To see the other types of publications on this topic, follow the link: Criticism and interpretationDabydeen, David.
Dissertations / Theses on the topic 'Criticism and interpretationDabydeen, David'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Criticism and interpretationDabydeen, David.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Finch, James. "The art criticism of David Sylvester." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/60419/.
Full textAbstract:
The English art critic and curator David Sylvester (1924-2001) played a significant role in the formation of taste in Britain during the second half of the twentieth century. Through his writing, curating and other work Sylvester did much to shape the reputations of, and discourse around, important twentieth century artists including Francis Bacon, Alberto Giacometti, Henry Moore and René Magritte. At the same time his career is of significant sociohistorical interest. On a personal level it shows how a schoolboy expelled at the age of fifteen with no qualifications went on to become a CBE, a Commandeur dans l'Ordre des Arts et des Lettres and the first critic to receive a Leone d'Oro at the Venice Biennale, assembling a personal collection of artworks worth millions of pounds in the process. In terms of the history of post-war art more broadly, meanwhile, Sylvester's criticism provides a way of understanding developments in British art and its relation to those in Paris and New York during the 1950s and 1960s. This thesis provides the first survey of Sylvester's entire output as an art critic across different media and genres, and makes a case for him as a commentator of comparable significance to Roger Fry, Herbert Read, and other British critics who have already received significant scholarly attention. I take a twofold approach, analysing both the quality of Sylvester's writing and criticism, and its function as a catalyst for furthering the careers of artists and instigating significant exhibitions. Common to all of these strands is Sylvester's distinctive critical sensibility, which placed an emphasis on his own aesthetic experiences and how they could be articulated through criticism.
2
Jackson, Edward William. "David Foster Wallace's hideous neoliberal spermatics." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8538/.
Full textAbstract:
This thesis investigates male sexuality and neoliberalism in the work of David Foster Wallace. I argue that his texts conceive of male sexuality through neoliberal logics regarding responsibility, risk, contract, property, and austerity. Informing such conceptions are spermatic metaphors of investment, waste, blockage, and release. These dynamics allow Wallace’s texts to ground masculinity in an apparently incontestable sexual hideousness, characterised in particular by negativity and violence. By figuring male sexuality as a neutral economic issue, and one that lends itself to spermatic metaphors, his fiction and nonfiction present such hideousness as a fact to be accommodated for rather than changed. My analysis is broadly revisionist. I depart from readings that stress his texts’ opposition to neoliberalism by showing how they are embedded in, and complicit in reproducing, its key logics. I also nuance considerations of Wallace’s gender politics by arguing that their sexual traditionalism is indicative of an attachment to male hideousness, not their author’s intentions or failings. In these ways my thesis evaluates the complex pessimism animating Wallace’s treatment of male sexuality. I trace the interaction between neoliberal logics and spermatic metaphors throughout his oeuvre to consider how and why Wallace presents male sexuality as being so immutably rotten.
3
Garcia-Sheets, Maria. "An ideological criticism of David Duke's rhetoric of racism and exclusion." Scholarly Commons, 1999. https://scholarlycommons.pacific.edu/uop_etds/525.
Full textAbstract:
This study focuses on the rhetoric of racial politics and the ideology of exclusion it produces. This study analyzes the political rhetoric constructed by David Duke, white supremacist, disavowed neo-Nazi, Ku Klux Klan member, and former Louisiana State Representative. The topics of affirmative action, reverse discrimination, immigration, and welfare were chosen for analysis. Using ideological criticism, this study reveals the role Duke pays in America's increasingly exclusionary political environment.
Specifically, this study uses the concepts employed by Louisa Martin Rojo in exploring the rhetorical process of demonization which is used to turn someone or something into an enemy. The process needed to demonize an enemy involves two rhetorical strategies: division and rejection. Division establishes the opposing categories in the conflict, manifesting itself as an arguments between "us verses them" or "good verses evil." Rejection further demonizes the enemy by rhetorically marginalizing, segregating, or creating a negative image about them.
Through his rhetoric, Duke strives to provoke feelings of resentment by utilizing demonization to reject and divide whites from minorities. In his rhetoric, Duke excludes people of color from society by portraying affirmative action as minority special privilege, reverse discrimination as white exclusion, welfare as a bastion of illegitimacy, and immigration as the downfall of American culture. Attempting to exclude minorities from society, Duke moves beyond Rojo's concept of demonization and uses scapegoating to blame minorities for America's social ills. By using people of color as a scapegoat, Duke effectively excludes them from participating in the debate over social concerns.
4
Santos, Hamilton Fernando dos. "Gosto e Filosofia em David Hume." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-28032013-104330/.
