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Dissertations / Theses on the topic 'Comparative literature, english and classical'

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Published: 4 June 2021
Last updated: 2 March 2023

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1

Chapman, Juliana Marie. "Map, Manuscript, and Memory: The Emergence of an Anglo-Saxon Identity Between Origins and Apocalypse." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3134.pdf.

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2

Gorelick, Adam D. "The Enchanter's Spell: J.R.R. Tolkien's Mythopoetic Response to Modernism." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/1022.

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J.R.R. Tolkien was not only an author of fantasy but also a philologist who theorized about myth. Theorists have employed various methods of analyzing myth, and this thesis integrates several analyses, including Tolkien’s. I address the roles of doctrine, ritual, cross-cultural patterns, mythic expressions in literature, the literary effect of myth, evolution of language and consciousness, and individual invention over inheritance and diffusion. Beyond Tolkien’s English and Catholic background, I argue for eclectic influence on Tolkien, including resonance with Buddhism. Tolkien views mythopoeia, literary mythmaking, in terms of sub-creation, human invention in the image of God as creator. Key mythopoetic tools include eucatastrophe, the happy ending’s sudden turn to poignant joy, and enchantment, the realization of imagined wonder, which is epitomized by the character of Tom Bombadil and contrasted with modernist techno-magic seeking to alter and dominate the world. I conclude by interpreting Tolkien’s mythmaking as a form of mysticism.
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3

DeVoe, Lauren E. "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2020.

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Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.
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4

Deutsch, Katherine Ariela. "Platonic Footnotes: Figures of Asymmetry in Ancient Greek Thought." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26566091.

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In 1953, Maurice Merleau-Ponty claimed, “It is useless to deny that philosophy limps…. [In the philosopher’s] assent something massive and carnal is lacking. He is not altogether a real being.” My dissertation is a critical rereading of the Platonic dialogues and their reception through the lens of one key trope: “limping.” I trace limping through philosophical and literary texts and rhetorical treatises – through authors ranging from Plato, Sophocles, and Hippocrates to Montaigne, Nietzsche, and Derrida. I show that this metaphor, a figure for one-sidedness or deficiency, offers new material for the longest and most-footnoted debate, the debate over Platonic idealism. My project is grounded in a sustained re-examination of Plato’s Phaedo – the most body-denying or “somatophobic” of the Platonic dialogues. I demonstrate how the figure of limping works in conjunction with other metaphors of the body – and the figure of Socrates itself, in all its corporeality – to subvert one-sided or somatophobic readings of the Phaedo and of Platonism. Part One of my dissertation looks at the rhetoric of the body; Part Two examines the body of rhetoric. Part One asks how Socrates’ body, in its satyr-like ugliness and strangeness, itself constitutes a deformity in ancient Athens. Examining the philosopher’s “body techniques,” I show that the Phaedo – which is framed by Socrates’ legs and feet – is mediated by the body it denies. Part Two closely examines Socrates’ terminology in the Phaedo’s first argument for the immortality of the soul. Focusing on the Greek abhorrence of nature as a “limping” body, I study associated tropes of completion and incompletion, balance and imbalance, and metaphors that rely on somatic, circular, and compensatory structures (among them, the periodos, or sentence, and the diaulos, the double racecourse). My project, which draws its title from Alfred North Whitehead’s famous characterization of European philosophy as a “series of footnotes to Plato,” concerns itself with the metaphorical feet, legs, and gait of philosophy itself. In examining the “lame inheritance” the ancients have provided the moderns, my project uses the rhetoric of disability and prosthesis to reframe Classical reception studies.
Comparative Literature
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5

Chen, Jingling. "An Acropolis in China: The Appropriation of Ancient Greek Tradition in Modern Chinese Literature." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493311.

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This dissertation explores the transcultural relationships between modern China and ancient Greece, with a view toward appreciating how Greek philosophical and literary visions have been received, reformulated, and repurposed by Chinese writers from the turn of the twentieth century to the Cultural Revolution that began in 1966. The project is a combination of intellectual inquisition and textual analysis. Contextualized in the narrative of modern Chinese intellectual history, my study focuses on critical analysis of certain literary texts that contain or appropriate Greek elements. The objective of this study is to uncover the sophisticated transcultural practice in Chinese writers’ creative representation of what they consider the original source of the Western civilization. This in turn has contributed to the making of new intellectual trends that characterize modern Chinese culture. While constructing “a Greek layer” in the characteristics of Chinese modernity, these intellectuals’ reception of Greek imagery was also conditioned by their own political and cultural purposes. This reception was a process of appropriation that turned ancient Greece into an integral element in the formulation of a new cultural subjectivity of modern China, a course defined by David Damrosch as to mobilize elements derived from the foreign works within a vital and ongoing home tradition. This dissertation considers the Chinese translations of, introductions to, and commentaries on texts of Greek antiquity as recreations adapted to the domestic context. My study does not only analyze what has been rendered and changed in the translations of the broad term when compared with the original texts, but also treat the translations as reformulated texts that succeeded in representing Greek imagery as an internal part of the intellectual history of modern China. As the first comprehensive study of the multi-layered literary relationships between ancient Greece and modern China, this study aims to better understand the modernization of Chinese literature and culture in the context of transculturation.
East Asian Languages and Civilizations
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6

Rojcewicz, Stephen J. "Our tears| Thornton Wilder's reception and Americanization of the Latin and Greek classics." Thesis, University of Maryland, College Park, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10260313.

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I argue in this dissertation that Thornton Wilder is a poeta doctus, a learned playwright and novelist, who consciously places himself within the classical tradition, creating works that assimilate Greek and Latin literature, transforming our understanding of the classics through the intertextual aspects of his writings. Never slavishly following his ancient models, Wilder grapples with classical literature not only through his fiction set in ancient times but also throughout his literary output, integrating classical influences with biblical, medieval, Renaissance, early modern, and modern sources. In particular, Wilder dramatizes the Americanization of these influences, fulfilling what he describes in an early newspaper interview as the mission of the American writer: merging classical works with the American spirit.

Through close reading; examination of manuscript drafts, journal entries, and correspondence; and philological analysis, I explore Wilder’s development of classical motifs, including the female sage, the torch race of literature, the Homeric hero, and the spread of manure. Wilder’s first published novel, The Cabala, demonstrates his identification with Vergil as the Latin poet’s American successor. Drawing on feminist scholarship, I investigate the role of female sages in Wilder’s novels and plays, including the example of Emily Dickinson. The Skin of Our Teeth exemplifies Wilder’s metaphor of literature as a “Torch Race,” based on Lucretius and Plato: literature is a relay race involving the cooperation of numerous peoples and cultures, rather than a purely competitive endeavor.

Vergil’s expression, sunt lacrimae rerum et mentem mortalia tangunt [Here are the tears of the world, and human matters touch the heart] (Vergil: Aeneid 1.462), haunts much of Wilder’s oeuvre. The phrase lacrimae rerum is multivocal, so that the reader must interpret it. Understanding lacrimae rerum as “tears for the beauty of the world,” Wilder utilizes scenes depicting the wonder of the world and the resulting sorrow when individuals recognize this too late. Saturating his works with the spirit of antiquity, Wilder exhorts us to observe lovingly and to live life fully while on earth. Through characters such as Dolly Levi in The Matchmaker and Emily Webb in Our Town, Wilder transforms Vergil’s lacrimae rerum into “Our Tears.”

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7

Hurst, Isobel. "The feminine of Homer : classical influences on women writers from Mary Shelley to Vera Brittain." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275748.

