Log in

Relevant bibliographies by topics / Anne Katherina / Dissertations / Theses

To see the other types of publications on this topic, follow the link: Anne Katherina.

Dissertations / Theses on the topic 'Anne Katherina'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 35 dissertations / theses for your research on the topic 'Anne Katherina.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

Neblung, Katherina Anne [Verfasser], and Markus [Akademischer Betreuer] Hoth. "Analyse von steady-state Kalziumsignalen in humanen CD4+ T-Lymphozyten unter möglichst physiologischen Bedingungen / Katherina Anne Neblung. Betreuer: Markus Hoth." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2012. http://d-nb.info/1052222609/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Subramanian, Alexandra. "Katherine Anne Porter and her publishers." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539623389.

Full text

Abstract:

This biographical dissertation focuses upon Katherine Anne Porter's relationship with her literary agent, Cyrilly Abels, and her editors and publishers, Donald Brace and Seymour Lawrence, who were associated with Harcourt, Brace and Atlantic-Little, Brown respectively. The study is based upon the thousands of pages of correspondence between Porter and her professional associates housed in the Papers of Katherine Anne Porter at the University of Maryland. Porter's professional alliances are placed within the context of nineteenth and twentieth century publishing history and within a long tradition of idiosyncratic author editor/agent dependencies that can be traced throughout American literary history.;The heart of the dissertation includes in depth analysis of the writer's intimate and complex professional friendships with Donald Brace, Seymour Lawrence, and Cyrilly Abels. Porter became dependent upon her publishers for financial and emotional support. The writer's publishers strengthened her artistic identity and offered loyalty and continuous support. at the same time, they demanded the loyalty of their valued client, and they exerted powerful control over her creative agenda. Porter sought to please her publishers for personal as well as practical reasons. For three decades, she struggled to meet their demand that she unnaturally transform herself from a brilliant short story writer into a novelist. In trying fruitlessly to fulfill their expectation, her financial indebtedness to them grew steadily; she experienced years of frustration, anxiety, and despair, contributing to an arduous creative journey marked by prolonged silences. Gradually, Porter developed an extreme resentment, even hostility, toward her publishers, especially after she discovered that she had unknowingly relinquished all of her literary rights and controls to them. She discovered the hard way that the complete trust she had put in her publishers had been misguided. She would have been wise to employ the services of an agent early on in her career, but she mistakenly believed that agents were superfluous and would only interfere with the author-publisher bonds she wished to cultivate. By the time Porter finally chose to work with an agent she trusted implicitly, Cyrilly Abels, it was too late in her career to make a practical difference.;Katherine Anne Porter experienced the publishing world as intimate, familial, and nurturing and also as competitive, results-oriented, and mercenary. The contradictions within this world made it difficult for the writer to navigate, as her inner world of imagination and creativity were profoundly at odds with the practical aspects of profits, losses, contracts, and deadlines. Ironically, the writer's inability to distance herself from her editors and publishers encouraged her complete cooperation with them, so that she participated actively in her own artistic incarceration.

APA, Harvard, Vancouver, ISO, and other styles

3

Jaskunas, Paul Richard. "Faith and Banishment : the Artistic Credo of Katherine Anne Porter." Oberlin College Honors Theses / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1406035076.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Muller, Silvia Marianne. "O símbolo folclórico e cristão nos contos mexicanos de Katherine Anne Porter." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/22527.

Full text

Abstract:

Resumo: O símbolo folclórico e cristão nos contos mexicanos de Katherine Anne Porter limita-se a: Maria Concepción, The Martyr, Virgin Violeta, Flowering Judas, Hacienda e That Tree. Katherine Anne Porter insiste em dois fatos importantes em sua obra: que o simbolismo nasce da consciência do autor, juntamente com suas experiências, e ; que a procura da verdade foi uma de suas constantes ao escrever os contos. Daí a necessidade de investigar a verdade histórica, e nela descobrir o sentido mais profundo expresso através da simbologia da autora. Sob um clima de pós-revolução, (Revolução Mexicana de 1910) encontra-se um povo à procura da identidade por meio de reações antitéticas de amor e violência, fidelidade e traição. É um povo rebelde. Sua intransigência é individual e também social. Luta entre a solidão e a transcendência, aceitando a morte, e dela fazendo uso em suas explosões de protesto, desespero e ódio. Ao mesmo tempo, apresenta-se um povo que aspira à comunhão, ao amor, à tranqüilidade, ao contentamento e ao equilíbrio; uma comunidade que reconhece o valor da mulher e o seu desempenho social. Apesar de o homem aparecer em situações antagônicas, ele tem um ideal, e com este, uma grande esperança e uma perspectiva de salvação. A grande preocupação da autora é apresentar o indivíduo dentro da família e da sociedade. Esta sociedade é primitiva e se encontra dentro de um mundo agitado, em constante mudança. Apesar das dificuldades, entretanto, encara a situação com vigor e sem medo, como um desafio. A gênese da simbologia de Katherine Anne Porter foi procurada na verdade histórica com que ela se familiarizou, a ponto de identificar-se com a consciência primitiva das personagens e interpretar-lhes o universo de sua alma sofrida. Esse estado de espírito surge tanto nos títulos como na contextura dos contos, caracterizando esse universo.

