-American Perspectives on Football Fandom in the Age of Premier League Football [[Elektronische Ressource]] / Dominik Wolf." Bonn : Universitäts- und Landesbibliothek Bonn, 2014. http://d-nb.info/1060045338/34.
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Ellman, Richard Joseph. "Historical Imagination in/and Literary Consciousness: The Afterlife of the Anglo-Saxons in Middle English Literature." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002897.
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KOLÁŘ, Jan. "Faustian Motif in Anglo-American Literature/Motiv faustovství v anglo-americké literatuře." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-381220.
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Zibrak, Arielle. "Aesthetic counter-traditions: anti-identity and nineteenth-century Anglo-American literature." Thesis, 2013. https://hdl.handle.net/2144/14149.
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This dissertation examines English and American authors of the fin de siècle whose depiction of failed artists functions as a critique of the predominant modes of identity formation under capitalism. Scholars have tied the transatlantic aesthetic project of literary realism with the social project of the reform era, a political practice of small gains that served to reinforce the identities produced by the division of labor and the hoarding of capital. The late-century fictions presented here protested the conventions of reform fiction and the sociopolitical consequences of the movement, advocating the depoliticized practice of art as an alternative means of identification and a form of political engagement in its own right.
Chapter One shows how Rebecca Harding Davis and Oscar Wilde envisioned the work of art--divorced from the identity of its producer--as the ideal body. Through the depiction of collective works of art that outlive their producers, Davis and Wilde assert the primacy of the work itself over authorial identity. The contemporary artist Banksy, an anonymous street writer whose works gesture towards a future society fueled by aesthetic participation, later employs the same aesthetic strategy in his critique of late capitalism. Chapter Two examines Kate Chopin and Thomas Hardy's response to the fragmentation of the fiction market in the eighteen-nineties. Their feeling that mass-produced art like photographs, popular sheet music, and especially reform fiction had hijacked the creative freedoms of the artistic sphere and its potential to offer an alternative mode of identity formation is present in their depictions of mimetic artist characters whose work reinscribes them into an increasingly professionalized and consumerist society. Chapter Three identifies a compromise formation in the fictions of George Gissing and Edith Wharton, who wrote explicitly about the artist's engagement in social and financial markets. Their novels envision the replacement of identities and communities formed through the production and reception of art by the rise of brand culture, wherein consumers identify with the imagined identities of corporations. This prescient vision is ultimately realized in the work of the American street writer turned entrepreneur and marketing guru, Shepard Fairey.
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(9127250), Alexander C. Long. "Criminality and Capitalism in the Anglo-American Novel, 1830-1925." Thesis, 2020.
Find full textAbstract:
This dissertation argues that the boundaries between capitalism and criminality have become increasingly blurred over the past two centuries, and it traces this development through the Victorian era into American modernity. Operating on the premise that popular literature reflects wide-spread concerns and anxieties of a common audience, each chapter focuses on one primary text as a cite for analysis through which we gain a window of insight into the popular perception of criminals and the role of criminality in developing capitalism. In an attempt to provide relevant context and establish a solid foundation on which to work, the dissertation begins with an introduction that outlines major developments in the British literary field, with a particular eye toward bourgeoning popular mediums, beginning in the eighteenth century and leading into the Victorian era. This foundational work establishes urban compression and rapid industrial development as major concerns for a Victorian audience and figures them as the backdrop on which the discourse of criminality will play itself out.
The first half of the dissertation focuses on the Victorian era, whereas the latter half analyzes works of American literature in the early-twentieth century. Chapter one looks to Oliver Twist as the preeminent example of Victorian criminality, with particular emphasis on middle-class complicity in reinforcing the social structures and environmental determinism that Dickens identified as major causes of Victorian crime. Chapter two progresses to the late-Victorian era and discusses Anthony Trollope’s The Way We Live Now. Doing so allows approaching Victorian criminality from the opposite vantage point, seeing the advent of white-collar crime and fraud as now more significant than the formerly dominant concern of petty crimes as seen in Oliver Twist. These early chapters mark a progression of criminality that gradually enmeshes itself in the habits of ambitious capitalists, which I argue is paramount to the construction of the discourse of criminality and capitalism. Rather than isolated incidents, I forward these texts as representative of thematic shifts in the literary field and public consciousness.