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8

Graham, Elyse (Jean Elyse). "Remaking English literature : editors at work between media." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81133.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2013.
"June 2013." Cataloged from PDF version of thesis.
Includes bibliographical references (p. 63-70).
by Elyse Graham.
S.M.
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9

Zhou, SiYang. "A Study of Argumentation Structure in English and Classical Chinese Texts." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1250787901.

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10

Bowles, Henry Miller. "Anatomy of "Decadence"." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493344.

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Examining the perception of literary decline in Greek, Latin, Arabic, and Persian, this study unearths an enduring taboo, one little changed by place and time, against verbal creation too readily sacrificing “nature” and “truth” to artifice and phantasy. The fading of the taboo after the nineteenth century, when “Decadent” yields to a non-normative name for the present (“Modern”), is without precedent. Demonstrating the opprobrium’s enduring nature, this study compares for the first time four literary traditions’ confrontations with a “Decadence” whose similarities have been conjectured since philology’s “golden age.” Chapter I examines two ancient polemics against decline, the tableaux of decay painted by the Avestan liturgical texts and the Attic Greek thinkers before new attitudes towards verbal creation. A similar tableau emerges in Roman reactions to post-Augustan eloquentia’s “decline,” as the analysis of Tacitus in chapter II demonstrates. Chapter III gives voice to non-specialist Imperial reactions to the “decline” heralded by the Second Sophistic, analyzing Plutarch’s and Marcus Aurelius’s rejections of verbal art. Chapter IV considers the effort to regulate artifice within the rhetorical tradition, examining the two great Hellenistic and Imperial authorities (Demetrius and Quintilian). Chapter V finds the prohibition unbroken in the earliest Arabic debate over suqāṭ (“Decadence”). Al-Āmidī’s Muwāzana is a summary statement of the rejection of verbal creation too enamored of facticity. Conversely, chapter VI looks to post-Classical Persian voices enshrining this very conception of verbal creation. Suhrawardī, Mullā Ṣadrā, and Ṣāʾib call for a language reflective of little other than wahm (“imagination”) and himma (“desire”). Chapter VII examines “Decadence” in Greek and Arabic post-Classical fiction. The erosion of μῦθος by ψυχή as the banal desire of non-heroic protagonists eclipses action, as phantasy, shown through the pathetic fallacy, irradiates out into the world, supports critics’ contention: Imperiousness of imagination goes with the genera dicendi’s loosening and the pull of language from the inhuman towards personal fancy. “Decadence” in fiction reflects a literature democratized, one mirroring (petty-) bourgeois interests. This is, argues chapter VIII, a premonition of Modernity: With Gutenberg and Calvin, with an unprecedented accessibility and banality of letters, the taboo against subjectivism and facticity recedes.
Comparative Literature
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11

Mattson, Christina Phillips. "Children's Literature Grows Up." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467335.

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Children’s Literature Grows Up proposes that there is a revolution occurring in contemporary children’s fiction that challenges the divide that has long existed between literature for children and literature for adults. Children’s literature, though it has long been considered worthy of critical inquiry, has never enjoyed the same kind of extensive intellectual attention as adult literature because children’s literature has not been considered to be serious literature or “high art.” Children’s Literature Grows Up draws upon recent scholarship about the thematic transformations occurring in the category, but demonstrates that there is also an emerging aesthetic and stylistic sophistication in recent works for children that confirms the existence of children’s narratives that are equally complex, multifaceted, and worthy of the same kind of academic inquiry that is afforded to adult literature. This project investigates the history of children’s literature in order to demonstrate the way that children’s literature and adult literature have, at different points in history, grown closer or farther apart, explores the reasons for this ebb and flow, and explains why contemporary children’s literature marks a reunification of the two categories. Employing J. K. Rowling’s Harry Potter novels as a its primary example, Children’s Literature Grows Up demonstrates that this new kind of contemporary children’s fiction is a culmination of two traditions: the tradition of the readerly children’s book and the tradition of the writerly adult novel. With the fairy tales, mythologies, legends, and histories that contemporary writers weave into their texts, contemporary fictions for children incorporate previous defining characteristics of children’s fantasy literature and tap into our cultural memory; with their sophisticated style, complex narrative strategies, and focus on characterization, these new fictions display the realism and seriousness of purpose which have become the adult novel’s defining features. Children’s Literature Grows Up thus concludes that contemporary children’s fiction’s power comes from the way in which it combines story and art by bringing together both the children’s literature tradition and the tradition of the adult novel, as well as the values to which they are allied. Contemporary writers for children therefore raise the stakes of their narratives and change the tradition by moving beyond the expected conventions of their category.
Comparative Literature
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12

Lawlor, Clark. "The classical and the grotesque in the work of Alexander Pope and Jonathan Swift." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/34635/.

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This thesis takes Mikhail Bakhtin's definitions of the classical and the grotesque, uses various other theorists to problematise and extend these concepts through an engagement with gender categories, and applies them to the work of Alexander Pope and Jonathan Swift. Although the first part deals with the 'theory' of the classical and the grotesque, the following sections on Pope and Swift seek to recognise the historical specificity and complexity of these modes as they intersect with the cultural, material, and psychological circumstances of the writer. The methodology is not solely biographical', 'political', 'cultural', 'feminist' or 'textual', but combines those approaches most relevant to the particular text in question, sometimes engaging more directly with the political environment, for example, at other times placing greater stress on mythological and generic allusions. The thesis shows that the classical and the grotesque emerge from a long social and literary tradition, yet the ways in which they manifest themselves in the time of Pope and Swift are very specific and constructed at least partially in response to contemporary cultural contexts such as the publishing trade, the present monarchy, the situation of Ireland and so on. Extending the work of Susan Gubar, particular attention is paid to the figure of the female grotesque, a common and yet varied image that is made to stand for a variety of cultural and moral ills in the writing of Pope and Swift. In contrast the figure of the 'classical' woman or 'softer man' is found to be symbolic of order as the unruly 'natural' substance of woman is transformed into masculine 'Culture' through social and textual containment. Classical and grotesque constructions of the masculine are also examined, especially in relation to the author's perceptions of his own masculinity. The thesis concludes with a brief analysis of the classical masculine friendship between Pope and Swift.
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13

Park, E. C. "Plato and Lucretius as philosophical literature : a comparative study." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:97c3ba13-d229-429d-83fc-138fcbaf58b1.

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This thesis compares the interaction of philosophy and literature in Plato and Lucretius. It argues that Plato influenced Lucretius directly, and that this connection increases the interest in comparing them. In the Introduction, I propose that a work of philosophical literature, such as the De Rerum Natura or a Platonic dialogue, cannot be fully understood or appreciated unless both the literary and the philosophical elements are taken into account. In Chapter 1, I examine the tradition of literature and philosophy in which Plato and Lucretius were writing. I argue that the historical evidence increases the likelihood that Lucretius read Plato. Through consideration of parallels between the DRN and the dialogues, I argue that Plato discernibly influenced the DRN. In Chapter 2, I extract a theory of philosophical literature from the Phaedrus, which prompts us to appreciate it as a work of literary art inspired by philosophical knowledge of the Forms. I then analyse Socrates’ ‘prelude’ at Republic IV.432 as an example of how the dialogue’s philosophical and literary teaching works in practice. In Chapters 3 and 4, I consider the treatment of natural philosophy in the Timaeus and DRN II. The ending of the Timaeus is arguably an Aristophanically inspired parody of the zoogonies of the early natural philosophers. This links it to other instances of parody in Plato’s dialogues. DRN II.333-380 involves an argument about atomic variety based on Epicurus, but also, through the image of the world ‘made by hand’, alludes polemically to the intelligently designed world of the Timaeus. Through an examination of Plato’s and Lucretius’ polemical adaptation of their predecessors, I argue that even the most seemingly technical passages of the DRN and the Timaeus still depend upon literary techniques for their full effect. The Conclusion reflects briefly on future paths of investigation.
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Sakka, Louisa. "THE POWER OF MUSIC : A comparative study of literature and vase paintings from Classical Athens." Thesis, Uppsala University, Department of Archaeology and Ancient History, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-120184.