APA, Harvard, Vancouver, ISO, and other styles

5

Punzel, Andreas 1955. "Patriarchal voices and female authority in Katherine Anne Porter's Miranda stories." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282343.

Full text

Abstract:

This study offers a feminist reading of Katherine Anne Porter's Miranda stories and includes in its discussion "Old Morality," "Pale Horse, Pale Rider," and the stories of The Old Order as well as the "implicit" Miranda stories "Flowering Judas" and "Holiday." Focusing on questions of gender politics, the study traces the ways the representatives of patriarchal culture within Porter's texts attempt to circumscribe Miranda in traditional gender roles and examines the extent to which Miranda succeeds in asserting her independence. Central to the analysis is the argument that gender politics do not rely on methods of subjection and repression but instead employ strategies of subversion to effect Miranda's self-subjugation to and self-containment within the social order. The theoretical basis for this argument lies in the discourse theory of Mikhail Bakhtin and Michel Foucault's concept of power. Following Miranda's life chronologically, the study explores its main stages: her upbringing in the confining context of the family, which attempts to insert her into the prevailing sexual economy and traditional gender roles; her flight into the world and into a life of social and intellectual independence but also sexual self-abnegation; her escape from language into silence as a result of her marginalization; and her subsequent return to the world as a more assertive woman.

APA, Harvard, Vancouver, ISO, and other styles

6

Nelson, Katherine Snow. "Influenza, Heritage, and Magical Realism in Katherine Anne Porter's Miranda Stories." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4416.

Full text

Abstract:

Despite the devastating scope of the Spanish Influenza Pandemic of 1918, curiously few references to the flu exist in literature. Katherine Anne Porter offered one of modernism's only extensive fictional treatments of the pandemic in her short novel “Pale Horse, Pale Rider,” decades after her own near-death encounter with the flu. Porter was able to give voice to an experience that had traumatized others into silence by drawing on an early form of magical realism. Magical realism's ghosts—everyday presences rather than otherworldly beings to be feared—are of particular relevance to “Pale Horse, Pale Rider” since ghosts “haunt” Porter's semi-autobiographical Miranda throughout the story, acting as correctives to Miranda's (and Porter's) desire to isolate herself from the familial and regional heritage that burdens her with unwanted and often conflicting ideologies. Ultimately, in using magical realism to explore her sense of self and to articulate the alienating effects of her near-death experience, Porter is able to embrace her complicated heritage and her fractured past, reclaiming interconnectedness while maintaining her individuality.

APA, Harvard, Vancouver, ISO, and other styles

7

Matlok-Ziemann, Ellen. "Tomboys, belles, and other ladies : the female body-subject in selected works by Katherine Anne Porter and Carson McCullers /." Uppsala : Uppsala universitet, 2005. http://catalogue.bnf.fr/ark:/12148/cb40062052f.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Waite, Rebecca S. L. "Katherine Anne Porter's "Old Mortality" and Virginia Woolf: A Study in Feminism." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626152.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Colwell, Jamie Rose. "Katherine Anne Porter's adaptation of Joycean paralysis in the Pale horse, pale rider collection." Connect to this title online, 2007. http://etd.lib.clemson.edu/documents/1202500288/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Jasensky, Anne-Katherine [Verfasser]. "Klinische, biochemische und immunologische Aspekte des C-reaktiven Proteins des Hundes / Anne-Katherine Jasensky." Berlin : Freie Universität Berlin, 2014. http://d-nb.info/105885836X/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Ligairi, Rachel Mae. "The Familiar Foreign Country: Reading Mexico in Cormac McCarthy, Jack Kerouac, and Katherine Anne Porter." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/935.