Full textAbstract:
Trata-se de investigar a posição de Hume no debate travado no século XVIII acerca do problema do gosto. A questão do gosto encontra-se difusa em boa parte da obra do filósofo escocês, mas é no ensaio Do Padrão do Gosto (1757) que Hume se detém no estudo do modo pelo qual os homens elaboram padrões ao fazerem julgamentos estéticos. Neste ensaio - objeto central desta dissertação -, Hume assinala a extrema variedade de gostos que há no mundo e nota que tanto a beleza quanto a deformidade dependem de como cada um as sente. Assim, nada poderia ser dito feio ou belo, imperando o completo relativismo estético. A pesquisa pretende analisar as articulações por meio das quais Hume resolve essa ameaça cética que paira sobre a crítica do gosto.The following dissertation is an investigation of the position of David Hume concerning the question of taste in the 18th century. The issue of taste is widespread in much of the Scottish philosopher\'s works, but particularly in his essay Of the Standard of Taste (1757) he studies the way in which people elaborate patterns to make aesthetic judgments. In the essay the object of this dissertation Hume notes the great variety of tastes which prevails in the world and he also notes that the concepts of beauty and deformity depend on how each of them is experienced. Therefore, nothing can be said to be ugly or beautiful, according to this aesthetic relativism. This paper will examine the arguments Hume articulates in addressing and resolving the threat this skepticism poses to the notion of taste and to the possibility of art criticism.
5
Egers, Wayne. "David Cronenberg's body-horror films and diverse embodied spectators." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82863.
Full textAbstract:
This dissertation is an interdisciplinary study of David Cronenberg's body-horror films in relation to their embodied spectators. In these films, the horror is not only about the vulnerability of the mortal body, but also about the horrific consequences of organizing culture around the philosophical splitting of the mind from the body. To analyze this relationship, I utilize Merleau-Ponty's phenomenology of the body, object-relations psychoanalysis, especially D. W. Winnicott's theory of the intermeshed psyche-soma, various pro-feminist approaches to horror films, and a concept of ideology informed by nonverbal communication research. The historical arc of Cronenberg's body-horror films has produced a unique cultural record of the impact of technological change on physical bodies through dark fantasies of biological-medical technologies in Shivers, Rabid, The Brood, and Scanners; video communication technologies in Videodrome; and genetic-engineering technologies in The Fly .My primary thesis is that Cronenberg's body-horror films encourage spectators to "read" not only with their rational-cognitive skills but with their embodied experience as well, which includes emotional and sensory memories, and fantasies, both archaic and contemporary. Cronenberg's appeal to an integrated psyche-soma reading is crucial for understanding how the culturally induced splitting of the mind from the body impacts on working class resistance to exploitative ideology.
In chapter one I argue that the diverse and contradictory readings of Cronenberg's body-horror films are possible, because of the interdependence of the cinematic text, historical and cultural context, and the embodied experience of spectators-critics. Chapter two is a preliminary step towards developing an alternative theory of the horror film spectator, by exploring the productive tension between an active, creative and embodied real viewer, and an ideologically determined, ideal subject of the cinematic apparatus. Chapter three compares Cronenberg's fantasy of metamorphosis body-horror to the fantasy of "leaving the body behind" depicted in many contemporary cyborg films. Chapter four is a series of close readings, analyzing how Cronenberg embeds "imaginary spectators" into his body-horror films through interweaving the body language of his characters and the nonverbal communication of the mise en scene with narrative strategies formulated through the plot.
6
Haspel, Jane Seay. "Dirty Jokes and Fairy Tales: David Mamet and the Narrative Capability of Film." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278457/.
Full textAbstract:
David Mamet is best known as a playwright, but he also has a thriving film career, both as screenwriter and as director. He has taken very seriously each of these roles, formulating theories that, he suggests, account for the creative choices he makes. Though Mamet sometimes contradicts himself, as when he suggests that viewers should have the satisfaction of constructing their own meaning of a work, but at the same time is devoted to montage, which works by juxtaposing images that lead to a single interpretation, he clearly sees the story as a critical avenue into the spectator's unconscious, where he hopes it will resonate with a truth that speaks directly to the individual. His films House of Games, Things Change, and Homicide clearly reflect his ideas on the best ways of conveying a story on film. In House of Games, Mamet draws on Bruno Bettelheim's theories to construct a fairy tale designed to act on adult viewers in the same way that fairy tales act on the child. In Things Change, he creates a fable that explores issues of friendship and honor within the milieu of the gangster genre. And in Homicide, Mamet uses the expectations viewers bring to the theatre in anticipation of a genre film to explore themes of loyalty and identity. In Oleanna, however, Mamet relies heavily on exposition and dialogue, rather than the visual elements that separate the film from drama, which renders the film the antithesis of his long-held philosophy of film narrative. Mamet's best film work, in House of Games and Homicide, has been innovative and thought-provoking, bringing depth to the new noir and redefining the cop film. His work in Oleanna, though it may prove to be an anomaly, may suggest a surrender of his principles of filmmaking or a reformulation of them to fit some new vision.