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This paper deals with ancient Greek music, and in particular the relation of people to music during the fifth century BC in Athens. Music is believed to exercise great power over the human character and behavior, and at the same time is a means of emotional communication. For the first time during the fifth century, the power of music leaves the realm of the myths and becomes a subject of philosophical investigation. Two different types of sources are examined in order to study the relation of people to music: on the one hand the literary sources of this period,  and on the other the vase paintings. This method reveals various attitudes towards music by using two different perspectives. Possible explanations are given for the differing information, the purpose of each source being a decisive factor.

The paper suggests that although the information from the two types of sources varies and can even be contradictive, the recognition of the power music exercises is obvious in both cases .

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15

Mehta, Arti. "How do fables teach? reading the world of the fable in Greek, Latin and Sanskrit narratives /." [Bloomington, Ind.] : Indiana University, 2007. 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:3297125.

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Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2007.
Title from dissertation home page (viewed Sept. 25, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0602. Adviser: Eleanor W. Leach.
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Rezek, Joseph Paul. "Tales from elsewhere fiction at a proximate distance in the anglophone Atlantic /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925765691&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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17

Curtis, Lauren. "On with the Dance! Imagining the Chorus in Augustan Poetry." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10991.

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This dissertation investigates how Augustan poetry imagines, redefines and reconfigures the idea of the chorus. It argues that the chorus, a quintessential marker of Greek culture, was translated and transformed into a peculiarly Roman phenomenon whereby poets invented their relationship with an imagined past and implicated it in the present. Augustan poets, I suggest, created a sustained and intensely intertextual choral poetics that played into contemporary poetic debates about the power of writing versus song and the complexity of responding to performance culture through multiple layers of written tradition. Focusing in particular on Virgil’s Aeneid, Propertius’ Elegies and Horace’s Odes, the dissertation uses a series of case studies to trace the role played by scenes of embedded choral song and dance in Augustan poetics. The scene is set by comparing how a range of texts respond differently to a single fundamental aspect of Greek choral culture—the figure of the chorus leader—and by establishing Catullus as an important predecessor to Augustan choral discourse. The dissertation then turns to explore how choral language and imagery become involved in some of the central issues of Augustan poetry: Latin love poetry’s construction of female desirability and male anxiety, the creation of poetic authority in Augustan lyric and elegy, and the search for the origins of Roman ritual in Virgil’s Aeneid. Finally, these embedded scenes are juxtaposed with Horace’s Carmen Saeculare, a text composed, remarkably, for choral performance on the Roman civic stage, which is shown to activate the choral metaphor that had been created by the Latin literary imagination. By demonstrating Augustan poetry’s engagement with this aspect of Greek performance culture, the study sheds new light on the relationship between Greek and Roman poetry, shifting the focus from the reinvention of Greek genres and the study of particular sites of allusion towards an understanding of the complex dynamics of reception and reconfiguration at work in these poets’ reappropriation of both a literary and cultural idea.
The Classics
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18

McMullen, Albert Joseph. "Echoes of Early Irish Influence in Anglo-Saxon Literary Landscapes." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467346.

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This study traces the cultural interplay between Irish and Old English literary landscapes. Combining an ecocritical approach to reading representations of the landscape with a comparatist perspective, each chapter shows that the landscape and the natural world were not only static motifs, but that they allow for the observation of literary influence. The first chapter investigates the political use of the landscape in Irish and Anglo-Saxon saints’ Lives. I argue that the anonymous author of the Life of Cuthbert was following a common Irish hagiographic practice of using place-names to claim churches, monasteries, or lands for the writer’s monastic foundation. Furthermore, Bede was aware of this agenda when he rewrote the Life of Cuthbert some twenty years later and consciously removed many of the place-names that localize Cuthbert’s miracles and ministrations from the text. The second chapter compares the use of the natural world in the Old English Boethius to early Irish cosmological treatises. The Old English translator diverges from Boethius in the amplification of cosmological details (e.g., information about the universe and the elements) that have distinct analogues in early Irish sources. The third chapter examines Grendel’s mere in Beowulf as a reflex of the bog of Germanic pre-Christian worship and as a place which draws on imagery common to insular sources pertaining to hell. Reading the mere as an overlay landscape that places pagan past and Christian present in apposition, I argue that this layered landscape is analogous to landscapes in early Irish poetry and saga. In my final chapter, I explore the paradisiacal landscapes presented in Guthlac A and The Phoenix. These descriptions closely parallel representations of paradise in Irish tradition, especially in contemporaneous Irish poetry. Additionally, like early Irish writers, the Old English poets appropriate the landscape of Eden to reflect and emphasize the spiritual state of the monastic. While scholars have often noted connections between early Irish and Anglo-Saxon literature—though few concerning the representation of the landscape or the natural world—this project is the first study to address the influence of early Irish literary landscapes in Old English works. As such, my dissertation holds the potential to redefine ways of thinking about the transmission of influence between these two early medieval cultures. I show that the landscape and the natural world loomed large in early insular literature in ways that have gone unrecognized, while also providing a model to track the paths of literary influence. My investigations revise the received wisdom about Anglo-Saxon literary landscapes, while contributing to a body of scholarship concerned with connections between early Ireland and Anglo-Saxon England.
Celtic Languages and Literatures
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Hofstetter, Angela Dawn. "Lyrical beasts equine metaphors of race, class, and gender in contemporary Hollywood cinema /." [Bloomington, Ind.] : Indiana University, 2009. 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:3357987.

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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2009.
Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1649. Adviser: Barbara Klinger.
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Sutassi, Smuthkochorn Renner Stanley W. "Postmodernism and comparative mythology toward postimperialist English literary studies in the Thailand /." Normal, Ill. Illinois State University, 1996. http://wwwlib.umi.com/cr/ilstu/fullcit?p9721398.

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Thesis (D.A.)--Illinois State University, 1996.
Title from title page screen, viewed May 26, 2006. Dissertation Committee: Stanley W. Renner (chair), Ronald Strickland, William W. Morgan, Jr. Includes bibliographical references (leaves 140-146) and abstract. Also available in print.
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Bridges, Venetia Rachel Lucy. "Writing the past : a comparative study of 'the Classical Tradition' in the works of Walter of Châtillon and contemporary literature, 1160-1200." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610518.

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22

Aowsakorn, Prach. "A comparative study of book reviews in Thai and English." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/32.

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For this study, thirty book reviews in two fields, sixteen in history and sixteen in economics, written in Thai and English (eight in each discipline) were randomly collected from Thai and US academic journals in order to examine the moves in the overall structures of the reviews and reviewers' politeness strategies, and to consider the extend to which the texts vary across the two languages and whether the variation is present in both disciplines.
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El-Baaj, Habib. "Thomas Hardy and Theodore Dreiser : a comparative study." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/5539/.