Full text

Abstract:

My thesis examines the discourse of Mexico in the works of three twentieth-century American authors-Cormac McCarthy, Jack Kerouac, and Katherine Anne Porter-in order to analyze representations of Otherness in modernism and postmodernism. I seek to destabilize the dividing line between these periods as well as to show how representation in postmodernity has become more problematic due in large part to the proliferation of consumer culture. Though the Mexico that McCarthy employs in Blood Meridian and the Border Trilogy (All the Pretty Horses, The Crossing, and Cities of the Plain) escapes many stereotypes, his Mexico is merely a staging ground that he uses to examine postmodern questions of philosophy while deconstructing myths such as the Old West and Manifest Destiny and reflecting on the ramifications of World War II. Therefore, McCarthy elides Mexico by using its Otherness as a mirror that enables reflection on the Self. Kerouac too is interested in using Mexico to solve U.S. problems. In On the Road, Kerouac's fictional counterpart, Sal Paradise, searches for the authenticity missing from middle-class American life by ultimately turning to the "authentic" Mexico. Though he is able to distinguish between simulations and reality in his own cultural context, once south of the border Sal misrecognizes what is a hypperreal Mexico for supreme authenticity. By contrast, when Katherine Anne Porter crosses the border, she is quick to identify corruption and revolutionary failure in Mexico. When pieces such as "Xochimilco" and "María Concepción" are placed alongside that of the work of Diego Rivera, a leader in the Mexican muralist movement, it becomes clear that Porter essentializes her Mexican subjects with the specific political goal in mind of furthering the revolution. Additionally, by crossing the generic lines separating fiction and non-fiction, Porter approximates what could be called a postmodern form of ethnography. Yet all of her representational strategies are tempered, especially in her last Mexican story, Hacienda, by an awareness that representations of Other cannot be other than flawed.

APA, Harvard, Vancouver, ISO, and other styles

12

Tingle, Morgan G. "“The Last Words of a King’s Wife”: an exploration of the characters of the wives of King Henry VIII of England through the Art song of Libby Larsen." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/354.

Full text

Abstract:

The intention of this thesis is to describe the process of putting together a performance of a lecture recital on the song cycle Try Me, Good King: Last words of the wives of Henry VIII by modern composer Libby Larsen, and to conduct an in depth exploration of the characters of the first five wives of King Henry VIII of England. Each wife’s character will be investigated in relation to their roles in this song cycle which draws its’ text from the final words of these five women. Each wife’s character will be investigated from three perspectives, that of history, that of Libby Larsen, my own perspective (Morgan Tingle). The ultimate result will be a solid developed character for each wife that is the culmination of my studies portrayed by myself, soprano Morgan Tingle, in the final lecture recital.

APA, Harvard, Vancouver, ISO, and other styles

13

Lamothe, Elisabeth. "En quête des jardins maternels : voix polyphoniques de Katherine Anne Porter, Ellen Glasgow et Eudora Welty." Bordeaux 3, 2003. http://www.theses.fr/2003BOR30050.

Full text

Abstract:

Cette etude examine les metamorphoses de la notion de creativite dans la litterature du sud des etats-unis a travers des ecrits de femmes. Parallelement a l'entree en ecriture d'auteurs cherchant a bouleverser les themes et les intrigues dont elles heritent s'affirment des femmes artistes essayant de trouver une issue au conflit opposant identite de genre et identite artistique. Trois auteurs ont ete retenus : e. Glasgow , k. A. Porter et e. Welty , dont les publications s'echelonnent au cours du vingtieme siecle et permettent de mesurer l'evolution du traitement de la creativite feminine. La premiere partie de ce travail analyse la tradition litteraire dont glasgow est l'heritiere et montre comment quatre de ses romans tentent de subvertir les representations de la feminite sudiste essentialisee pour souligner la creativite feminine. La seconde partie examine les essais de glasgow , ainsi que la correspondance , les manuscrits et les nouvelles de porter , ecrits qui revelent la double nature du processus createur dans lequel les femmes artistes sont engagees , tant au niveau de la diegese qu'au niveau biographique : elles creent leur identite d'artistes et utilisent des metaphores liees a leur identite de genre pour illustrer leur discours sur la creativite et tisser les fils de la diegese. Les Œuvres de welty confirment la validite de ces metaphores , dont l'image centrale est celle du patchwork quilt. La derniere partie repose sur le processus createur engendre par la lecture. La lecture garantit la conformite de certains personnages feminins aux normes de l'identite sexuelle, toutefois elle est instrument de liberation et de creation de soi pour d'autres
This study rests on the analysis of women's texts to demonstrate the metamorphoses of the idea of creativity in twentieth-century southern literature. We argue that women authors' attempt to undermine previous themes and plots allowed for the emergence of the figure of the female artist, trying to bridge the gap between gender identity and artistic identity. This study comprises the works of three authors: ellen glasgow, katherine anne porter and eudora welty, who published throughout the twentieth century and whose treatment of the notion of women's creativity establishes a sense of fertile continuity. The first part of this work deals with the literary tradition glasgow was heir to and shows how four of her main novels subvert traditional representations of southern femininity and celebrate female creativity. The second part of this study looks at glasgow's essays, as well as porter's correspondence, manuscripts and short stories to establish the double nature of the creative process women writers are involved in: it includes laying the foundations of their artistic identity and investing metaphors derived from their gender identity with artistic meaning. Welty's fiction resorts to similar metaphors, including that of the patchwork quilt, to illustrate the creative process. The last part of this thesis analyses the act of reading as creative process. We show that reading can reinforce female characters' compliance with the norms of gender identity but also function as a liberating and self-creating experience for others

APA, Harvard, Vancouver, ISO, and other styles

14

Karalus, Anna Katharina [Verfasser]. "Die Wirkung von Transthyretin auf Wachstum und Differenzierung von Plattenepithel- und Basalzellkarzinomen / Anna Katherina Karalus." Kiel : Universitätsbibliothek Kiel, 2010. http://d-nb.info/1019982977/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Vanparys-Rotondi, Julie. "Katherine Parr, Elizabeth Tyrwhit, Anne Askew : Trois voix de femmes dans la Réforme anglaise : convergences, divergences, influences." Thesis, Université Clermont Auvergne‎ (2017-2020), 2017. http://www.theses.fr/2017CLFAL002.

Full text

Abstract:

Cette thèse étudie le rôle de la reine Katherine Parr (c. 1512-1548) et de son proche entourage féminin dont l’aristocrate Elizabeth Tyrwhit (c. 1519-1578) dans l’instauration de la Réforme. En effet, la dernière épouse d’Henri VIII, auteur de deux manuels de dévotion et première reine anglaise à voir ses écrits publiés, s’entourait des Protestants de la cour. La situation confessionnelle complexe de la fin du règne d’Henri VIII fut marquée par un retour au catholicisme strict, avec des restrictions concernant les pratiques, notamment la lecture de la Bible. Cependant, un certain nombre de personnalités acquises aux idées de la Réforme parvinrent à rester en place. Alors que les femmes n’avaient qu’un accès très limité à la Bible (The Act for the Advancement of True Religion and for the Abolishment of the contrary de 1543 le leur interdisait, sauf si elles étaient de très haut rang), une jeune femme, Anne Askew (1521-1546), quitta le domicile familial et intégra les réseaux protestants de Londres où elle prêcha ce qui lui valut d’être condamnée pour hérésie. La faction conservatrice, la sachant en contact avec les dames de la cour, la tortura lors de son second interrogatoire dans le but d’obtenir des noms de Protestants mais elle resta silencieuse et fut condamnée à brûler vive en juillet 1546. Le règne d’Édouard VI permit au protestantisme de s’imposer comme religion d’État puis, après l’intermède catholique romain du règne de Marie Ière, Élisabeth Ière rétablit le Protestantisme ce qui permit à Elizabeth Tyrwhit de publier librement son manuel de dévotion en 1574. Ce travail explore les démarches des trois femmes, leurs témoignages de foi et leur influence auprès de leurs contemporains et au-delà
This thesis examines the role of Queen Katherine Parr (c.1512-1548) and her close female entourage, including the aristocrat Elizabeth Tyrwhit (c.1519-1578) in the establishment of the Reformation. Indeed, Parr, Henry VIII’s last wife, author of two manuals of devotion and the first English queen to see her writings published, surrounded herself with the Protestants of the court. The complex confessional situation at the end of Henry VIII's reign was marked by a return to strict Catholicism, with restrictions on practices, including reading of the Bible. However, a certain number of courtiers already won over to the ideas of the Reformation managed to keep their positions at court. While women had very limited access to the Bible (the 1543 Act for the Advancement of True Religion and for the Abolishment of the contrary forbade them access to the Scriptures, unless they were of very high birth), a young woman, Anne Askew (1521-1546), left the family home and integrated the Protestant networks of London where she preached, which caused her to be condemned for heresy. The conservative faction, knowing she was in contact with the ladies of the court, tortured her during her second interrogation in order to obtain the names of Protestants but she remained silent and was condemned to burn alive in July 1546. The reign of Edward VI allowed Protestantism to establish itself as the official religion, and after the Roman Catholic interlude of Mary I, Elizabeth I re-established Protestantism, which enabled Elizabeth Tyrwhit to freely publish her devotional manual in 1574. This work explores the attitudes of the three women through their testimonies of faith and their influence with their contemporaries and beyond