Such a progression is carried over into American modernism, which constitutes the focus of chapters three and four. In chapter three, systemic violence inherent in laissez-faire capitalism and cronyism become the focus of the discussion, as presented in Upton Sinclair’s The Jungle. This chapter presents Sinclair’s didacticism as a necessary and significant progression in popular social-critique literature, and it contends that the gradual shift away from the personalized narrative of Jurgis to the heightened awareness of his political awakening marks an important development that figures criminality as not only part of, but indeed integral to, capitalism and its smooth functioning. This is contrasted with chapter four which presents The Great Gatsby as a misinterpretation of the lessons presented in The Jungle and reverts back to individualism as a flawed solution to capitalism’s ills. Whereas The Jungle was critiqued based on socialist didacticism and so-called lack of artistry, The Great Gatsby experienced immense success for its artistry, despite the fact that it falls back into the trap of individualism, romanticizing the criminal and capitalistic success of its protagonist while ultimately slating him for sacrifice to reinforce the status quo.
These four chapters, I argue, constitute four major stages in progression of the discourse on criminality and capitalism, but leave many questions still unanswered, particularly as regards how society should appropriately and adequately engage the issues contained within these texts. An epilogue is included at the end of this project as an attempt to look forward to expansion of this research and continue to trace this progression up to present-day texts of popular culture. In doing so, my research will engage the development of the criminally-capitalist antihero in popular culture and argue that such figures are representative of the crisis of contemporary capitalism that sees no legitimate (nor illegitimate) ways of succeeding in capitalism.
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Dowdell, Coby J. "Ascetic Citizens: Religious Austerity and Political Crisis in Anglo-American Literature, 1681-1799." Thesis, 2009. http://hdl.handle.net/1807/32005.
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Ascetic Citizens: Religious Austerity and Political Crisis in Anglo-American Literature, 1681-1799, attends to a number of scenes of voluntary self-restraint in literary, political, and religious writings of the long eighteenth century, scenes that stage, what Alexis de Tocqueville calls, “daily small acts of self-denial” in the service of the nation. Existing studies of asceticism in Anglo-American culture during the period are extremely slim. Ascetic Citizens fills an important gap in the scholarship by re-framing religious practices of seclusion and self-denial as a broadly-defined set of civic practices that permeate the political, religious, and gender discourses of late seventeenth- and eighteenth-century Anglo-American culture.
This thesis focuses on the transatlantic relevance of the ascetic citizen—a figure whose rhetorical utility derives from its capacity, as a marker of political and religious moderation, to deploy individual practices of religious austerity as a means of suturing extreme political binaries during times of political crisis. My conception of asceticism’s role in Anglo-American society is informed by an understanding of ascetic citizenship as a cluster of concepts and cultural practices linking the ascetic’s focus on bodily control to republican theories of political subjectivity. The notion that political membership presupposes a renunciation of personal liberties on the part of the individual citizen represents one of the key assumptions of ascetic citizenship. The future guarantee of individual political rights is ensured by present renunciations of self-interest. As such, the ascetic citizen functions according to the same economy by which the religious ascetic’s right to future eternal reward is ensured by present acts of pious self-abnegation. That is to say, republican political liberty is enabled by what we might call an ascetic prerequisite in which the voluntary self-sacrifice of civic rights guarantees the state’s protection of such rights from the infringements of one’s neighbour.
While the abstemious nature of ascetic practice implies efficiency grounded in economic frugality, bodily self-restraint, and physical isolation, the ascetic citizen functions as the sanctioned perversion of a normative devotional practice that circumvents the division between profane self-interest and sacred disinterestedness. The relevance of ascetic citizenship to political culture is its political fluidity, its potential to exceed the ideological functions of the dominant culture while revealing the tension that exists between endorsement of, and dissent from, the civic norm. Counter-intuitively, the ascetic citizen’s practice is marked by a celebration of moderation, of the via media. Forging a space at the threshold between endorsement/dissent, the ascetic citizen maps the dialectic movement of cultural extremism, forging a rhetorically useful site of ascetic deferral characterized by the subject’s ascetic withdrawal from making critical decisions. Ascetic Citizens provides a detailed investigation of how eighteenth-century Anglo-American authors such as Daniel Defoe, Samuel Richardson, Hannah Webster Foster, and Charles Brockden Brown conceive of individual subjectivity as it exists in the pause or retired moment between competing political orders.
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Madison, Emily. "Stages of Emotion: Shakespeare, Performance, and Affect in Modern Anglo-American Film and Theatre." Thesis, 2020. https://doi.org/10.7916/d8-gndv-n045.