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With the publication of Jude the Obscure (1985) Hardy had finished his work with the novel. Just five years later Dreiser published Sister Carrie (1900), thus making it possible that he could have found in Hardy a model. The resemblances to the Hardyan novel in both the early and later works of Dreiser are striking and varied enough to give encouragement to a hypothesis of direct influence. The evidence in support of this hypothesis we propose to take note of carefully in this study. The study is divided into six chapters. Chapter One focusses on the broadly pessimistic and deterministic philosophy that runs throughout the novels of both authors in the sense that both were `blown to bits' by reading evolutionary theories that attacked accepted views of man, God, and the universe. Thus, both found in the works of Darwin, Huxley, and Spencer evidence that man is not the creation of a benevolent deity, but rather of the interaction of unknowable forces existing in a world of struggle where survival of the fittest is the basic law. Accordingly, both concluded that man is basically determined by the natural and social forces operating from within and without to ensure man's unhappiness. In Chapter Two the protagonist of Sister Carrie is discussed in relation to the more deeply tragic heroes and heroines of Thomas Hardy, particularly Tess Durbeyfield. Carrie has the dreaminess of Jude and the natural vitality of Tess, and like Tess she is a child of nature. The chapter goes on to trace the Hardysque and Dreiserian theme of the fallen woman whose natural goodness and self-sacrifice for others keep her `Pure'. Tess of the d'Urbervilles (1981), and Jennie Gerhardt (1911), are the novels discussed in relation to this common theme. Chapter Three takes for its subject-matter the novelists' portrayal of society in the context of Herbert Spencer's application of the theory of `the survival of the fittest' to social behaviour. Donald Farfrae in Hardy's The Mayor of Casterbridge (1886), and Frank Cowperwood in Freiser's The Financier (1912), and The Titan (1914), are discussed as aggressive exponents of the Nietzschean superman figure, committing themselves to the values of materialism. Although both men win in the battle of life and survive, nevertheless, they undergo an inner spiritual defeat. Chapter Four probes the depth of the conflict between flesh and spirit, body and soul, vice and virtue in Hardy's Jude the Obscure and Freiser's The `Genius' (1915). Both heroes, Jude and Eugene, are sexually driven and in bondage to desire, but at the same time possess transcendental traits. In Jude's case, this contest between the spiritual and the sensual culminates inevitably in his death; Eugene, less convincingly perhaps, eventually finds temporary ease for his divided being and restless soul in the religious doctrines of Christian Science. Chapter Five examines Jude the Obscure and Dreiser's An American Tragedy (1925) as tragedies of `unfulfilled aims and aspirations'. Initially, attention is focussed upon the tragic aspect of both stories and the question of whether or not the two novels are in fact tragedies is discussed. Jude Fawley and Clyde Griffiths have opposite aims and ambitions. Jude's intellectual aspirations are contrasted with Clyde's materialistic desires. The ambition of each hero, however, is marked by failure, and the destiny of both is the same. Each is finally frustrated by forces in his nature, his society, and his circumstances. This study concludes, in Chapter Six, by noting that characters in the novels of Hardy and Dreiser rarely come to a satisfactory accommodation with life. The novels' tragic conclusions are due, in large part, to social, cultural, and universal influences which make any sense of personal fulfilment difficult, if not impossible to achieve.
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Demetriou, Galateia. "Modernist poetics of distance : George Seferis and Ezra Pound." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8111/.

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This thesis offers the first full-length comparative study of George Seferis and Ezra Pound. The analysis begins by establishing, in the first chapter, a field of research by looking at the ways in which Pound was read, translated and received in Greece from 1935 onwards, and, in doing so, maps out the important Greek publications on Pound. Prominent among the discussed poets and translators, it is argued, Seferis showed a deeper affinity with Pound and developed a significantly similar modernist poetics at once singularly Greek and aligned with the Anglo-American example. This thesis, then, proceeds to elucidate the affinities between the two poets through a detailed comparative reading. The second chapter offers an in-depth analysis of the two poets’ views on translation theory and practice, building on Hugh Kenner’s concept of ‘touching distance’. The third chapter concentrates on the two poets’ responses to place in both their poetry and their travel writings, by problematising the conceptual ‘mobility’ of place at work in their writings. Through these explorations, this project offers insights on both poets individually and helps to broaden current understandings of their poetry and poetics comparatively, ultimately demonstrating that Seferis’ modernism, despite being articulated in Greek, was never far removed from high modernist poetics as represented by Pound.
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Ponce, Timothy Matthew. "The Hybrid Hero in Early Modern English Literature: A Synthesis of Classical and Contemplative Heroism." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062882/.

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In his Book of the Courtier, Castiglione appeals to the Renaissance notion of self-fashioning, the idea that individuals could shape their identity rather than relying solely on the influence of external factors such as birth, social class, or fate. While other early modern authors explore the practice of self-fashioning—Niccolò Machiavelli, for example, surveys numerous princes identifying ways they have molded themselves—Castiglione emphasizes the necessity of modeling one's-self after a variety of sources, "[taking] various qualities now from one man and now from another." In this way, Castiglione advocates for a self-fashioning grounded in a discriminating kind of synthesis, the generation of a new ideal form through the selective combination of various source materials. While Castiglione focuses on the moves necessary for an individual to fashion himself through this act of discriminatory mimesis, his views can explain the ways authors of the period use source material in the process of textual production. As poets and playwrights fashioned their texts, they did so by consciously combining various source materials in order to create not individuals, as Castiglione suggests, but characters to represent new cultural ideals and values. Early moderns viewed the process of textual, as well as cultural production, as a kind of synthesis. Creation through textual fusion is particularly common in early modern accounts of the heroic, in which authors synthesize classical conceptions of the hero, which privilege the completion of martial feats, and Christian notions of the heroic, based on the contemplative nature of Christ. In this dissertation, I demonstrate how Thomas Kyd in The Spanish Tragedy (1585), Edmund Spenser in The Faerie Queene (1590), William Shakespeare in Titus Andronicus (1594), and John Milton in A Mask Presented at Ludlow Castle (1632) syncretized classical and Christian notions of the heroic ideal in order to comment upon and shape political, social, and literary discourses. By recognizing this fusion of classical heroism with contemplative heroism, we gain a more nuanced understanding of the reception of classical ideas within an increasingly secular society.
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Coyne, Christina M. ""Beowulf": Worda and Worca." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625984.

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Murphy, Katharine Anne. "Pio Baroja and English literature : a comparative approach to the novels." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267209.

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Hayward, Helen. "Hysterical relations : a comparative study in selected nineteenth-century European narratives." Thesis, Queen Mary, University of London, 1995. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1465.