APA, Harvard, Vancouver, ISO, and other styles

16

Arima, Hiroko 1959. "The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278060/.

Full text

Abstract:

"The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty" examines certain prototypical natures of isolation as recurrent and underlying themes in selected short fiction of Chopin, Porter, and Welty. Despite the differing backgrounds of the three Southern women writers, and despite the variety of issues they treat, the theme of isolation permeates most of their short fiction. I categorize and analyze their short stories by the nature and the treatment of the varieties of isolation. The analysis and comparison of their short stories from this particular perspective enables readers to link the three writers and to acknowledge their artistic talent and grasp of human psychology and situations.

APA, Harvard, Vancouver, ISO, and other styles

17

Frendo, Ruth. "The tyranny of the soul : mind, body and humanity in Katherine Anne Porter, Caroline Gordon and Flannery O'Connor." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391537.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Fox, Heather. "“I Must Write from Memory”: Reading Katherine Anne Porter’s The Old Order as a Reconstructive Process of Memory." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/465.

Full text

Abstract:

Katherine Anne Porter wrote The Old Order stories in the early 1930s; and while there is no evidence that she ever revised them on a story level, she revised the order of the stories over more than thirty years in three collections: The Leaning Tower and Other Stories (1944), The Old Order: Stories of the South from The Leaning Tower, Pale Horse, Pale Rider, and Flowering Judas (1955), and The Collected Stories of Katherine Anne Porter (1965). Individually, each story is its own episodic memory based on Miranda’s adult recollections of childhood experiences. Collectively, Porter’s rearrangement of these stories over time both deconstructs and reconstructs Miranda’s narrative from a chronological to a representational recollection. Therefore, while the individual stories reveal memory’s imprint on identity, the progressive reordering of The Old Order stories reveals a reconstructive process of memory which repositions itself over time.

APA, Harvard, Vancouver, ISO, and other styles

19

Ross, Sarah C. E. "Women and religious verse in English manuscript culture c1600-1688 : Lady Anne Southwell, Lady Hester Pulter and Katherine Austen." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365585.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Wauthier, Kaitlyn E. ""Real? Hell, Yes, It's Real. It's Mexico": Promoting a US National Imaginary in the Works of William Spratling and Katherine Anne Porter." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1404248907.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Meyers, Judith Marie. ""Comrade-Twin" : brothers and doubles in the World War I prose of May Sinclair, Katherine Anne Porter, Vera Brittain, Rebecca West, and Virginia Woolf /." Thesis, Connect to this title online; UW restricted, 1985. http://hdl.handle.net/1773/9336.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Dalal, Anita Kamala. "In search of home : the writings of Katherine Ann Porter, Martha Gelhorn, Elizabeth Bishop and Joan Didlon in Latin America." Thesis, University College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298466.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Wieland, Anna Katherina [Verfasser], Tobias [Akademischer Betreuer] [Gutachter] Raupach, and Sabine [Gutachter] Sennhenn-Kirchner. "Einfluss verschiedener Lernanreize auf das Lernverhalten und die Prüfungsleistungen von Studierenden der Humanmedizin / Anna Katherina Wieland ; Gutachter: Tobias Raupach, Sabine Sennhenn-Kirchner ; Betreuer: Tobias Raupach." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2016. http://d-nb.info/1123803153/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Lipson, Daniel B. "Tradition. Passio. Poesis. Retreat: Comments around “The Gallery”." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/690.