7
Gordon, Rhona. "Housing matters in the texts of Gordon Burn, Andrew O'Hagan and David Peace." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/6088/.
Full textAbstract:
This thesis examines the representations of housing in the fiction and non-fiction texts of Gordon Burn, Andrew O’Hagan and David Peace. This thesis will explore the relationship between housing and class in all three writers’ work and consider the ways in which housing displays and conceals class. These three writers have never been critically examined together, and their similar subject matter provides interesting points of contrast and comparison. ‘Housing. The Greatest Issue of Our Poor Century’ writes Andrew O’Hagan in his novel Our Fathers (1999) and this is a sentiment shared by Burn and Peace throughout their texts. All three writers depict the ways in which housing has changed over the course of the twentieth century, as against the slum clearances of post-World War II Britain, Modernist tower blocks were erected. Against these visual changes there was a sustained campaign, by all major political parties, to increase home ownership. A succession of Acts throughout the latter half of the twentieth century saw council houses being sold to tenants and a subsequent decrease in the construction of council houses. These Acts promoted, and made easily achievable, home ownership and ingrained within society the idea that owning property was a symbol of success and security. By examining changes in housing Burn, Peace and O'Hagan consider the fate of the working-class in the latter half of the twentieth century, and this thesis will explore to what extent, and in what ways, housing displays and conceals class. Chapter One will consider the changes in housing policy over the latter half of the twentieth century and the ways in which government policy affected issues of class. This chapter will look at the ways in which Burn, Peace and O’Hagan consider issues of class and will argue that by examining issues of housing all three are examining the fate of the working-class. Issues of housing are inexorably linked with issues of class and this chapter will form the basis on which the remaining chapters’ arguments are based. Chapter Two will explore issues of housing in the cases of Yorkshire Ripper Peter Sutcliffe and Fred and Rosemary West, specifically the ways in which housing both concealed and motivated their crimes and how in turn assumptions about class hide their murders within plain sight. Chapter Three will examine the construction of high-rise tower blocks and the ways in which the creation of housing allowed for social crimes to be committed for both political and economic gain by various individuals. Chapter Four will look at the underground spaces of the houses featured in the previous chapters and will consider to what extent the underground reflects the issues of the over-ground and the significance of the underground in debates about class. The final Chapter, Chapter Five, will look at depictions of the celebrity house and will consider how the house of the celebrity fits into narratives of twentieth century housing and how the inhabitants are as hidden and revealed as their working-class counter parts.
8
Latouche, Pierre-Edouard. "L' art de choisir un sujet dans la peinture d'histoire de Jacques-Louis David (1748-1825)." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26236.
Full textAbstract:
The choice of subject for a history painting, long considered motivated by dramatic considerations, appears to be also, in the light of numerous documents, the expression of the painter's craft. The following study will attempt to demonstrate this aspect in the oeuvre of Jacques-Louis David and, in particular, in The Oath of the Horatii.
9
Bokoda, Alfred Telelé. "The poetry of David Livingstone Phakamile Yali-Manisi." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/17400.
Full textAbstract:
Bibliography: pages 217-232.Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.
10
Baker, David, and n/a. "Of Unprincipled Formalism: Readings in the Work of David Malouf and Peter Carey." Griffith University. School of Humanities, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040616.120642.
Full textAbstract:
This thesis develops a critical reading methodology entitled unprincipled formalism. This methodology is tested in close readings of three relatively contemporary Australian literary texts: David Malouf's short story "A Traveller's Tale" (1986) and novella Remembering Babylon (1994), and Peter Carey's short story "The Chance" (1978). Unprincipled formalism is developed in relation to three broad contexts: the fragmented state of the contemporary discipline of literary studies; the complex of international economic and social phenomena which goes under the general rubric of globalisation; and the specific Australian left-liberal literary critical tradition which I have termed, for convenience sake, the Meanjin literary formation. Unprincipled formalism does not draw a distinction between form and content. Unprincipled formalism is a critical methodology that is both avowedly socially concerned and strictly formalist. It is concerned with articulating and analysing the particular social and political interventions made by literary texts (as well as the resultant critical discussion of those texts) through a consideration of the formal techniques by which literary texts situate themselves as acts of communication. Principal among these techniques is the mise en abyme. The thesis provides a detailed analysis of debates around the mise en abyme informed by the work of theorists such as Ross Chambers, Lucien Dallenbach, Frank Lentricchia, Moshe Ron, Jacques Derrida and others. Politically, unprincipled formalism attempts to steer a middling course between neo-liberal triumphalism on the one hand and nostalgic left romanticism on the other. This involves on the one hand a critique of neo-liberalism drawing on the work of Charles Taylor, Stephen Holmes, John Frow and others, and on the other a critique of a nostalgic romantic tendency in "progressive" critical technologies such as postmodern and postcolonial literary studies.