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This study of hysteria is indebted to Freud, and it is equally indebted to certain authors who came before him: Balzac, Charlotte Brontë, Tolstoy, George Eliot, and Florence Nightingale. As particular works of these authors show, the hysteric was a touchstone in cultural and scientific research due to her exemplification, in striking ways, of unconscious internal forces. The interconnectedness of social and psychological issues in the work of Balzac in the 1830s and George Eliot in the 1870s is highlighted, with attention to the degree that all the authors treated inflect Freud's exploration of hysteria in the century's final decades. By moving between European cultural traditions and languages, both in French and in translation, I focus on the overlap between literature and psychology whenever the representation of interpersonal and sexual matters is foregrounded. I intend my use of psychoanalysis to complement a textual analysis in order to emphasize notions like character, choice, fate, and destiny. Within the textual analysis I make conceptual, social, and psychological links to animate that most topical and implicitly hysterical nineteenth-century question: the Woman Question. I assume that the extent to which hysteria can be understood is the extent to which it can be communicated and read, transcribed from without, in the narrative form which is its bent. Further that the hysteric cannot give expression to desires without the involvement of an intermediary and the provocations of plot. The hysterical question 'Who am I to become? ' (man or woman, father or mother, lover or sister) is formulated differently by each of the authors on whose works I draw, being modulated by aesthetic as well as intellectual shifts within the nineteenth century. In the earliest novel I treat, Balzac's Eugénie Grandet (1833), a brief blossoming and slow withering of Eugénie's desire for Charles indicates what happens when an implicitly forbidden relation, in this case fraternal love, suffers the blight of its betrayal. Once Charles, initiator and guide of Eugénie's desires, absents himself, Eugénie's love is transformed into a defence against erotic incursions such that youthful love results in resigned melancholy. Charlotte Brontë's protagonist and hysterically unreliable narrator in Villette (1853) complains of that curse, an over-heated imagination'; a creative malady which results in hallucination, resistance, denial, and evasion, all features of a scenario where accession to desire prompts an elaborate narrative that finally quells the desire which began it. Tolstoy's early pastoral works attest to the way hysteria, index to a suppressed relation to a primordial loved one, can spill over into consciousness and thence into literature. In his wily Childhood, Boyhood, Youth (1852-55) and nostalgic Family Happiness (1859) Tolstoy shows how deceptive imaginative powers can be when in thrall to hysterical impulses that fuel it, such that a promising image in fantasy is rendered not just fleeting but illusory. Gwendolen Harleth, a perpetual object of interpretation to Deronda, narrator, and subsequent critics alike, figures the still centre of George Eliot's Daniel Deronda (1876). The dynamic lure of Eliot's heroine soon dissipates alongside characters who bind themselves to symbolic values - to music, charity, and Judaism, and who thereby avoid the pull of hysterical attachments. Florence Nightingale's Cassandra (1860) prompts many more questions than it resolves, yet its significance is multiple, written by a woman who became a nineteenth-century hysteric par excellence her impassioned cry against those conditions - psychic, physiological, moral, and social - which circumscribed feminine potential remains a powerful testament to the possibilities and limits of literary discourse. For all these authors, and for Freud after them, the hysteric was together muse and sacrifice, unsung heroine and dejected sufferer, whose plaint, however encoded, was also a sign of deliverance. 'Words are the most important media by which one man seeks to bring his influence to bear on another; words are a good method of producing mental changes in the person to whom they are addressed' (SE 7, p. 292). Although these remarks by Freud date from 1890, its premise is shared by each author I evoke, bearing on a dynamism at the core of human relations. To empathize with the hysterical dilemma was not however to identify with it. rather it was to articulate it as a scenario in order to posit one's distance from it. It was this psychological feat, of identifying in order not to identify with the hysteric, which authors and scientists of the nineteenth century collaboratively brought off, thus cutting across divisions of culture and discipline. Above all, it was the ephemeral and fluid aspects of hysteria which provided ongoing stimulus to its representation, a stimulus which, in revised form, continues its pressure up to the present day.
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Vettor, Letizia. "Imperii pretium : cultural development and conceptual transformations in the myth of Eteokles and Polyneices from Aeschylus to Alfieri." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/12013.

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This thesis contextualises and explores the reconceptualization of the myth of Eteokles and Polyneices in Greek, Latin and Italian tragedy, the literary genre that more than any other offers the opportunity to trace its progressive transformation across a series of relatively continuous and consistent phases. Within these limits, this study represents the first comprehensive, systematic and detailed comparative analysis of the cultural development of this myth, charting the shaping of its key themes: war and rivalry, autochthony and patriotism, the connection between incest, parricide and fratricide, the effects of predestination/family curse, the clash between private and public interests, and the legitimate limits of power. By means of a close examination of the thesis' main corpus (constituted by Aeschylus' Seven against Thebes, Sophocles' Antigone, Oedipus Tyrannos and Oedipus at Colonus, Euripides' Phoenician Women, Seneca's Oedipus and Phoenissae, Dolce's Giocasta and Alfieri's Polinice) this dissertation demonstrates that the brothers are not merely two stereotypical types whose characterisation as mortal enemies remains static and unvaried. Although their rivalry never stops, the meaning, dynamic and purpose of their struggle are progressively but profoundly transformed throughout the centuries. In particular, I argue that the martial component that initially defined this myth, admittedly important throughout its legacy, is variously adapted to accommodate either a warning against the horrors of violence and subjugation, a cautionary appeal against overly aggressive foreign policy, a denunciation of the unbearable price of civil strife, or an aspiration to pacifism. In parallel, I analyse how the reflection on power and power struggle becomes increasingly predominant, eventually displacing the war theme as the main focus of this myth with a warning against the dangers of tyranny.
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Farley, Thomas E. "The evolution of the hero: A comparative study of the novel in Canada." Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/21335.

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Moore, Marya. "Graceful communities, eventually: An exploration of the relationship between community and grace in "The Double Hook", "Fugitive Pieces", "The Shipping News", and "Crackpot"." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26527.

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Within the communities of The Double Hook, Fugitive Pieces, The Shipping News, and Crackpot, unexplainable and incomprehensible phenomena identify and define grace. Chapter one examines The Double Hook; analyzing the community's decimated state at the opening of the novel, it proceeds to an understanding of the role of grace within the community's recuperation of wholeness. Chapter two, focusing on Fugitive Pieces, examines an individual's responsibility in receiving grace and the manner in which grace expands when it is actively present in a community. Chapter three explores issues of incest, adultery, and death, which confront the community in The Shipping News. Rather than being destroyed by disaster, the community, consistently through the grace it receives, extends grace to those who most need it. Finally, chapter four reveals a community reconfigured by grace from a place of exclusion into a place of inclusion and restoration in Crackpot. The different perspective that each novel presents on the relationship between community and grace offers further insight into the incomprehensibility of grace and its consistent presence in Canadian literature.
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Hanes, Stacie L. "The sense and sensibility of the 19th century fantastic." Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3618887.

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While studies of fantastic literature have often focused on their structural and genre characteristics, less attention has been paid to the manner in which they address social issues and concerns. Drawing on theoretical, taxonomic, and historical approaches, this study argues that 19th-century England represented a key period of transformation during which fantastic literature evolved away from its folkloristic, mythic, and satirical origins and toward the modern genres of science fiction, feminist fantasy, and literary horror.

The thesis examines the subversive and transformative function of the fantastic in nineteenth-century British literature, particularly how the novel Frankenstein (1831), the poem “Goblin Market” (1862), and the novel Dracula (1897) make deliberate uses of the materials of fantastic literature to engage in social and cultural commentary on key issues of their time, and by so doing to mark a significant transformation in the way fantastic materials can be used in narrative.

Frankenstein took the materials of the Gothic and effectively transformed them into science fiction, not only through its exploration of the morality of scientific research, but more crucially through its critique of systems of education and the nature of learning. "Goblin Market " transformed the materials of fairy tales into a morally complex critique of gender relations and the importance of women's agency, which paved the way for an entire tradition of such redactions among later feminist writers. Dracula draws on cruder antecedents of vampire tales and the novel of sensation to create the first modern literary horror novel, while addressing key emerging anxieties of nationalism and personal identity.