Full text

Abstract:

Although Andrew Marvell wrote and published relatively little, his poetry collects from the full range of “schools” and idiosyncratic styles present in the seventeenth century: echoes of Herbert, Donne, Milton, Traherne, Herrick, Lovelace, and Jonson, among others, permeate throughout his work. Although much of his imagery seems novel, if not strange, it is clear that Marvell has a deep engagement with several important long-running traditions. His work is conversation with Ovid, Horace, and Theocritus as much as it responds directly to the poets whose lives overlapped with his own. In his engagement with such varied sources, Marvell demonstrates an astounding degree of poetic flexibility. He is a master of imitating voice and style.

APA, Harvard, Vancouver, ISO, and other styles

25

Cooper, Casey Jo. "The dissolution of the monasteries by King Henry VIII and its effect on the econmoy sic], political landscape, and social instability in Tudor England that led to the creation of the poor laws." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/364.

Full text

Abstract:

Before the reformation and the schism of the Catholic Church, it had always been the duty of the Church and not of the state, to undertake the seven corporal works of mercy; feed the hungry, give drink to the thirsty, welcome the stranger, clothe the naked, visit the sick, visit the prisoner, and bury the dead.¹ By dissolving these institutions, Henry had unwittingly created what would become a social disaster of biblical proportions. In essence, this act was rendering thousands of the poor and elderly without a home or shelter, it denied the country of much of the medical aid that has been offered by the church, it denied future generations of thousands of volumes of books and scriptures from the monastic libraries, as well as denied many an education who would have otherwise never received one without the help of the Church. The ultimate goal of my thesis is to prove my hypothesis that the dissolution of the monasteries by King Henry VIII was not merely a contributory factor in the need for the creation of poor laws, but the deciding factor (in a myriad of societal issues) for their creation. Footnote 1: Matthew 25 vv. 32-46.
B.A.
Bachelors
Sciences
Political Science

APA, Harvard, Vancouver, ISO, and other styles

26

Tennie, Anne Katherina [Verfasser]. "Vergleichende Untersuchung zur Chirurgie der rhegmatogenen Netzhautablösung mit Plombenoperation oder der Pars-Plana-Vitrektomie / vorgelegt von Anne Katherina Tennie." 2003. http://d-nb.info/972868283/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Hesse, Anne-Katherina [Verfasser]. "Untersuchung neuer computertomographischer Kriterien für die klinische Signifikanz symptomatischer Karotisarterienstenosen unter besonderer Berücksichtigung der CT-Angiographie / vorgelegt von Anne-Katherina Hesse." 2009. http://d-nb.info/1003607071/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Yang, Yun-Hua, and 楊韻華. "VIOLENCE IN KATHERINE ANNE PORTER''S SHORT FICTION." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/33728388566324681394.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Hockensmith, Ashley Sanders. "Voicing the mutilated woman's story : the intertextual realationship [sic] between Katherine Anne Porter and William Faulkner /." 2009. http://hdl.handle.net/10288/1239.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

"Katherine Anne Porter y México: una Reconsideración Histórico-Literaria." Tesis, Universidad de las Américas Puebla, 2003. http://catarina.udlap.mx/u_dl_a/tales/documentos/mlh/echelle_ts/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

YOU, SI-HAN, and 劉泗翰. "The destiny of women in Katherine Anne Porter's short stories." Thesis, 1989. http://ndltd.ncl.edu.tw/handle/43784225015356227333.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Liu, Jessie Chih-hsuan, and 劉秩軒. "Female Self-Identification in Katherine Anne Porter''s Miranda Stories and Jane Austen''s Emma." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/42668782090557409631.

