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Dissertations / Theses on the topic 'Betrayal in literature'
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1
Kallstrom, Martha Ann. "Textual fidelity and betrayal : Chaucer's deserted women /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302802060.
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2
Weaver, Kimberly C. "Mothering and Surrogacy in Twentieth-Century American Literature: Promise or Betrayal." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_diss/77.
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Twentieth-century American literature is filled with new images of motherhood. Long gone is the idealism of motherhood that flourished during the eighteenth and nineteenth centuries in life and in writing. Long gone are the mother help books and guides on training mothers. The twentieth-century fiction writer ushers in new examples of motherhood described in novels that critique the bad mother and turn a critical eye towards the role of women and motherhood. This study examines the trauma surrounding twentieth-century motherhood and surrogacy; in particular, how abandonment, rape, incest, and negation often results in surrogacy; and how selected authors create characters who as mothers fail to protect their children, particularly their daughters. This study explores whether the failure is a result of social-economic or physiological circumstances that make mothering and motherlove impossible or a rejection of the ideal mother seldom realized by contemporary women, or whether the novelists have rewritten the notion of the mother’s help books by their fragmented representations of motherhood. Has motherhood become a rejection of self-potential?
The study will critique mother-daughter relationships in four late twentieth-century American novels in their complex presentations of motherhood and surrogacy: Toni Morrison’s The Bluest Eye (1970), Kaye Gibbons’s Ellen Foster (1990), Dorothy Allison’s Bastard Out of Carolina (1992) and Sapphire’s Push (1997). Appropriated terminology from other disciplines illustrates the prevalence of surrogacy and protection in the subject novels. The use of surrogate will refer to those who come forward to provide the role of mothering and protection.
3
Phillips, James. "The enemy within : division and betrayal in literature of the Second World War." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8402/.
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Although descriptions of civilian experience during the Second World War tend to stress concepts of unity and the nation 'pulling together', much literature ofthe period repeatedly suggests division and distrust, and fears of an 'enemy within' that can be seen directly in the numerous fifth columnist plotlines and more indirectly through stories of personal treachery and duplicity. Here the work of a number of authors writing during World War II is examined, with close comparison of how themes of betrayal and mistrust are woven into their texts. This is placed in context through consideration both of government propaganda warning citizens of the dangers of spies and fifth columnists during the war and social fracturings along gender, class and political lines that were already in existence when war began. The 'enemy within' motif exists in a number of forms and discussion of this is extended to consider, for example, contemporary concerns that the increasing authoritarianism of the British government meant the country was moving towards the fascism it had gone to war to defeat, presentations of the home as an enemy space, and repeated depictions of fragmented identity and trauma that suggest the enemy also exists within the individual psyche.
4
Levin, Janina. "Modern Reinterpretations of the Cuckold." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/91450.
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EnglishPh.D.
The cuckold has been a neglected character in Western literary history, subject to derision and often cruel comic effects. Yet three major modern novelists portrayed the cuckold as a protagonist: Gustave Flaubert in Madame Bovary, Henry James in The Golden Bowl, and James Joyce in Ulysses. This study compares their portrayal of the cuckold with medieval storytellers' portrayal of him in the fabliau tales. The comparison shows that modern writers used the cuckold to critique Enlightenment modes of knowing, such as setting up territorial boundaries for emerging disciplines and professions. Modern writers also attributed a greater value than medieval writers did to the cuckold's position as a non-phallic man, because he allowed his wife sexual freedom. Finally, they saw the cuckold as the other side of the artist; through him, they explore the possibility that the Everyman can be a vehicle for reflected action, rather than heroic action. This study combines Lacanian psychoanalysis with narratology to analyze the cuckold as a subject and as a compositional resource for modern novelists.
Temple University--Theses
5
Hoveka, Dineo Ida. "A study of selected themes of protest in Zakes Mda's post-apartheid fiction." Thesis, University of Limpopo, 2009. http://hdl.handle.net/10386/2627.