Although historical connections are drawn between these three key works, written at different points during the nineteenth century, it does not argue that they constitute a single identifiable movement, but rather that each provided a template for how later writers might adapt fantastic materials to more complex literary, social, and didactic ends, and thus provided a groundwork for the more complex modern uses of the fantastic as a legitimate resource for writers concerned with not only sensation, but significant cultural and social concerns.

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Bondarchuk, Julia, and Kseniia Kugai. "Perception of Ukrainian literature in English-speaking world: stereotypes." Thesis, Baltija Publishing, Riga, Latvia, 2021. https://er.knutd.edu.ua/handle/123456789/19481.

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Curran, Robert. "Myth, Modernism and Mentorship| Examining Francois Fenelon's Influence on James Joyce's "Ulysses"." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10172610.

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The purpose of this thesis will be to examine closely James Joyce’s Ulysses with respect to François Fénelon’s The Adventures of Telemachus. Joyce considered The Adventures of Telemachus to be a source of inspiration for Ulysses, but little scholarship considers this. Joyce’s fixation on the role of teachers and mentor figures in Stephen’s growth and development, serving alternately as cautionary figures, models or adversaries, owes much to Fénelon’s framework for the growth of Telemachus. Close reading of both Joyce’s and Fénelon’s work will illuminate the significance of education and mentorship in Joyce’s construction of Stephen Dedalus. Leopold Bloom and Stephen’s relationship in Joyce’s Ulysses closely mirrors that of Mentor and Telemachus as seen in Fénelon’s The Adventures of Telemachus. Through these numerous parallels, we will see that mentorship serves as a better model for Bloom and Stephen’s relationship in Ulysses than the more critically prevalent father-son model

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Kaplin, David. "The best policy : lying and national identity in Victorian and French novels /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3202897.

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Thompson, Ruthe Marie 1957. "Working mother: The birth of the subject in the novel." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288733.

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One of the primary objectives of the realist novel has been to imitate the linguistic processes that assert and maintain the idea of a coherent identity. In Working Mother: The Birth of the Subject in the Novel, I present a developmental view of the birth of the subject as articulated by some of the architects of the novel. In an examination of James and Henry Austen's Loiterer, Jane Austen's Pride and Prejudice, Harriet Beecher Stowe's Uncle Tom's Cabin, and Henry James' Washington Square, I locate and analyze narrative sites that mirror, presage, and/or encourage the production of readerly subjectivity across the body of a female or feminized figure, usually a mother. I employ a psychoanalytic and semiotic point of view to demonstrate the mother's role in narrative subject formation via the process of "suture." Margaret Homans, Christine Boheemen, and others have argued that the novel--and indeed all of Western culture--depends upon the repression of the mother. In Homan's useful formulation "the mother's absence is what makes possible and makes necessary the central projects of our culture." Active subjugation, incorporation, and disavowal of the maternal--ejecting the mother from the story, separating her from the protagonist, and from the reader--enable subjects to be produced in the novel form. Aggressivity as well as narcissism, disavowal as well as incorporation, help to jettison the originary feminine from the novel, leaving an absent space in which the subject can enunciate.
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Alyo, Muhammed W. "Comparing men and times : the classical sources and the political significance of Ben Jonson's "Sejanus" and "Catiline" in early Jacobean and Restoration England." Thesis, University of Warwick, 1992. http://wrap.warwick.ac.uk/34762/.

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The primary objective of this thesis is to examine the interaction between drama and politics in Ben Jonson's two surviving tragedies, Sejanus and Catiline, during the early years of the Jacobean and Restoration periods. Jonson relied heavily on classical scholarship in writing his two extant tragedies, his stated reason being to convince the readers of their "truth of Argument". But Jonson, nevertheless, adapted his sources in an ingenious way that both suited his dramatic purposes and served to cast light on social and political realities in the England of his own day. For Jonson, as for many Renaissance historians, the past had meaning primarily because of its valuable lessons for the present and the future. Thus, one of my aims is to examine both the nature and the extent of Jonson's dependenceo n the classical sources which provided him with the historical stories and details that he dramatized in the two plays. SuccessiveE nglish governmentsi n the seventeenthc entury treated drama, especially that based on historical material, as a potentially dangerous medium for disseminating propaganda and for influencing public opinion against specific government policies. Therefore, part of this work will be devoted to discussing censorship regulations within early Jacobean and Restoration England, and to examining their effects both on Jonson and on the reception of his two tragedies. Each of the two plays is studied in the context of its historical sources in order to determine Jonson's method of adapting his sources as well as the extent of topicality that each play seems to provide, both on the Jacobean and the Restoration stage. The method adopted in this study is to place the two Roman tragedies within the contemporary setting for which they were originally intended and then within the context of the early Restoration period when the two plays are thought to have been revived.
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Compton, Mary Katherine. "The Quest for Meaning in "The Waste Land" and "Sanctuary": A Comparative Study." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625352.

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Muzica, Evghenii. "'A place where three roads meet' : Sophocles's Oedipus and Shakespeare's Hamlet after Freud." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/1178/.

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The dissertation presents a detailed investigation of Sophocles' Oedipus and Shakespeare's Hamlet in the context of Freud's comparison of the plays, sketched out in a number of his early writings (most notably The Interpretation of Dreams) but never pursued at length either by him or by any later critics. The interest of the current investigation is not inspired simply by the absence of such a detailed comparison, on the one hand, and by its constant implication in the modem analysis of the plays in question, on the other. The particular inspiration for the current project is the work of Jean Laplanche that in the last forty years has been dedicated to a fundamental reconceptualisation of Freud's theory of the human subject by way of return to the questions of the seduction and otherness. Equally inspiring for the current project have been the recent developments in the non-psychoanalytic analyses of tragedy (ancient Greek, Elizabethan, and as genre as such) that consistently aspire to cross the boundaries of the traditional textual-historicist approach to the literary text in order to accommodate the particularly heterogeneous nature of their object of study. Thus, the current project provides a comprehensive analysis of Sophocles' Oedipus and Shakespeare's Hamlet, successively, at the intersection of psychoanalytic and other (philological and philosophical) approaches to tragedy, paying attention not only to the texts of the tragedies themselves but to the narrative-mythological, dramatic, and, in the case of Sophocles, translational tradition to which they pertain. The relevance of Freudian categories to the texts and genre in question is thus thoroughly examined. As a result, the conclusion is reached that it is specifically through Laplanchean reconceptualisation of Freud's notion of seduction (and the related notions of the enigmatic message, the other, translation and transference) that a psychoanalytic approach becomes more amenable to the needs of literary analysis. The application of Laplanchean categories to the analysis of these tragedies helps to elucidate the role of the father with new precision (in comparison with the previous mother-centred approaches to these tragedies). In its main body, the dissertation consists of a general Introduction, analytical sections on Sophocles' Oedipus and Shakespeare's Hamlet, Conclusion, and the list of the consulted works.
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Panopoulou, Maria. "Reconsidering the relationship between early Gothic literature and the Greek classics : the cases of William Beckford and Matthew G. Lewis." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7733/.