11
Balcerak, Jonathan M. "The binary nature of relationships in two David Mamet duologues : A life in the theatre and Oleanna." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1020179.
Full textAbstract:
Although David Mamet is one of the most frequently studied of the postmodern American playwrights, scholarly criticism has neglected to examine the dynamic that is unique to his two-person plays, or duologues. This study explores various aspects of that duologic dynamic, concentrating on two of Mamet's two-person plays, A Life in the Theatre and Oleanna. The relationships in both plays are sustained by the characters' desire for power. As is typical of a Mametian play, power is obtained through language and dialogue. The fact that there are two characters in each of the plays serves to intensify the conflict and to remind the audience of the binary nature inherent in drama.Department of English
12
Nettelbeck, Amanda E. ""The darkness at our back door" : maps of identity in the novels of David Malouf and Christopher Koch /." Title page, table of contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phn4731.pdf.
Full text
13
Van, Wyk Ilse-Mari, and Wyk Ilse-Mari Van. "A style analysis of David Baker's composition for cello and percussion: "Singers of Songs-Wears of Dreams"." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624861.
Full textAbstract:
David Baker is a prominent American composer, noted for his fusion of jazz elements with western art
music. The focus of this study is on his composition for cello and percussion, Singers of Songs-Weavers of Dreams, where this fusion is particularly evident.
Baker's writing for the cello is most innovative and of considerable historical significance. Firstly, he introduced the cello to the realm of jazz, and secondly, revolutionized fingering patterns in order to accomodate jazz modal sequences and improvisational
patterns.
This composition is truly a milestone in the cello literature, unprecedented in style and technical innovation, and deserving of more attention.
14
Piper, Adam. ""Chained in a cage of the self" : narcissism in David Foster Wallace's Infinite jest." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2012, 2012. http://hdl.handle.net/10133/3343.
Full textAbstract:
Loneliness, unhappiness, and discord pervade David Foster Wallace’s novel Infinite Jest.
Parental neglect and abuse, drug and alcohol addiction, and obsession with entertainment
all work to increase characters’ narcissism and self-absorption. This increased narcissism
prevents characters from developing meaningful relationships, and this absence of
meaningful relationships contributes to the feeling of sadness that plagues the
Organization of North American Nations. Rather than confronting reality and working to
overcome their sadness by attempting to form meaningful relationships, characters
instead seek to escape this sadness through the various fantasies provided by drug-use
and entertainment. These fantasies only work to exacerbate characters’ self-absorption
and narcissism which consequently increases their unhappiness. Certain characters are
able to break free of these narcissistic impulses by turning outwards to form meaningful
relationships. As these characters break free of the “cage of the self” (777), they
experience a sense of meaning and happiness that other characters are without.iv, 114 leaves ; 29 cm
15
Tapley, Lance. "A Universal and Free Human Nature: Montaigne, Thoreau, and the Essay Genre." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/TapleyL2002.pdf.
Full text
16
Barnes, Jennifer Michelle. "Images of distant lands : a comparison of the compositional techniques used by Georges Bizet and Felicien David to portray the exotic in their operatic works." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1221301.
Full textAbstract:
Georges Bizet (1838-1875) is best known for his operatic masterpiece, Carmen, but his other works have received much criticism. Much of this criticism stems from the belief that his work was simply derivative of other composers, including the father of French musical exoticism, Felicien David (1810-1876). However, there has never been any formal study comparing the two composers' compositional techniques.The purpose of this study is to compare the approaches that both Bizet and David took to portray the exotic in their operatic works, and to categorize any differences or similarities between the two composers' styles. The operas chosen for this study include Bizet's Les Pecheurs de perles (1863) and Djamileh (1872), as well as David's La Perle du Bresil (1851) and Lalla-Roukh (1862). Detailed historical background and musical analysis will be provided for each opera.School of Music
17
Grimanis, Catherine. "The narrator in D.H. Lawrence's travel fiction : nostalgia, disillusion, and vision." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61874.
Full text
18
Wyile, Herb 1961. ""Now you might feel some discomfort" : regional disparities and Atlantic regionalism in the writings of David Adams Richards." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65552.