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This dissertation makes a case for the Shakespearean stage in the modern Anglo-American tradition as a distinctive laboratory for producing and navigating theories of emotion. The dissertation brings together Shakespeare performance studies and the newer fields of the history of emotions and cultural emotion studies, arguing that Shakespeare’s enduring status as the playwright of human emotion makes the plays in performance critical sites of discourse about human emotion. More specifically, the dissertation charts how, since the late nineteenth century, Shakespeare performance has been implicated in an effort to understand emotion as it defines and relates to the “human” subject. The advent of scientific materialism and Darwinism involved a dethroning of emotion and its expression as a specially endowed human faculty, best evidenced by Charles Darwin’s 1871 The Expression of Emotion in Man and Animals. Shakespeare’s poetic, formal expression of the passions was seen as proof of this faculty, and nowhere better exemplified than in the tragedies and in the passionate displays of the great tragic heroes. The controversy surrounding the tragic roles of the famous Victorian actor-manager Henry Irving illustrates how the embodied, human medium of the Shakespearean stage served as valuable leverage in contemporary debates about emotion. The dissertation then considers major Shakespearean figures of the twentieth century, including Harley Granville Barker, Orson Welles, Laurence Olivier, and Peter Brook, whose “stages” similarly galvanize and reflect contestation and change in what William Reddy has called “emotional regimes” or Barbara Rosenwein “emotional communities.” For each of these figures, a specific emotional paradigm is at stake in staging Shakespeare and particularly Shakespearean tragedy. I engage with a range of sources, from performance reviews to popular psychology, to locate these canonical moments in Shakespearean performance history as flashpoints in a cultural history of emotion.
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VOSÁHLO, Jan. "Outstanding Dystopian Novels in Anglo-American Literature with Respect to the Position of Heroes against Society." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-394356.
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The aim of this diploma thesis is to analyze and compare outstanding Anglo-American dystopias. The main attributes of dystopias, use of power, propaganda, censorship, and economic repercussions are described, as well as the hero's attitude towards society. This thesis analyses Golding's Lord of the Flies, Orwell's Animal Farm and 1984, Bradbury's Fahrenheit 451, Huxley's Brave New World and London's The Iron Heel. The thesis focuses on similarities and differences in those dystopias.
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NĚMCOVÁ, Alžběta. "Vampire Figures in Anglo-American Literature and Their Metamorphosis from Freaks to Heroes/Charakteristika a příčiny posunu vnímání postav upírů v Anglo-americké literatuře, tj. literární přeměna negativní zrůdy v hrdinskou postavu." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-175047.
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PETRELLI, MARCO. "A southern mode of the imagination: spazio e mito nella narrativa di Cormac McCarthy." Doctoral thesis, 2017. http://hdl.handle.net/11573/1012415.
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Oggetto di questo studio è l’analisi del ruolo dello spazio nei romanzi appalachiani di Cormac McCarthy. Attraverso una geografia ibrida, tanto realistica quanto espressionistica, l’autore evoca lo spazio mitico per eccellenza del sud statunitense: il giardino prelapsario delle rappresentazioni pastorali. Critici come Jay Ellis e Georg Guillemin hanno individuato la predominanza del setting sui personaggi e le trame dei romanzi di McCarthy, aprendo la via a una lettura di tipo geocritico/ geopoetico, essendo la rappresentazione dello spazio il luogo testuale ove indubbiamente la poetica dell’autore si realizza appieno. In virtù del suo ibridismo, la geografia di McCarthy è una matrice, un terzospazio fluido che, se di frequente risponde ai canoni della pastorale, più spesso mostra quello che Lewis P. Simpson ha definito come il suo opposto estetico e simbolico: il gotico. Il genere pastorale è tipicamente espressione di un ordine divino e, nel caso del Sud, di uno sguardo retrospettivo e malinconico che interpreta il presente sul modello di un passato idealizzato. Lo spazio gotico (nella definizione di Ruth D. Weston), al contrario, è irrazionale, caotico e imprevedibile. Se la critica ha generalmente posizionato l’autore in osservanza o trasgressione delle strutture mitiche tradizionali, è mia opinione che un approccio efficace debba contemplare una compresenza di questi paradigmi. L’opera di McCarthy è dedicata agli uomini nello spazio, ed è caratterizzata da un’erraticità di fondo che è un continuo tentativo di orientamento ideologico. Il vagabondaggio continuo dei personaggi diviene espressione di un’alienazione dal territorio che, storicamente, è stato per il Sud luogo di definizione identitaria e culturale, racchiusa nel concetto ubiquo e sfuggente di sense of place. La pastorale come mito e mappa, e il gotico come anti-mito e labirinto, forniscono dunque gli strumenti ermeneutici fondamentali per comprendere la dialettica tra spazio e personaggi in McCarthy, e, di conseguenza, l’evoluzione del tradizionale sense of place nella narrativa del Sud contemporaneo.