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The view that Gothic literature emerged as a reaction against the prominence of the Greek classics, and that, as a result, it bears no trace of their influence, is a commonplace in Gothic studies. This thesis re-examines this view, arguing that the Gothic and the Classical were not in opposition to one another, and that Greek tragic poetry and myth should be counted among the literary sources that inspired early Gothic writers. The discussion is organised in three parts. Part I focuses on evidence which suggests that the Gothic and the Hellenic were closely associated in the minds of several British literati both on a political and aesthetic level. As is shown, the coincidence of the Hellenic with the Gothic revival in the second half of the eighteenth century inspired them not only to trace common ground between the Greek and Gothic traditions, but also to look at Greek tragic poetry and myth through Gothic eyes, bringing to light an unruly, ‘Dionysian’ world that suited their taste. The particulars of this coincidence, which has not thus far been discussed in Gothic studies, as well as evidence which suggests that several early Gothic writers were influenced by Greek tragedy and myth, open up new avenues for research on the thematic and aesthetic heterogeneity of early Gothic literature. Parts II and III set out to explore this new ground and to support the main argument of this thesis by examining the influence of Greek tragic poetry and myth on the works of two early Gothic novelists and, in many ways, shapers of the genre, William Beckford and Matthew Gregory Lewis. Part II focuses on William Beckford’s Vathek and its indebtedness to Euripides’s Bacchae, and Part III on Matthew Gregory Lewis’s The Monk and its indebtedness to Sophocles’s Oedipus Tyrannus. As is discussed, Beckford and Lewis participated actively in both the Gothic and Hellenic revivals, producing highly imaginative works that blended material from the British and Greek literary traditions.
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Voyiatzaki, Evangelina. "The body in the text : James Joyce's Ulysses and the modern Greek novel." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4380/.

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This thesis examines the body's thematization in narrative, and as part of the aesthetic consciousness of the modernist novel. Its starting point is Joyce's pioneering association of Ulysses with the functions of a live body, and the interdisciplinary rationale that his Thomist aesthetics of wholeness enact. Joyce's view of his text as a multi-levelled, reciprocally interdependent hierarchy of various fields, including art and science, as developed in the Linati and Gilbert Schemes, sheds light on the polyphonic and polyglottic narratorial tactics of U. Joyce's enterprise is compared to the Greek modernist novel which developed its innovative techniques in accordance with the general demand for a reorientation of Greek literature toward introspection. The reception of U in Greece coincided with the heyday of this attempt which was characterized by experimentation and was influenced by psychoanalysis, phenomenology and anthropological studies. The three Greek authors in this study, Stelios Xefloudas, Nikos Gavriil Pentzikis, Giorgos Cheimonas, each of them representing a different period in the development of the modem novel, were variously influenced by Joyce's work. The argument particularly focuses on their use of the body in the text in the light of Joyce's work. The foreword, a theoretical introduction, sets forth the terms of the argument. The first chapter is a brief survey of Us reception in Greece. It discusses the quest for the renewal of Greek literature which started around the thirties. Tracing the links of this renewal With Joyce's work, it particularly focuses on the techniques of introspection and their association with the body, as part of the aesthetic consciousness of the inner-orientated or 'introverted' novel. The second chapter is an analysis of Joyce's paradigmatic use of the body in the text. Focusing on the act of creation in comedy, scientific discovery and aesthetic rapture, it discusses the psycho-physiological processes and the cultural psycho-dynamics which are compressed within Q, and support its multi-perspectival and multi-interpretative orientation. Joyce's mock-heroic, his anti-theology, the aesthetics of the androgynous artist, desire in language and bodily interference in the act of writing are seen in relation to the body and in the light of Joyce's explanatory schemes. Chapter three examines Xefloudas's attempted assimilation of Joyce's introspective techniques, in the use of myth, in the questing voyager archetype, and in desire in language through the myth of eternal return. The fourth chapter discusses N. G. Pentzikis's Christian-Freudian-Jungian perspective on Joyce's work and his reworking of Us motifs in a surrealist mode (dream, metamorphosis, free association). His endeavour to subvert his own literary past takes place through the re-writing of Drosmiis's novel, To Mythistorema fis Kytlas Ersis. In this book all elements of Greek modernism are welded together. Pentzikis undoes and redoes the Parnassian novel, drawing heavily upon Q, and the Hellenic and Byzantine legacies which he semi-parodically incorporates into his art. His use of the Rabelaislan body and the grotesque, which reflects his language games, also emulates Joyce's. The fifth chapter deals with Cheimonas, as a successor of the previous authors. Cheimonas revisits all the thematic motifs of Joyce and of the aforementioned Greek authors in the light of contemporary phenomenology, psychoanalysis, psycho-linguistics and deconstruction. In an attempted assimilation of the language of FW and Joyce's preoccupation with the sound of the word, he writes an elliptical prose violated in its syntax, grammar and word-formation. His texts are a journey to the origins of language. Through violent dramatizations of psycho-linguistic theories, these texts aim at revealing the body's voice.
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Olsen, Thomas Grant. "Novel incest: Negotiating narrative paradox." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289116.

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Novel Incest: Negotiating Narrative Paradox, investigates how representations of incest disrupt not only family relationships but narrative conventions as well. The conventions governing a narrative's structural movement from beginning to end are upset in ways that often mimic the destruction of family lineage that incest causes. Each narrative instance of incest marks reconsideration not only of Western kinship systems and, more recently, the discourse of bourgeois family structures, but also of specific aspects of the rhetoric of fiction. This history of family and narrative disruption is sketched in my analysis of such seemingly disparate texts as Daniel Defoe's Moll Flanders; Ford Madox Ford's The Good Soldier; John Barth's novels and non-fiction, including The End of the Road, The Floating Opera, The Sot-Weed Factor, Giles Goat-Boy, Lost in the Funhouse, The Friday Book, Further Fridays, LETTERS, Sabbatical, The Tidewater Tales, The Last Voyage of Somebody the Sailor, and Once Upon a Time ; David Lynch's films, including The Alphabet, The Grandmother, Eraserhead, The Elephant Man, Dune, Blue Velvet, and Wild at Heart, and the pornographic film series Taboo I--XVIII . My analysis focuses on author- and reader-centered interpretations and includes both formal and thematic analysis. Psychoanalytic and deconstructive reading strategies are employed to investigate the intersections formed between narrative, rhetoric, and desire. The common thread connecting these texts is their unraveling of conventions in order to restructure the possibilities for narrative fiction.
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Kim, Jungsoo. "Res videns the subject and vision in the plays of Samuel Beckett, Sam Shepard, and Harold Pinter /." [Bloomington, Ind.] : Indiana University, 2008. 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:3331263.

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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2008.
Title from PDF t.p. (viewed on Jul 24, 2009). Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4322. Advisers: Claus Cluver; Angela Pao.
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ZHONG, Xian. "A comparative study of war metaphors in English and Chinese business media discourse." Digital Commons @ Lingnan University, 2017. https://commons.ln.edu.hk/eng_etd/13.

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Journalistic business discourse plays an indispensable role in people’s lives. It serves not only to inform the public about ongoing business activities and economic processes, but also influence the public in their strategic decision-making about investment options. Metaphor is a tool employed to help fulfill the communicative and persuasive functions of the popular business discourse, which is the target of this study. Based on two self-compiled corpora of business news articles in English and Chinese, the study laid particular emphasis on the conceptual metaphor of BUSINESS IS WAR and showed that though the use of this conceptual metaphor was common in business discourse across the two languages, obvious differences in terms of the metaphorical lexis’ frequency of occurrence, their specific collocations and unconventional referents were noted. The conceptual metaphor BUSINESS IS WAR was subdivided into more detailed conceptual metaphors based on the subdivision of the domain of war and the mappings and impositions between the subfields of the domain of war and business were analyzed. The two language cultures agree that they have the same origin for human warfare, but they have developed their concept of war under the influence of their own experience. The analysis of the war metaphors in sample English and Chinese news articles demonstrates its emotion evoking functionto convey evaluative judgments and achieve persuasive ends, and the ideological function to construct reality as a means of maintaining or challenging power relations.
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45

Scuro, Courtney Naum. "Buildings, bodies, and patriarchs| The shared rhetoric of social renovation in Jane Austen's Mansfield Park, Charlotte Bronte's Villette, and Elizabeth Gaskell's North and South." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1594240.