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Thesis (M.A. (English Studies)) --University of Limpopo, 2009This dissertation examines elements of protest in four of Zakes Mda’s novels, namely, Ways of Dying (1995a), She Plays with the Darkness (1995b), The Heart of Redness (2000), and The Madonna of Excelsior (2002). The elements of protest that are identified and investigated in this study are abuse, betrayal, discrimination, and violence. This study also shows that these elements of protest that are investigated are a result of a lack of integrity and social accountability on the part of government, the civil service, and individuals themselves. In addition, this dissertation reveals the extent to which social injustices negatively influence the thinking and behaviour of the general South African society and thwart the aspirations of ordinary people. Finally, suggestions to curb abuse, betrayal, and discrimination are made.
6
Boyer, Andrée Mary. "Nathalie Sarraute's Enfance or Tropismes rewritten." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1257791751.
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Thesis (M.A.)--Kent State University, 2009.Title from PDF t.p. (viewed April 21, 2010). Advisor: Maryann De Julio. Keywords: Tropismes; Childhood; Enfance; betrayal; education; non-dit. Includes bibliographical references (p. 66-67).
7
Bulut, Bilge. "Betrayal In Under Western Eyes By Joseph Conrad, The Painted Veil By Somerset Maugham, And Bir Dugun Gecesi By Adalet Agaoglu." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/2/12611311/index.pdf.
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This study examines the theme of betrayal in three different literary works.Betrayal is seen in different forms in the three novels. In the first chapter of the thesis, the protagonist&rsquos betrayal to his friend in the English writer Joseph Conrad&rsquo
s Under Western Eyes is evaluated in terms of the reasons, process, and results. Psychological analysis of the character that betrays is made. In the second chapter adultery is examined in The Painted Veil by Somerset Maugham, who is another English writer. The reasons for the adultery the woman commits, her guilty conscience after the adultery, and the enlightenment process are discussed. In the third chapter, two characters&rsquo
betrayal to their ideology is examined with the background set as Turkey in the 1970s in Bir Dü
gü
n Gecesi by Adalet Agaoglu, who is a Turkish writer. Psychological status of the characters is studied based on their feelings at a wedding night with their reasons to have deviated from their political views.Themes such as lack of love and dilemma, which collect the three novels under the same title, are particularly examined.
8
Bender, John Brett. "Lost tramps & cherry tigers." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/english_theses/68/.
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9
Souza, Anny Ribeiro. "Bentinho é Capitu: a autotraição do narrador de Dom Casmurro." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8298.
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Bentinho não é um personagem completamente inocente em suas memórias autobiográficas. Apesar de se colocar na posição de vítima, algumas atitudes suas dentro do romance Dom Casmurro, de Machado de Assis, são capazes de acusar o narrador de primeira pessoa de outras coisas além da imagem que pretende fazer de marido traído. Desta forma, este trabalho vai investigar como o personagem, através de sua versão casmurra, sai da posição de acusador para a de réu. Veremos como o personagem, que tem o poder da narrativa nas mãos, ironicamente trai a si mesmo, deixando-se mostrar, mesmo que sem claramente perceber, suas características acusatórias. Assim, encontraremos nele não só um personagem ciumento com toques de loucura, mas também uma pessoa tão dissimulada e manipuladora quanto Capitu, sua namorada e depois esposa a quem julga e condena ao longo do romance. Ser como ela leva Bento ao mesmo destino da moça: a solidão e o exílio que, no caso dele, acontece, em sua própria terra natal. Há ainda um segundo corpus sobre o qual esta análise se debruça: a microssérie Capitu (2008), exibida pela TV Globo em comemoração ao centenário de morte de Machado de Assis. Mostraremos como o trabalho audiovisual dirigido por Luiz Fernando Carvalho levou para a televisão as orientações de Machado de Assis, mantendo o mistério do Bruxo do Cosme Velho. Além disso, a microssérie também traduz em imagens a ideia de que Bentinho é um reflexo, um desdobramento de Capitu.Bentinho is not a completely innocent character in his autobiographical memories. Despite posicioning himself as victim, some attitudes of him inside the novel Dom Casmurro, written by Machado de Assis, are able to accuse the first-person narrator of other things besides the image of betrayed husband that he wants to show. Thus, this study will investigate how the character, through his cranky old version leaves the accuser position for the defendant. We will see how the character, who has the power of the narrative in his hands, ironically betrays himself, showing, even without clearly see, his accusatory characteristics. Thus, we will find in him, not only a jealous character with some madness, but also a person who is as disingenuous and manipulative as Capitu, his girlfriend, an then, the wife who is judged and sentenced throughout the novel. Being like her, gives Bento the same destination of the girl: loneiness and exile that, in his case, happens in his own homeland. There is a second corpus on which this analysis focuses: the miniseries Capitu (2008), displayed by TV Globo in celebration of the centenary of the death of Machado de Assis. We will show how this audiovisual work directed by Luiz Fernando Carvalho presented on television the Machado de Assis guidelines, keeping the mystery of the Bruxo do Cosme Velho. In addition, the miniseries also translates into images the idea that Bentinho is a reflection, a breakdown of Capitu.