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Bosco, Stefano. "Enduring with/in the Stories: Native American Novel-Writing from the Assimilation Era to the Indian Renaissance (1920-1970)." Doctoral thesis, 2016. http://hdl.handle.net/11562/938800.
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La tesi esplora l'evoluzione del genere romanzo all'interno della letteratura indiano-americana del Novecento, in particolare nei decenni precedenti il cosiddetto Rinascimento Nativo Americano, la cui fortuna critica ha finito per oscurare l'emergere di una tradizione romanzesca in lingua inglese da parte degli scrittori nativi precedenti. Autori come Mourning Dove, D'Arcy McNickle, John Joseph Mathews, John Milton Oskison hanno saputo utilizzare la forma del romanzo per raccontare l'esperienza indiana in un periodo che mise più volte a repentaglio l'integrità e l'identità delle comunità indiane attraverso le politiche di assimilazione prima (dalla fine dell'Ottocento agli anni Venti) e di terminazione poi (anni Cinquanta), con la breve parentesi del New Deal indiano degli anni Trenta. Seppur utilizzando prevalentemente i modi espressivi del realismo e naturalismo (anche nella particolare declinazione del "modernismo etnico"), il romanzo si dimostrò un genere abbastanza flessibile da accogliere elementi della cultura indiana, quali ad esempio la tradizione orale o la figura del trickster. In tal modo, il genere si prestò a veicolare istanze critiche nei confronti delle rappresentazioni dell'indiano nella tradizione letteraria anglo-americana, o anche semplicemente a dar voce alle energie creative degli scrittori e delle loro comunità d'origine, troppo spesso condannate al silenzio e all'oblio dopo la completata sottomissione politico-militare del secolo precedente. In alcuni casi, autori di questa generazione seppero articolare punti di vista coerenti a supporto dell'auto-determinazione e sovranità indiana, anticipando così un aspetto centrale della politica letteraria della generazione successiva di romanzieri indiani quali N. Scott Momaday, Leslie M. Silko, James Welch, Gerald Vizenor.The dissertation explores the development of the novel genre in 20th-century American Indian literature, particularly in the decades prior to the Native American Renaissance--whose critical fortune ended up obscuring the emergence of a novelistic tradition by earlier native writers in English. Authors like Mourning Dove, D'Arcy McNickle, John Joseph Mathews, John Milton Oskison, employed the novel form to tell about the Indian experience during a period in which the integrity and identity of native communities were repeatedly undermined, first through a number of assimilationist policies (from the turn of the century to the 1920s) and then through the termination legislation of the 1950s, despite the parenthesis of the Indian New Deal in the 1930s. Though mainly featuring the modes of realism and naturalism (also in the particular version of "ethnic modernism"), the novel proved to be a flexible genre that could accomodate elements of Indian culture, such as oral storytelling or the trickster figure. In this way, the genre could vehicle criticism against the representations of the Indian in the Anglo-American tradition, or simply give voice to the creative energies of the writers and their communities, which had been invariably silenced and forgotten after the completed political and military takeover of the previous century. In some cases, authors from this early generation managed to articulate viewpoints that were consistent with the ideas of Indian sovereignty and self-determination, thereby anticipating a crucial aspect of the literary politics expressed by the subsequent generation of Indian novelists, such as N. Scott Momaday, Leslie M. Silko, James Welch, Gerald Vizenor.
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Jimbi, Botelho Isalino. "The importance of figurative language and stylistics in the Anglo-American literature class at ISCED/Benguela: a content unit based on Stevie Smith’s poetry." Master's thesis, 2017. http://hdl.handle.net/1822/45936.