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By reconsidering the concept of a “women’s literary tradition,” this study aims to uncover the links binding together Austen, Brontë, and Gaskell in a shared, female project of literary inquiry and political reformation. Reading the physical, material dimensions of the fictional environments (female movement, bodies, and socially defined spaces) in Mansfield Park, Villette, and North and South, we can see that all three novels engage in acts of subversive recuperation. After problematizing incumbent systems of masculine authority, these texts all work to infuse fresh relevancy and import into traditional value systems. Old is made new again as the influence of the novels’ heroines is seen to initiate processes of thoughtful social renovation able to rescue these young women from positions of threatening marginalization and able to realign existing patriarchal constructs with evolving communal needs.

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Lott, Monica L. "Seventy years of swearing upon Eric the Skull| Genre and gender in selected works by Detection Club writers Dorothy L. Sayers and Agatha Christie." Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3618871.

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My dissertation “Seventy Years of Swearing upon Eric the Skull: Genre and Gender in Selected Works by Detection Club Writers Dorothy L. Sayers and Agatha Christie” shows how the texts produced by Detection Club members Dorothy L. Sayers and Agatha Christie challenge assumptions about the value and role of popular genre fiction and demonstrate how the detective novel engages pressing social issues related to gender in modern Great Britain. Sayers and Christie addressed serious concerns of gender in relation to topics including war and an emerging market economy in inter-war Britain; however, because they were doing so in genre fiction, their insights have not been fully explored. The popularity of detective fiction, according to critics, has resulted in a lack of criticism and a distrust of the popular. Christie, more so than Sayers, has been ignored by critics because of her popularity and the formulaic nature of her fiction. Glenwood Irons claims that Christie's popularity is responsible for the “general ignorance of the sheer volume of detective fiction written by women” (xi), while Alison Light theorizes that the dearth of Christie criticism, because of her popularity, is “an absence which the growth of 'genre' studies of popular fiction has yet to address” (64). My goal is to understand how Sayers and Christie responded to modern issues through their writing and to set their writing in context with contemporary concerns in inter-war Britain. I advocate for a reexamination of Sayers and Christie that goes beyond their popularity as writers of genre fiction and analyzes the ways in which their fiction incorporates modern concerns.

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Bubb, Alexander B. T. "The last Romantics : Kipling and Yeats, a comparative biography 1865-1906." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5a3721d3-da02-43da-a6fb-a03e3e3fbdf4.

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My thesis examines Kipling and Yeats within the structure of a ‘comparative biography’. My premise is that reading these two near-exact contemporaries alongside one another yields remarkable discursive echoes. My method consists in identifying these mutual echoes in their poetry and political rhetoric, and charting them against synchronicities in their lives. By reading one author against another in a fashion that might be considered canonically incongruous, I seek to throw light on unacknowledged links running across the cultural nexus of the period. I find these echoes particularly intriguing since Kipling and Yeats were for most of their careers irreconcilable political enemies. Yeats in his political ascendance frequently played to the gallery by denouncing Kipling, while the latter hardly varnished his opinion of Irish poetry and Irish nationalism. However, a cross-reading of the two poets’ bardic ambitions, heroic tropes and interpretations of history reveals that they frequently partake of a common discourse to achieve their opposed political ends. After supplementing this analysis with a biographical perspective, we can perceive that these discourses originate in their late 19th century artistic upbringing, and in the closely linked social circles which they inhabited in fin-de-siècle London. It is their very mutuality during the 1890s which imparts rancour to their twentieth-century attitudes, after the Boer War had ideologically sundered them. Throughout, the thesis conceives them as figures transiting through both space and period. They had to reject but also adapt their Victorian inheritance in order to carry forward the Romantic poetic. Simultaneously, they undertook a physical transition between the colonial or semi-colonial societies of their birth and the metropolitan arena of their celebrity and influence. I see them as hybrid personalities and as romantic intellects, bringing imaginative fire from the colonial margins to satisfy the orientalist curiosity, and to soothe the fin-de-siècle anxieties, of the imperial centre. Although these peregrinations lead to a juggling of identities and poetic masks, in this dynamic lay both their success as authors and their influence as political and prophetic figures.
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Vondrak, Amy Margaret Edmunds Susan. "Strange things: Hemingway, Woolf, and the fetish (Ernest Hemingway, Virginia Woolf)." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.

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Guglietta-Possamai, Daniela. "The twists and turns of a timeless puppet: Violence and the translation and adaptation of Carlo Collodi's "Le avventure di Pinocchio"." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27783.

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This thesis explores two English translations of Carlo Collodi's Le avventure di Pinocchio (1883), one by British translator M. A. Murray in 1891 and the other by American translator Walter S. Cramp in 1904. It also examines Walt Disney's adaptation of Pinocchio (1940) for the screen, and in the process studies how the different English target cultures and systems have motivated and influenced translators' and adaptors' decisions and how, therefore, translations and adaptations are necessarily products of their environment. My approach is to focus specifically on moments of violence in Collodi's text, and use them as particularly 'hot' text situations from which to study the English translations. These translations are placed into and then analysed in regard to their respective reconstructed socio-cultural, literary and translation contexts. The norms governing the British and American translators' and American adaptor's respective versions provide some insight into the translators' and adaptor's approach to violence in children's literature and help identify possible reasons for the differences between the source and the target texts, and also between the different translations. Skopostheorie, Descriptive Translation Studies, polysystem theory and norm theory all play a role in the analyses.
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Kirk, Sonya. ""Whatever you do, do not let a boy grow up without Latin" : a comparative study of nineteenth-century Latin textbooks in English and Prussian education." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33080/.

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Considering textbooks as cultural artefacts that both reflect prevailing paradigms and construct knowledge (Issitt 2004; Apple 2004), this research compares nineteenth-century Latin textbooks intended for pupils in England with those intended for pupils in Prussia in the light of their differing educational, linguistic and social contexts. This dissertation fills a gap in Anglo-German historiography for the nineteenth century from three intertwined perspectives: cultural history, the history of education and the history of linguistic ideas, by investigating how textbook authors treated Latin grammar in the light of cultural ideologies (including the role of Classics in elite education, education for empire) and developments in pedagogy and philology, at a time when formal education was just becoming established, and when curriculum design, educational administration, and educational philosophy in England were all heavily influenced by German scholarship. Using a corpus of 100 Latin textbooks used in nineteenth-century England and Prussia, textbook content was examined both quantitatively and qualitatively. The results show that nineteenth-century Latin textbooks intended for pupils in England and Prussia conveyed different cultural information to their respective audiences. Challenging popular belief, pedagogical findings from this research demonstrate that Latin textbooks included a range of innovative teaching methods and techniques. As Latin is a ‘dead’ language, it is commonly perceived to be linguistically static, but by analysing the linguistic presentation of the Latin language in nineteenth-century textbooks, we find that some of the most basic linguistic components of Latin, such as the alphabet and the noun case system, were reconsidered and altered. This research shows that, though foreign language textbooks are under-studied, they offer insight into cultural history, the history of teaching and learning and the history of linguistic ideas which can be found in no other source and, ultimately, contextualise the current state of foreign language teaching.
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