10
Duarte, Valeska de Souza. "Traição em Nelson Rodrigues : um leitura da tragédia moderna." Universidade Federal de Alagoas, 2005. http://repositorio.ufal.br/handle/riufal/510.
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The presented dissertation has as purpose to develop a reading about the modern
tragedy inserted in the plays A falecida, Anjo negro e Perdoa-me por me traires, of Nelson
Rodrigues, including as analytical category the betrayal, appealing theme in the studied texts,
which presence echoes in the reflection dramatic action. This work points as a theoretical
discussion, the concept of modern tragedy elaborated by Raymond Williams, who included the
social thought of the literary work and its performance as a reflexive instrument and transformer,
having in view its permanent correlation with the history and the culture. In that sense, the
tragedy expresses a critical-reflexive approach, for presenting the tension between the traditional
and the individual human experience, and the betrayal, as immanent resource in the composition
tragic of Nelson Rodrigues, comes to represent the lonely human fight as expression of the
Brazilian modern dramatic art.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A dissertação apresentada tem como finalidade desenvolver uma leitura sobre a tragédia moderna inserida nas peças A falecida, Anjo negro e Perdoa-me por me traíres, de Nelson Rodrigues, incluindo como categoria analítica a traição, temática recorrente nos textos estudados, cuja presença repercute na reflexão da ação dramática. Este trabalho salienta como discussão teórica, o conceito de tragédia moderna elaborado por Raymond Williams, o que inclui o pensamento social da obra literária e sua atuação como instrumento reflexivo e transformador, tendo em vista a sua permanente correlação com a história e a cultura. Nesse sentido, a tragédia expressa uma abordagem crítico-reflexiva, por apresentar a tensão entre o tradicional e a experiência humana individual, e a traição, como recurso imanente na composição trágica rodrigueana, vem a representar a luta humana solitária como expressão da moderna arte dramática brasileira.
11
Bagg, Melissa A. "“Who 'twas that cut thy tongue”: Postmodern and Hollywood Shakespeares and the betrayal of the adolescent audience." 2003. https://scholarworks.umass.edu/dissertations/AAI3078667.
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Hollywood productions of Shakespeare often strive for accessibility by extensively reducing the complexities of the plays. The characters are turned into familiar types and ambiguities are erased. Postmodern productions attempt to problematise the supposed ideological assumptions behind the plays as well as Shakespeare's iconic status in our culture. The result is often irreverent, shocking, “subversive.” Characters and situations lose their original complexity and irony by being subjected to a metatheatrical irony imposed by the production. Both the Hollywood and the postmodern performances are attractive to adolescents, who are typically reassured by the familiar types and revel in rebellion against perceived “authority.” While many are tempted to praise this attractiveness as a service in rendering Shakespeare “accessible” to adolescents, what is rendered accessible is not Shakespeare. This is deeply unfortunate, as a rich understanding of Shakespeare—one which allows for his multifaceted vision of the human condition, his endless perspectivising on problems of morality and character, his skepticism of values and ideologies—is of great value precisely at this stage of life, when the jumbled world invites simple solutions. Evidence of the ability of adolescents with a wide range of backgrounds and intelligences (as conventionally measured) is provided by firsthand accounts of student productions of Love's Labour's Lost, The Winter's Tale, and Romeo and Juliet. The reactions of a group of adolescents to Baz Luhrmann's film William Shakespeare's Romeo + Juliet (1996) before and after they themselves had worked on a production of the play demonstrate a sea change in attitude toward the film. Luhrmann's movie, which has elements both of Hollywood reduction and postmodern irony, is subjected to a thoroughgoing critique in an attempt to explain this shift in attitude. Ultimately it is the demoting of the language of the play which condemns the audience of such “accessible” productions to a superficial and misleading encounter with Shakespeare.