Full text
19
Weatherby, Yvonne Martha. "D.H. Lawrence's "struggle for verbal consciousness": From Women in love to Psychoanalysis and the unconscious and Fantasia of the unconscious." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1224.
Full text
20
Mntanga, Overman Mziwakhe. "Culture and womanhood in Uhambo lwenkululeko." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52751.
Full textAbstract:
Thesis (MA)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: The study examines issues of culture in Mcani's drama Uhambo Lwenkululeko (Journey of Freedom). Following Bauerlein (1997:63), it is argued that the study of women in literature forces a critical examination of the way women in literature have been portrayed in the past because of male domination. The study aims to establish what the progress is in the portrayal of women characters after the introduction of the new dispensation in South Africa. This study shows in the discussion of the theoretical aspects of culture in Chapter 2 that culture is an elusive concept because it has different definitions. Culture is that complex whole which includes knowledge, belief, art, law, morals, customs and all other capabilities and habits acquired by man as a member of society. This implies that culture entails everything that contributes to the survival of man, comprising both physical and social factors. In Chapter 3, it is established that the author has excellently handled both characterisation and the plot in Uhambo Lwenkululeko (Journey of Freedom). The plot structure of Uhambo Lwenkululeko (Journey of Freedom) in particular, has been handled successfully by the author. For example, by opening his drama with conflict, in the exposition, the author has managed to show is that conflict is the source of action in drama. It is the aspect that triggers characters to respond either positively or negatively to a particular opposing force. We have established in Chapter 4 that societies have certain basic needs or requirements that must be met if they are to survive. For example, a means of producing food may be seen as a functional pre-requisite since without it, members of society could not survive. This might have been one of the reasons why the boys are busy fishing in the drama. According to the findings in this study, men and women are portrayed equal with regard to reason. We established that the belief that women lack the capacity to fully exercise the powers of human reason is a deeply rooted prejudice.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek vraagstukke oor kultuur in Mcani se drama Uhambo Iwenkululeko. In navolging van Bauerlein (1997:63), word daar aangevoer dat die studie van vroue in die letterkunde 'n kritiese ondersoek noodsaak van die wyse waarop vroue in die verlede voorgestel is in die letterkunde op grond van dominering deur mans. Die studie poog om vas te stel wat die vordering is in die voorstelling van vroue in die letterkunde na die invoer van In nuwe demokratiese bestel in Suid-Afrika. Die studie toon aan in die bespreking van die teoretiese aspekte van kultuur in hoofstuk 2 dat die kultuur In ontwykende konsep is wat verskillende definisies het. Kultuur is 'n komplekse geheel wat insluit aspekte soos kennis, geloof, kuns, regsisteem, morele sieninge, gewoontes en ander vermoens wat deur mense verwerf word as lede van In gemeenskap. Oit impliseer dat kultuur alles behels wat bydra tot die oorlewing van rnense, insluitende fisiese sowel as sosiale faktore. In hoofstuk 3 word dit bevind dat die skrywer die karakterisering sowel as die intrige in Uhambo Iwenkubuleko meesterlik hanteer. Veral die intrige is op 'n uitstaande wyse hanteer deur die skrywer. Oeur in die begin van die drama konflik in te voer, het die skrywer daarin geslaag om aan te toon dat konflik die bron van aksie in die drama is. Oit is die aspek wat karakters aanspoor om of positief of negatief te reageer op In spesifieke opponerende krag. Oaar is bevind in hoofstuk 4 dat gemeenskappe sekere basiese behoeftes en vereistes het waaraan voldoen moet word indien hulle wil oorleef. In Wyse vir die produksie van voedsel is In vereiste, aangesien In gemeenskap nie daarsonder kan oorleef nie. Oit kon In moontlike rede wees waarom die skrywer verwys na die seuns wat visvang in die drama. Volgens die bevindings van die drama, word mans en vroue gelykwaardig voorgestel wat betref redeneringsvermoe. Oaar word bevind dat die siening dat vroue 'n onverrnoe het om die magte van redenering te beoefen 'n diepgewortelde vooroordeel is.
21
Sandstra, Theodore. "A framework for the love of nature : Henry David Thoreau's construction of the Wild in Walden and the gift as an ethos for architecture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0034/MQ64120.pdf.
Full text
22
Vacani, Wendy. "A sense of place and community in selected novels and travel writings of D.H. Lawrence." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/15154.