Full text

Abstract:

碩士
中國文化大學
英國語文學研究所
92
Abstract The aim of the thesis is to explore both the heroines and authors’ female self-identification in Jane Austen’s Emma and Katherine Anne Porter’s Miranda stories. Through the process of seeking self-identification, Emma and Miranda have become their authors’ spokespersons, and they also reflect the two authors’ female self-identification. On the surface, Emma and Miranda seem to be two parallel lines that have no common ground. Furthermore, the two authors live in separate centuries. However, Miranda, as the spokesperson in Porter’s writing career, conveys Porter’s inner world; Emma, as a heroine that no one but Austen herself much likes, reflects Austen’s heartfelt wish that she could not achieve in her real life. The two female roles, also reflect the women’s resistance to the patriarchal tradition of each of their times. In Chapter Two and Chapter Three, based on Mikhail M. Bakhtin’s Double-Voiced Discourse, the thesis examines how Emma and Miranda seek their female self-identification and self-construction among different ideologies. At the beginning of Emma, Austen creates a new woman who transcends the traditional standard in Austen’s time, the late eighteenth century. With the development of the story, however, Austen still leads to an ending in a traditional pattern. For Austen, marriage is the best way and the value of a marriage of equal standing is mentioned again and again. For Emma, her Mr. Right should have as equal responsibilities as she, both moral and material, only then can she keep her female self-identification. Unlike Austen’s happy ending, Porter, as a woman in the early twentieth century, attempts to find another way for women. Different from Emma’s wealth and perfection in natural resources, Miranda suffers from her family’s long-term neglect and authority. This suffering creates a need of her independence and ideas of rebellion. At the end of the short story, “Old Mortality,” Porter predicts Miranda’s determination in pursuing her self-identification. In Chapter Four, Through Wolfgang Iser’s Reader-Response Theory and Patrocinio Schweickart’s theory of Feminist Reader-Response, the thesis explores several male and female critics’ interpretations and criticism of Emma and the Miranda stories. From these critics’ points of view, the thesis will reveal whether women’s voice in the two works can be accepted by the male group of the society.

APA, Harvard, Vancouver, ISO, and other styles

33

Riney, Erin Kelly. "Feminist re-visioning and women's writing the second wave's effects on Katherine Anne Porter's literary legacy /." 2007. http://www.lib.ncsu.edu/theses/available/etd-05142007-211636/unrestricted/etd.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Wu, Pin-hsiang Natalie, and 吳品湘. "THE AUTHOR, THE HERO, AND THE DIALOGICAL SPHERE IN SAUL BELLOW’S HERZOG, EDITH WHARTON’S THE CUSTOM OF THE COUNTRY AND KATHERINE ANNE PORTER’S SHIP OF FOOLS." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/31119492947812157304.

Full text

Abstract:

博士
國立高雄師範大學
英語學系
95
In postmodern literary criticism, Roland Barthes’ “The Death of the Author” and Michael Foucault’s “What is an Author?” subvert the notion of “author” in the traditional sense. Both of them agree that when the author is dead, the text begins to appear more as a “game” of language. Barthes and Foucault’s assertions on “the liberation of the reader” through “the author’s death” are developed from Mikhail Bakhtin’s “polyphonic poetics” in which he preaches the necessity of the author’s release of power in order to present, ethically, the complete ideology of the hero. According to Bakhtin, the author must allow sufficient freedom for the hero to create his pure authentic voice. However, the author is inevitably responsible for the style of the novel. He must be scrupulous in the choice of words, conscientious in the arrangement of characters and setting, painstaking at creating a certain situation, and meticulous in presenting the structure of the narrative. Based on these reasons, I intend an examination of the novelistic languages of three contemporary American novels--Saul Bellow’s Herzog, Edith Wharton’s The Custom of the Country, and Katherine Anne Porter’s Ship of Fools—one partially based on Bakhtin’s linguistic investigations, and partially based on my revisions of his theoretical statements. Diverging form Bakhtin’s terms of analysis, I divide the authorial discourse into two categories—“visible authorial discourse” and “invisible authorial discourse.” I suggest that we add the analysis of the “invisible authorial discourse” to the discussions of the three novelistic languages because the “invisible authorial discourse” covers all elements on the structural plane of a novel and can express the author’s intention in a more complete way. In my analysis of Herzog, Bellow, throughout the novel, preserves the autonomy of Herzog’s discourse. In many part of the text, the reader witnesses the phenomenon of “double-voicedness” in which Bellow’s speech is detached from that of the hero. But, examining the “invisible authorial discourse,” Bellow stifles the characters’ discourses to consolidate the idea that Herzog is a person who refuses to listen to others. To discuss the “invisible authorial discourse” of Herzog, I discovered that Herzog partially fails to meet Bakhtin’s polyphonic guidelines. In my examination of The Custom of the Country, the novel appears to be more like a monologic novel. Both the “visible” and the “invisible” authorial discourses strongly display their artistic aim by regulating the developments of those discourses. The “visible authorial discourse” often employs certain words of connotative significance to denote the “aristocrat” or the “merchant” qualities of the characters’ discourse. Character’s discourse in this novel is not completely autonomous but most of the time is bristling with the author’s overall intentions. The “invisible authorial discourse” focuses on the process how these upstarts firstly aspire after and finally usurp the privileged position of the old New York aristocracy. In short, Wharton’s discourse controls the full blossoming of the character’s ideology. The novelistic language of Ship of Fools, in the Bakhtinian sense, speaks for the greatest achievement in terms of diversity and universality among the three novels. The polyphonic phenomenon is mostly explicit in the visible authorial discourse in which there is neither an emphasis upon the speech of the author nor a singularity of discourse of a protagonist. In conclusion, Ship of Fools is the one written in a mode mostly resembling Bakhtin’s polyphonic novel. However, there are scarcely any personal touches, artistic deftness of hand, or novelistic magic worthy of discussion. Herzog and The Custom of the Country, though they do not fulfill so many of the requirements of Bakhtin’s polyphony just like Ship of Fools does, both include, to various degrees, the author’s autonomous presentations of the hero / heroine’s languages and lives to bring to light particular aspects meaningful to the authors. Both novels have been regarded as great literary works because of the novelists’ “individual genius.” Thus, a faithful reproduction of true human social languages does not alone fulfill the special needs of the novel, which is always in need of literary skills that transform true human life situations into a literary version of human life in such a way as to make the description of life much more condensed, meaningful, and purposeful. On the other hand, the notion of the author cannot be easily annihilated, since it strikes its roots in every aspect of the novel, which surely brings a profound influence on the style of a novel. What makes Bakhtin’s polyphonic poetics questionable is because he ignores the author’s overall scheme of a literary work, which is mostly manifested in the invisible authorial discourse. Though Bakhtin serves as the pioneer critic of the privileged position of the novelist, the problem is, he is associated with a number of key concepts in the study of literature. Many of the postmodern notions, especially the “Death of the Author,” have become widespread and influential in current literary criticism. By exposing to view Bakhtin’s weaknesses, we also witness the inadequacy of these postmodern propositions.