12
Coburn, Ryan. "Precarious Provenance: Legitimacy, Surrogacy and Betrayal in the Value of Art and Family in Honoré de Balzac's Le Cousin Pons and Donna Tartt's The Goldfinch." 2017. https://scholarworks.umass.edu/masters_theses_2/461.
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This thesis focuses on the problematic nature of art valuation, more specifically concerning the ideas of use-value and exchange-value in Honoré de Balzac’s Le Cousin Pons and Donna Tartt’s The Goldfinch. Written in nineteenth-century France, Balzac’s novel paints a bleak portrait of what he believes to be a morally corrupt society obsessed with the lesser things in life such as money and status rather than what is truly important: culture and art. In her novel, which bears a striking resemblance to Balzac’s, Tartt presents her perception of present-day United States, also plagued with moral corruption and disregard for the cultural significance of art, but ultimately attempts to convey the message that art will prevail and transcend not only time but human weakness as well.
This analysis will attempt to trace the evolution of the value of the collections of art in these two novels. Through the examination of the themes of legitimacy, surrogacy and betrayal, I will analyze the paradoxes of value of both art and family structure.
13
Krüger, Johanna Alida. "The Actual versus the Fictional in Betrayal, The Real Thing and Closer." Thesis, 2014. http://hdl.handle.net/10500/18570.
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Text in EnglishAlthough initially dismissed as superficial, Harold Pinter’s Betrayal, Tom Stoppard’s The Real Thing, and Patrick Marber’s Closer use the theme of marital betrayal as a trope to investigate metatheatrical and epistemological issues. This study aims to demonstrate how these three plays define and explore the concept of authenticity within the fictional as well as the actual world; how arbitrary the construction and mediation of the characters’ identities are, not only from their own perspective, but also from the audience’s; the significance of the audience’s role in these plays and how issues of authenticity, fictionality and dishonesty impact on a genre that depends on illusion. This study intends to provide a new interpretation of these three texts through an analysis drawn from postmodern and poststructuralist theories, concerning the concept of authenticity within art and language. This study finds that the fictional worlds in these plays are created through mediation, which includes everyday language as well as complex works of art. Authenticity is shown to be an elusive concept. Language is either unsuccessfully used to force authentic responses from characters, or as a shield. In Betrayal, language functions as a protective barrier, preventing the characters from knowing one another. The Real Thing suggests that although inauthenticity may be established, the inverse is not necessarily true. In Closer, the characters try in vain to access authenticity through different registers of language. Furthermore, neither the body nor the mind is shown to be the locus of authenticity in Closer. Within the postmodern context where originality is impossible, mimicry is not seen as something external and inauthentic, but as inextricably part of human existence. The audience is drawn into the fictional world of these plays as its members are able to identify with the disillusionment of the characters and their inability to form a definitive view of each other. Simultaneously, the audience is ousted from the fictional world by being reminded of the author’s presence through metatheatrical devices. These plays take advantage of the fictional status of theatre to explore issues of authenticity, positioning them in direct opposition to postdramatic and verbatim plays.
Afrikaans & Theory of Literature
D. Litt. et Phil. (Theory of Literature)
14
Kruger, Johanna Alida. "The Actual versus the Fictional in Betrayal, The Real Thing and Closer." Thesis, 2014. http://hdl.handle.net/10500/18570.
Full textAbstract:
Text in EnglishAlthough initially dismissed as superficial, Harold Pinter’s Betrayal, Tom Stoppard’s The Real Thing, and Patrick Marber’s Closer use the theme of marital betrayal as a trope to investigate metatheatrical and epistemological issues. This study aims to demonstrate how these three plays define and explore the concept of authenticity within the fictional as well as the actual world; how arbitrary the construction and mediation of the characters’ identities are, not only from their own perspective, but also from the audience’s; the significance of the audience’s role in these plays and how issues of authenticity, fictionality and dishonesty impact on a genre that depends on illusion. This study intends to provide a new interpretation of these three texts through an analysis drawn from postmodern and poststructuralist theories, concerning the concept of authenticity within art and language. This study finds that the fictional worlds in these plays are created through mediation, which includes everyday language as well as complex works of art. Authenticity is shown to be an elusive concept. Language is either unsuccessfully used to force authentic responses from characters, or as a shield. In Betrayal, language functions as a protective barrier, preventing the characters from knowing one another. The Real Thing suggests that although inauthenticity may be established, the inverse is not necessarily true. In Closer, the characters try in vain to access authenticity through different registers of language. Furthermore, neither the body nor the mind is shown to be the locus of authenticity in Closer. Within the postmodern context where originality is impossible, mimicry is not seen as something external and inauthentic, but as inextricably part of human existence. The audience is drawn into the fictional world of these plays as its members are able to identify with the disillusionment of the characters and their inability to form a definitive view of each other. Simultaneously, the audience is ousted from the fictional world by being reminded of the author’s presence through metatheatrical devices. These plays take advantage of the fictional status of theatre to explore issues of authenticity, positioning them in direct opposition to postdramatic and verbatim plays.