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Dissertação de mestrado em Língua, Literatura e Cultura InglesaThis dissertation begins with some theoretical considerations regarding the nature of the language of literature and poetry, as well as the distinctive use of stylistics, rhetoric and figurative language, and its importance in the educational context, and then proceeds to a comprehensive reference to the poet Stevie Smith and her most relevant poetic corpus, which will also be proposed as a curricular content in the final part of the work. In the second part of this research, it will be argued that figurative language and stylistics, namely in the teaching of poetry, have been neglected in the English language teacher training sector of the Department of Modern Languages at ISCED (Instituto Superior de Ciências da Educação), located in the Benguela province of Angola. This neglect is caused by the lack of a necessary and direct focus on those important aspects which, we believe, are crucial for the development of the students’ critical and reflective skills, so that they can increase their learning autonomy. Taking into consideration the relevance of the problem and the need for intervention, two questionnaires were used to collect the necessary data: a teacher trainer questionnaire and a student questionnaire. The results from the questionnaires show that the teacher trainers are unanimous that the area of figurative language and stylistics in poetry has not been fully explored and that there is a need to include it in the curriculum, in order to boost the students’ linguistic competence and reflective skills. In their questionnaires, students refer to their lack of mastery of these important areas in their academic life; besides, resources, such as poetry books, are scarce, which makes it difficult to cultivate poetry reading habits. This research recommends that the study of figurative language and stylistics in poetry should be introduced at the beginning of the first semester of Year 3, and that a preliminary preparation in the elements of poetry should also be pondered regarding Years 1 and 2. The selected corpus from Stevie Smith’s collected poetry will serve as a pertinent basis and preparation for this study, given the fact that this poet not only uses but also revises both the traditions and modernity in poetry, scrutinizing the masculine ideologies and narratives behind them, through the use of allusion, irony, as well as the idiomatic and the proverbial. In short, she is proposed as an effective creative and pedagogical tool for the study of the many aspects pertaining to the language or languages of literature in general.
Esta dissertação começa por fazer considerações teóricas acerca da natureza da linguagem da literatura e da poesia, assim como do uso peculiar da estilística, retórica e linguagem figurativa, e respetiva importância no contexto educacional, fazendo de seguida uma referência abrangente à poeta Stevie Smith e ao seu mais relevante corpus poético, o qual será proposto como conteúdo curricular na parte final do trabalho. Na segunda parte desta dissertação, argumenta-se que a linguagem figurada e a estilística, nomeadamente no ensino da poesia, têm sido ignoradas na Repartição de Inglês do Departamento de Letras Modernas do ISCED (Instituto Superior de Ciências da Educação), localizado na província de Benguela, em Angola. Essa negligência advém da falta de um foco necessário e direto em aspectos relevantes que, acreditamos, são cruciais para o desenvolvimento de competências críticas e reflexivas dos estudantes, de modo a aumentarem a sua autonomia na aprendizagem. Considerando a relevância do problema e a necessidade de intervenção, foram aplicados dois questionários para a recolha da informação necessária: um questionário do formador de professor e um questionário de estudante. Os questionários mostram que os formadores de professores concordam que as áreas de linguagem figurativa e estilística na poesia não têm sido bem exploradas e que há a necessidade de inclui-las no currículo, para fortalecer as habilidades linguísticas e reflexivas dos estudantes. No seu questionário, os estudantes referem-se à sua falta de domínio nestas áreas cruciais da sua vida académica; ademais, recursos, tais como publicações de poesia, são escassas, o que torna difícil criar o hábito de leitura da poesia. Esta investigação recomenda que o estudo da linguagem figurada e da estilística na poesia deve ser feito no início do primeiro semestre do 3º ano, e que uma preparação preliminar no que toca aos elementos da poesia deve de igual modo ser ponderada em relação aos 1º e 2º anos. O corpus escolhido da poesia de Stevie Smith servirá de base e preparação importante deste estudo, dado ao facto de que essa poeta não só usa mas também revê quer o tradicional quer o moderno na poesia, radiografando as ideologias machistas e suas narrativas, através da alusão e da ironia, assim como dos idiomatismos e dos provérbios. Em suma, Stevie Smith é apresentada como um seguro instrumento criativo e pedagógico para o estudo dos vários aspectos relacionados com a língua e a linguagem literária em geral.
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Melodia, Festa Beatrice. "Performing Identity: The Literary, Technological and Digital Evolution of the American Self." Doctoral thesis, 2020. http://hdl.handle.net/11562/1015051.