Full textAbstract:
In 1919 Lawrence left England to search for a better society; his novels and travel sketches (the latter are usually seen as peripheral to the novels) continually questioned the values of Western society. This study examines D.H. Lawrence's great 'English' novels in the light of their vivid portrayal of place and community. However, to procure a new emphasis the novels and travel writing are brought into close alignment, in order to examine the way in which the sorts of philosophical questions Lawrence was interested in - ideas on human character, marriage, social structures, God, time, and history - influence his portrayal of place and community across both these genres. Chapter I, on Sons and Lovers, emphasises the way social and historical factors can shape human relationships as powerfully as personal psychology. In Chapter II, on Twilight in Italy, discussion of the effect of place on human character is broadened into a consideration of the differences between the Italian and English psyche; the philosophical passages are read in the light of revisions made to the periodical version. Chapters III and IV, on The Rainbow and Women in Love, conscious of the critique of English society that Lawrence made in Twilight, recognise that although Lawrence is concerned to show the flow of individual being he is no less interested in the relationship between the self and society, and the clash between psychological needs and social structures like work, marriage and industrialisation. Chapter V, on Sea and Sardinia, examines Lawrence's realisation that the state of travel engages with the present and impacts on individual needs and identity. Chapter VI, on Mornings in Mexico, studies the way Lawrence transcended the journalism usual to the travel genre and maintained a deep spirituality as he pondered the attributes of a primitive society and its appropriateness to Western Society. Because travel writing is both reactive and subjective (a writer's reaction to a country is underpinned by the metatext of his own concerns), I ask if Lawrence's presentation of experience can be thought of as accurate or whether places and people are constructs of his imagination. Chapter VIII examines Lady Chatterley's Lover as Lawrence's attempt to bring together the attitudes to sex, class and education witnessed on his travels with an English setting; to envisage a way of living that would meet the deep-rooted needs of man. Chapter VIII, on Etruscan Places, shows Lawrence conscious of encountering the ultimate journey, death, and pays tribute to the fact that while the book searches for philosophical answers on how to die, it is at the same time a paean to life and the beauty of landscape.
23
Truter, Victoria Zea. "Dreamscape and death : an analysis of three contemporary novels and a film." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012976.
Full textAbstract:
With its focus on the relationship between dreamscape and death, this study examines the possibility of indirectly experiencing – through writing and dreaming – that which cannot be directly experienced, namely death. In considering this possibility, the thesis engages at length with Maurice Blanchot's argument that death, being irrevocably absent and therefore unknowable, is not open to presentation or representation. After explicating certain of this thinker's theories on the ambiguous nature of literary and oneiric representation, and on the forfeiture of subjective agency that occurs in the moments of writing and dreaming, the study turns to an examination of the manner in which such issues are dealt with in selected dreamscapes. With reference to David Malouf's An Imaginary Life, Alan Warner's These Demented Lands, Cormac McCarthy's The Road, and Richard Linklater's Waking Life, the thesis explores the literary and cinematic representation of human attempts to define, resist, or control death through dreaming and writing about it. Ultimately, the study concludes that such attempts are necessarily inconclusive, and that it is only ever possible to represent death as a (mis)representation.
24
Mari, Anibal. "Relações venais, ou sucesso a qualquer preço: análise dos diálogos em \'Glengarry Glen Ross\', de David Mamet." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-03032008-105053/.
Full textAbstract:
Esta dissertação propõe analisar os diálogos da peça Glengarry Glen Ross, de David Mamet, um dos principais dramaturgos do teatro norte-americano contemporâneo. A hipótese sugerida é que esses diálogos substituem a ação dramática e representam o substrato social que serviu de ponto de referência para a criação do enredo. São neles que as \"relações venais\" e o jogo de poder entre os personagens se concretizam, numa linguagem ilusória e ambígua, na qual valores individuais e comunitários, como a confiança, a amizade, a afeição, a lealdade e a verdade se subverteram, diante da necessidade de sobrevivência ou do sucesso a qualquer preço, ditados pelas práticas comerciais, pelas relações de poder, por uma mentalidade de negócios predatória e se transformaram em mercadoria, lucro e roubo. Glengarry Glen Ross (1983) faz parte da chamada \"trilogia do poder\", que abarca ainda American Buffalo (1975) e Speed-the-Plow (1985). As personagens dessas peças ou vivem à margem da sociedade capitalista norteamericana, como o triângulo masculino em American Buffalo, ou são representantes da baixa classe média, como os corretores de imóveis de Glengary Glen Ross, submetidos a uma competição feroz imposta pela direção da firma, onde os vencedores são promovidos e os perdedores, demitidos. Nessas circunstâncias, o contato humano entre eles foi corrompido pela ganância, pelo dinheiro, pela necessidade de sobrevivência. Essas peças são um exercício de crítica ao darwinismo social.This dissertation aims to analyze the speeches in Glengarry Glen Ross, a play by David Mamet, one of the leading playwrights of the contemporary American theatre. The hypotheses suggested are that these speeches replace the dramatic action and that they represent the social stratum which has served as reference point for the creation of the plot. They also make the \'venal relations\' and the power game between the characters concrete, but they do so through the use of a deceptive and ambiguous language, in which individual and communal values, such as trust, friendship, affection, loyalty and truth, are subverted, in face of the need for survival or success at any cost, determined by commercial practices, power relations, predatory business mindset, and are turned into commodities, profit and theft. Glengarry Glen Ross (1983) is part of the \"power trilogy\", which also comprises American Buffalo (1975) and Speed-the-Plow (1985). The characters in these plays either live on the margins of the American capitalist society, as the ones in the masculine triangle in American Buffalo, or are representatives of the lowermiddle- class, such as the realtors in Glengarry Glen Ross, subjected to a cutthroat competition by the corporation owners, in which the winners are promoted and the losers are fired. In these circumstances, genuine human contact among them is corrupted by greed, money, and the need for survival. These plays are an exercise of criticism of social Darwinism.