Afrikaans and Theory of Literature
D. Litt. et Phil. (Theory of Literature)
15
Wang, Ian. "Things Are Looking Up." 2010. https://scholarworks.umass.edu/theses/382.
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A young, first generation immigrant Chinese man named Ray living in Honolulu, Hawaii falls in love with a language student named Jessika. After a series of awkward encounters in which Ray fails to find a chance to express the full extent of his affection, Jessika makes off to the mainland United States for a green-card marriage. Months later, after failing to secure either a marriage or a green card, alone and out of money, Jessika calls Ray from a remote town in California and asks for his help to bring her to the airport in San Francisco, where she will end her disastrous journey in America by returning to her hometown in China. Gripped by a sense of responsibility and regret, Ray reluctantly agrees, knowing well that this is the last opportunity he will have with the woman he loves.
16
Erazo, Giraldo Carlos Andres. "Judas, o beijo como simbólica da traição : contributos da figura de Judas Iscariotes em Amos Oz e Leonid Andreiev para uma hermenêutica Bíblica e Teológica." Master's thesis, 2021. http://hdl.handle.net/10400.14/36574.
Full textAbstract:
Este estudo insere-se numa abordagem que tenta observar a Bíblia como literatura. Neste caso,
estudar-se-á a figura de Judas Iscariotes, um personagem enigmático e misterioso, que é
direitamente relacionado com a traição.
Dividindo-se em três capítulos, o presente trabalho abordará num primeiro momento a figura
de Judas, na Bíblia e, depois em dois textos literários de dois autores de diferentes momentos
históricos e nacionalidades: Amos Oz de Israel e Leonid Andreiev, da Rússia. A partir do estudo
realizado gostaría de apresentar uma reflexão teológica a qual é alimentada pela Bíblia e pela
literatura. Neste sentido, o estudo mostrará como estas duas áreas podem dialogar e
complementar-se.This study is part of an approach that tries to look at the Bible as literature. In this case, the figure of Judas Iscariot will be studied, an enigmatic and mysterious personage, who has been directly related to the betrayal. This thesis is divided into three chapters and will address, firstly, the figure of Judas in the Bible and then the same figure represented in two literary texts by two authors of different nationalities and historical periods, Amos Oz and Leonid Andreyev, an Israeli and a Russian. Based on the above, it will present a theological reflection that is fed by the Bible and literature. In this sense, it will show how these two can dialogue and nourish each other.
17
Howe, Darcy E. "No heroes : woman as crime and criminal, betrayer and betrayed in their own stories : women's voices in the twentieth century /." Diss., 1997. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:9814965.
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18
Watt, Diane Lilian. "The disintegration of a dream : a study of Sam Shephard's family trilogy, Curse of the starving class, Buried child and True west." Diss., 1995. http://hdl.handle.net/10500/17851.
Full textAbstract:
The family trilogy, Curse of the Starving Class, Buried
Child and True West, presents Sam Shepard's strong bond with
his culture and his people, illustrates an intense connection
with the land, and reveals a deep longing for the
traditions of the past, through the dramatisation of the
betrayal of the American Dream. Although obviously part of
the American tradition of family drama, Shepard never completely
conforms, subverting the genre by debunking the
traditional family in order to make a statement about the
present disintegration of the bonds of family life and
modern American society. In the trilogy Shepard decries the
loss of the old codes connecting with his despair at the
debasement of the ideals of the past and the demise of the
American Dream. Finally, the plays insist on the importance
a new set of tenets to supplant the sterile ethics of modern
AmericaM.A. (English)