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This research aims to analyze how the concept of the American Self has changed starting with technological advancements in the 1880s, and then demonstrating how literature and identity have been challenged by technology and the New Media today. The research will specifically focus on the evolution of American Identity, altered by technological interaction, and the consequent redefinition of concepts such as individualism, privacy, freedom and selfhood. As such, the project will look at those novels in American literature that illustrate the evolution and consequent redefinition of identity through technological and digital change. As literary analysis demonstrates, this thesis will examine the complex alteration of identity through technological advancements, ranging from one of the first means of communication, the telegraph, to the Internet. The novels that will be analyzed are: Wired Love- A Romance of Dots and Dashes (1879) by Ella Cheever Thayer, A Connecticut Yankee in King Arthur’s Court (1889) by Mark Twain, The Broom of the System (1987) by David Foster Wallace, Chronic City (2009) by Jonathan Lethem and Jennifer Egan’s A Visit from the Goon Squad (2010). The trajectory of this project, from the late 19th century to our contemporary age, will trace an arc from the origin of communication technologies to modern digitalization. Examining technology and identity through the lens of literature, this research will attempt to demonstrate how communication technologies have shaped a new concept of American identity, rewritten in front of the screen and repositioned in the dense network of virtual interactions.
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MacPhail, Kelly C. "Believing in belief : the modernist quest for spiritual meaning (Croyer en croyance : la quête moderniste pour le sens spirituel)." Thèse, 2010. http://hdl.handle.net/1866/4849.
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Cette thèse défend l’idée que plusieurs auteurs modernistes ont utilisé des concepts centraux à la croyance religieuse traditionnelle afin de préconiser le changement social. Au lieu de soutenir l'hypothèse de la sécularisation, qui prétend que les modernistes ont rejeté la religion en faveur d'une laïcité non contestée, j'argumente en faveur de ce que j'appelle « la spiritualité moderniste, » qui décrie une continuité intégrale des concepts spirituels dans l'agitation de la période moderniste qui a déstabilisée les institutions qui avait auparavant jeté les bases de la société Occidentale. En me basant sur les écrit de Sigmund Freud, William James et Émile Durkheim concernant les fins poursuivis par la religion, je développe cinq concepts centraux de la croyance religieuse que les modernistes ont cherché à resignifier, à savoir la rédemption, la communauté, la sacralité, le spectre, et la liturgie, et, dans chaque cas, j'ai montré comment ces catégories ont été réinterprétées pour traiter des questions considérées comme essentielles au début du vingtième siècle, à savoir ce que l’on identifie aujourd’hui comme le féminisme, l'écologie, la biopolitique, les crises, et le rôle du poète.
Le chapitre I se concentre sur la rédemption par le féminin telle qu’on la trouve dans le recueil de vers de H.D. portant sur la Seconde Guerre mondiale, Trilogy (1944-1946), qui projette un certain espoir grâce à un mélange synchrétique de Christianisme, de mythes anciens, d’astrologie, et de psychologie. Mon deuxième chapitre discute de The Grapes of Wrath (1939) de John Steinbeck, qui élargit le rôle de la communauté en avançant une écologie universelle qui concevoit tous les gens comme étant intimement liés entre eux et avec le monde. Le chapitre III traite de la notion du sacré dans The Light in August (1932) de Willam Faulkner et Nightwood (1936) de Djuna Barnes, qui préconisent une foi privatisée qui accentue l'illégitimité des concepts de sacralité et de pollution en élevant des individus qui sont marginalisés biopolitiquement. Le chapitre IV cherche à comprendre le retour des morts, et je soutiens que le topos a été utilisé par les modernistes comme un symbole de crises sociales; le chapitre enquête d'abord sur “The Jolly Corner” (1908) de Henry James, que j'ai lu comme la séquence rêvée d'un homme faisant face à son propre spectre, Ulysses (1922) de James Joyce, où Stephen Dedalus est hanté de façon répétée par le spectre de sa mère, et Mrs. Dalloway (1925) de Virginia Woolf, qui se concentre sur le motif caché de la Fête des Morts. Ma cinquième section traite de la liturgie, la langue poétique utilisée pour les rites religieux, dans la première poésie de Wallace Stevens, qui conçoit le rôle du poète comme une vocation de l'imagination.This dissertation argues that many modernist writers used concepts central to traditional religious belief in order to urge social change. Against the secularization hypothesis, which posits that the modernists fully jettisoned religion in favour of an unquestioned secularism, I argue for what I term “modernist spirituality,” which identifies an integral continuance of spiritual concepts within the dire