APA, Harvard, Vancouver, ISO, and other styles

35

(11181666), Alyssa Caroline Fernandez. "Trauma in the Syntax: Trauma Writing in David Foster Wallace's Infinite Jest." Thesis, 2021.

Find full text

Abstract:

This project presents a case study of postmodern trauma, working at the boundaries of the humanities and computer science to produce an in-depth examination of trauma writing in David Foster Wallace’s novel Infinite Jest. The goal of this project is to examine the intricacies of syntax and language in postmodern trauma writing through an iterative process I refer to as broken reading, which combines traditional humanities methodologies (close reading) and distant, computational methodologies (Natural Language Processing). Broken reading begins with close reading, then ventures into the distant reading processes of sentiment analysis and entity analysis, and then returns again to close reading when the data must be analyzed and the broken computational elements must be corrected. While examining the syntactical structure of traumatic and non-traumatic passages through this broken reading methodology, I found that Wallace represents trauma as gendered. The male characters in the novel, when recollecting past traumata or undergoing traumatic events, maintain their subject status, recognize those around them as subjects, and are able to engage actively with the world around them. On the other hand, the female characters in the novel are depicted as lacking the same capacities for subjectivity and action. Through computational text analysis, it becomes clear that Wallace writes female trauma in a way that reflects their lack of agency and subjectivity while he writes male trauma in a way that maintains their agency and subjectivity. Through close reading, I was able to discover qualitative differences in Wallace’s representations of trauma and form initial observations about syntactical and linguistic patterns; through distant reading, I was able to quantify the differences I uncovered through close reading by conducting part of speech tagging, entity analysis, semantic analysis, and sentiment analysis. Distant reading led me to discover elements of the text that I had not noticed previously, despite the occasional flaw in computation. The analyses I produced through this broken reading process grew richer because of failure—when I failed as an interpreter, and when computational analysis failed, these failures gave me further insight into the trauma writing within the novel. Ultimately, there are marked syntactical and linguistic differences between the way that Wallace represents male and female trauma, which points toward the larger question of whether other white male postmodern authors gender trauma in their writings, too. This study has generated a prototype model for the broken reading methodology, which can be used to further examine postmodern trauma writing.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!