25
Justeson, Jeremy Bradford. "Performance aspects in compositions for saxophone and tape David Heuser's Deep blue spiral, Paul Rudy's Geographic bells, and James Mobberley's Spontaneous combustion /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023553.
Full text
26
Talley, Sharon. "A Sensory Tour of Cape Cod: Thoreau's Transcendental Journey to Spiritual Renewal." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2264/.
Full textAbstract:
Predominantly darker than his other works, Cape Cod depicts Henry David Thoreau's interpretation of life as a struggle for survival and a search for salvation in a stark New England setting. Representing Thoreau's greatest test of the goodness of God and nature, the book illustrates the centrality of the subject of death to Thoreau's philosophy of life. Contending that Thoreau's journey to the Cape originated from an intensely personal transcendental impulse connected with his brother's death, this study provides the first in-depth examination of Thoreau's use of the five senses in Cape Cod to reveal both the eccentricities inherent in his relationship with nature and his method of resolving his fears of mortality. Some of the sense impressions in Cape Cod--particularly those that center around human death and those that involve tactile sensations--suggest that Thoreau sometimes tried to master his fears by subconsciously altering painful historical facts or by avoiding the type of sensual contact that aggravated the repressed guilt he suffered from his brother's death. Despite his personal idiosyncrasies, however, Thoreau persisted in his search for truth, and the written record of his journey in Cape Cod documents how his dedication to the transcendental process enabled him to surmount his inner turmoil and reconfirm his intuitive faith. In following this process to spiritual renewal, Thoreau begins with subjective impressions of nature and advances to knowledge of objective realities before ultimately reaching symbolic and universal truth. By analyzing nature's lessons as they evolve from Thoreau's use of his senses, this dissertation shows that Cape Cod, rather than invalidating Thoreau's faith, actually expands his transcendental perspective and so rightfully stands beside Walden as one of the fundamental cornerstones of his canon. In addition, the study proffers new support for previous psychoanalytical interpretations of Thoreau and his writings, reveals heretofore unrecognized historical inaccuracies in his account of the shipwreck that frames the book's opening, and provides the first detailed consideration of the linguistic implications of Cape Cod.
27
Steenkamp, Janka. "De-demonising universality : transcultural dragons and the universal agent in J.K. Rowling's Harry Potter and David Eddings' The Belgariad." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/3088.
Full textAbstract:
Thesis (MA (English))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: This dissertation provides a reading of the fantasy novel series Harry Potter by J.K. Rowling and The Belgariad by David Eddings. In particular this dissertation endeavours to recuperate a literary critical methodology rooted in Myth Criticism. Further, it seeks to demonstrate the continued relevance and necessity of this form of criticism in our postmodern era and to refute some of the commonplaces of postmodern critical theory, specifically the poststructuralist scepticism towards the idea of universal truth and individual agency. Using Jungian theory, myth critics ranging from Laurence Coupe to Joseph Campbell and incorporating various postmodern theorists, like the contemporary Marxist theorist Terry Eagleton, and fantasy critics like Brian Attebery and Ursula LeGuin, this dissertation aims to give a well-rounded analysis of the merits of looking at fantasy as a legitimate field of literary study. Moreover, this dissertation seeks to illustrate the fact that fantasy is capable of informing readers’ interaction with the ‘real’ world and that this genre allows for insight into identity formation in present day reality. The chief structure used to explore these claims is an analysis of the Hero’s Journey.