turmoil of the modernist period that destabilized the institutions such as an established organized religion that had previously formed the foundations of Western society. Hence, in each of my dissertation chapters, I have looked outside of organized religion to literature to find that spiritual impulse. Building upon the purposes of religion as defined by Sigmund Freud, William James, and Émile Durkheim, I name five concepts central to religious belief that the modernists sought to resignify, namely redemption, community, sacredness, the spectre, and liturgy, and, in each case, I have shown how these categories were reinterpreted to treat issues considered vital in the early twentieth century that would now be identified under the categories of feminism, ecology, biopolitics, crisis, and the role of the poet. The first function of spiritual belief addresses the intertwining of redemption and humanity’s actions within history, and for this reason, Chapter I focuses on redemption through the feminine as seen in H.D.’s book of World War II verse, Trilogy (1944-1946), which offers hope through a syncretistic blend of Christianity, ancient myths, goddess traditions, astrology, and psychology. My second chapter discusses John Steinbeck's The Grapes of Wrath (1939), which enlarges the role of community by positing a universal ecology of holiness that sees all people as connected with one another and with the land. Chapter III treats the notion of the sacred in William Faulkner’s Light in August (1932) and Djuna Barnes’ Nightwood (1936), both of which urge a privatized faith that emphasizes the illegitimacy of concepts of sacredness and pollution by elevating individuals who are marginalized biopolitically. Chapter IV seeks to comprehend the return of the dead in dreams or in visions, and I argue that the topos was used by modernists as a symbol of social crisis; the chapter first investigates Henry James’ “The Jolly Corner” (1908), which I read as a dream sequence of a man facing his own ghost, James Joyce’s Ulysses (1922), wherein Stephen Dedalus is haunted repeatedly by the ghost of his mother, and Virginia Woolf’s Mrs. Dalloway (1925), which is textually ordered by the hidden motif of the Day of the Dead. My fifth section is an epilogue that treats liturgy, the poetic language used for religious rituals, in the early poetry of Wallace Stevens, who revisions the role of the poet as a vocation of the imagination.
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Byrne, Connor Reed. "Habitable Cities: Modernism, Urban Space, and Everyday Life." 2010. http://hdl.handle.net/10222/13030.
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The “Unreal City” of T. S. Eliot’s The Waste Land looms large over the landscape of critical inquiry into the metropolitan character of Anglo-American modernism. Characterized by the disorienting speed and chaos of modern life, the shock of harsh new environments and bewildering technologies, and the isolating and alienating effects of the inhuman urban mob, the city emerges here, so the story goes, as a site of extreme social disintegration and devastating psychic trauma; as a site that generates a textuality of overwhelming dynamism, phantasmagoric distortion, and subjective retreat.
This dissertation complicates such conventional understandings of the city in modernism, proposing in place of the “Unreal City” a habitable one—an urban space and literature marked by the salutary everyday practices of city dwellers, the familiar environs of the metropolitan neighborhood, and the variety of literary modes that register such productive and adaptive dwelling processes. Taking seriously Rita Felski’s consideration of the “multiple worlds” of modernity, and thus diverging from the canonical formulations of modern urban experience put forth by the likes of Charles Baudelaire and Walter Benjamin, my work explores the richly ambivalent and ambiguous modernist response to the spatial complexities of the metropolis, drawing on the work of Michel de Certeau, Luce Giard, and Pierre Mayol in the two volumes of The Practice of Everyday Life to attend to the quotidian valences that signal a healthful engagement with the city. I uncover this metropoetics of habitability in the vexed response to the city’s network of interconnected spaces in T. S. Eliot’s Prufrock and Other Observations and The Waste Land; in the attention to the viable dwelling practices of individual urbanites—in contrast to city itself as dominant and dominating character—in John Dos Passos’s Manhattan Transfer; in the routine daily operations on display in James Joyce’s Ulysses—breakfast, for instance, or running an errand; in the ordinary series of moments that constitute the work of everyday life in the familiar cityscape of Virginia Woolf’s Mrs Dalloway; and finally in the broad-ranging depictions of urban life in Jean Rhys’s The Left Bank and Other Stories and Quartet.
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FASCINA, CAMILLA. "The Language of Hip Hop: A Racial Bridge? African American English (AAE) as Interracial Communication." Doctoral thesis, 2017. http://hdl.handle.net/11562/961034.
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This study questions whether rap - the musical voice of Hip Hop culture - is a form of interracial communication. What makes rap music sound so peculiar is the use of African American English (AAE). Reportedly, in the book Roc the Mic Right: The Language of Hip Hop Culture (2006), linguistic anthropologist H. Samy Alim describes the linguistic practices of US Hip Hop as both deriving from and expanding from African American English. In light of this, rap can be examined not just as a musical but also as a speech genre. Even though typically African American, as a language and cultural form rap has enjoyed such a great mainstream success that also non-Black ethnicities have started to seek access to this practice. According to Toni Mitchell, Hip Hop and rap should not be viewed simply as an expression of African American culture. In fact, they have become vehicles for global youth affiliations and tools for reworking identities all over the world (2001, 1-2). During the 1990s Whites were drawn to Hip Hop culture and language and to the rhetorical power of rap music. Exactly starting from this time-period, White rappers began adopting a wide range of AAE structural patterns in their lyrics. The language practice of White rappers who want to affiliate with Hip Hop culture is a phenomenon that has not received a great deal of attention. It is precisely this lacuna of scholarly dialogue that this research tries to fill. For White rappers to use AAE and engage in a Black genre is not only a totally unexpected linguistic behavior, but also a worth-researching paradox. This is especially true if we consider two aspects: first, that AAE in mainstream White U.S. society is stigmatized as an inferior and ungrammatical variety; second, because White people and institutions traditionally figure prominently as objects of disdain and anger in politically-oriented Hip Hop music from the 1990s (see Public Enemy, NWA, KRS-One, Ice-T and others). Therefore, the aim is to shed light on the underestimated potential of such a linguistic behavior, which might provide insightful considerations on rap as a cultural and linguistic practice where racial divides are reimagined.
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Marshall, Bridget M. "Narrative justice: The gothic and the law in Anglo -America, 1790–1860." 2004. https://scholarworks.umass.edu/dissertations/AAI3152727.
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In nineteenth-century Britain and America, the form of the gothic novel, popularly known for its use of supernatural horror, elaborate framing narratives, and stereotypical villain-versus-maiden characters and plots, frequently wrestled with ethical dilemmas arising from uncertainty about the nature of justice. Gothic novels engage with legal issues and forms in both their plots and formal structures, revealing trans-Atlantic nineteenth-century social anxiety about the nature of justice. Gothic novels feature repeated incidents of innocents who are wrongfully imprisoned, punished, and otherwise victimized by the villain through the power of a callous, incompetent, or sham court, revealing authors' and audiences' concerns about the legitimacy and status of the justice system. In their elaborate meta-textual form, often involving confessions, legal documents, testimonies, and items put forward as “evidence” directly for the reader, gothic novels set up a forum with a possibility for a new kind of justice. Far from being merely the realm of the supernatural, or a masochistic fantasy, the gothic provides an imaginary world where authors and audiences experience the horrors of injustice from a safe distance and contemplate a more perfect means to justice. The only source of true justice in these novels is not the legal judiciary system, but the narrative (or poetic) justice provided by the author and/or reader through the narrative's frame. British and American gothic novels, as well as American slave narratives that rely on gothic conventions, engage our interest in fictional, terrorizing, horrifying stories in part to bring us to a consideration of more important, non-fictional situations in the real world, particularly around issues of social justice. The novels included in this study—William Godwin's Caleb Williams (1794), Mary Shelley's Frankenstein (1818), Charles Brockden Brown's Edgar Huntly (1799), and Hannah Crafts' The Bondwoman's Narrative (c.a. 1855–1861)—engage with the flaws of the legal system, portraying the real horrors of contemporary institutional injustices. The gothic's focus on the dark aspects of the human experience allowed an imaginary space for readers and writers to contemplate the possibility for justice in the real world.
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HANUSOVÁ, Šárka. "Analýza významu specifického prostředí v anglo-americké literatuře 19. století." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-173430.
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This thesis aims to analyse the specific space of Anglo-American Gothic fiction in the 18th and 19th century. The first part of the thesis deals with various aspects of Gothic fiction from a theoretical viewpoint. It contains the two possible concepts of the "Gothic". It lists typical features of the Gothic fiction and gives a brief overview of its development. Then, a crucial typology of space according to Vseticka and Pavera is introduced, as well as Mikhail Bachtin's related term chronotope. The theoretical part concludes with the reflection of the subversive nature of the Gothic fiction and its relation to similarly unconventional approaches of psychoanalysis and gender studies. The practical part of the thesis applies the aforementioned space typology to ten works of English and American Gothic fiction from 1764-1897, with short profiles of the respective writers in each chapter.