AFRIKAANSE OPSOMMING: This dissertation provides a reading of the fantasy novel series Harry Potter by J.K. Rowling and The Belgariad by David Eddings. In particular this dissertation endeavours to recuperate a literary critical methodology rooted in Myth Criticism. Further, it seeks to demonstrate the continued relevance and necessity of this form of criticism in our postmodern era and to refute some of the commonplaces of postmodern critical theory, specifically the poststructuralist scepticism towards the idea of universal truth and individual agency. Using Jungian theory, myth critics ranging from Laurence Coupe to Joseph Campbell and incorporating various postmodern theorists, like the contemporary Marxist theorist Terry Eagleton, and fantasy critics like Brian Attebery and Ursula LeGuin, this dissertation aims to give a well-rounded analysis of the merits of looking at fantasy as a legitimate field of literary study. Moreover, this dissertation seeks to illustrate the fact that fantasy is capable of informing readers’ interaction with the ‘real’ world and that this genre allows for insight into identity formation in present day reality. The chief structure used to explore these claims is an analysis of the Hero’s Journey.
28
McDonald, Trent A. "Between Artifice and Actuality: The Aesthetic and Ethical Metafiction of Vladimir Nabokov and David Mitchell." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1400014295.
Full text
29
Törnqvist, af Ström Richard. "Ordning och Kaos : En receptionskritisk granskning av Jordan B. Petersons bibliska bruk av kön och sexualitet, samt hur hans narrativ förhåller sig till historisk-kritiska och feministiska läsningar av Genesis 1-3." Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-428273.
Full text
30
Lin, Sheng-Hsin. "Background, Compositional Style, and Performance Considerations in the Clarinet Works of David Baker: Clarinet Sonata and Heritage: A Tribute to Great Clarinetists." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849742/.
Full textAbstract:
David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability and experience in interpreting jazz styles.
The purpose of this document is: (1) to provide background, style, and performance considerations for Baker’s Clarinet Sonata and Heritage: A Tribute for Great Clarinetists, for Clarinet, Violin, Piano and Double Bass; (2) based on these style elements, to provide suggestions for interpreting jazz-style works for classically trained clarinetists; and (3) to archive Baker’s published and unpublished clarinet compositions. Appendices include transcripts of interviews with David Baker and other experts in this field (James Campbell, Rosana Eckert, Mike Steinel and Steven Harlos).
31
Baldwin, Ruth Margaret Anne. "Redeeming flesh : portrayals of women and sexuality in the work of four contemporary Catholic novelists." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ46315.pdf.
Full text
32
Lee, Deva. "The unstable earth landscape and language in Patrick White's Voss, Michael Ondaatje's The English Patient and David Malouf's An Imaginary Life." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002281.
Full textAbstract:
This thesis argues that Patrick White’s Voss, Michael Ondaatje’s The English Patient and David Malouf’s An Imaginary Life depict landscape in a manner that reveals the inadequacies of imperial epistemological discourses and the rationalist model of subjectivity which enables them. The study demonstrates that these novels all emphasise the instabilities inherent in imperial epistemology. White, Ondaatje and Malouf chart their protagonists’ inability to comprehend and document the landscapes they encounter, and the ways in which this failure calls into question their subjectivity and the epistemologies that underpin it. One of the principal contentions of the study, then, is that the novels under consideration deploy a postmodern aesthetic of the sublime to undermine colonial discourses. The first chapter of the thesis outlines the postcolonial and poststructural theory that informs the readings in the later chapters. Chapter Two analyses White’s representation of subjectivity, imperial discourse and the Outback in Voss. The third chapter examines Ondaatje’s depiction of the Sahara Desert in The English Patient, and focuses on his concern with the ways in which language and cartographic discourse influence the subject’s perception of the natural world. Chapter Four investigates the representation of landscape, language and subjectivity in Malouf’s An Imaginary Life. Finally, then, this study argues that literature’s unique ability to acknowledge alterity enables it to serve as an effective tool for critiquing colonial discourses.
33
Pierce, Justin. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609135/.
Full textAbstract:
American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.
34
Crowther, Daniel James. "The relevance of the te'amin to the textual criticism, delimitation and interpretation of biblical poetic texts with special reference to the Song of David at Psalm 18 and 2 Samuel 22." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687271.
Full textAbstract:
This thesis consists of two parts. Part One introduces the te'amim and the history of their study. Part Two is a study of texts and their te'amim with special reference to 2 Samuel 22 and Psalm 18. Part One Chapter One defines the te'amim in relation to the scribal and reading traditions evidenced in the masoretic manuscripts of the Hebrew Bible. Chapter Two reviews the writings of the Tiberian Masoretes concerning the te'amim. Chapter Three is a history of the study of the te'amim from the tenth century CE until the twenty-first century CEo Part Two Chapter Four analyses the differences and similarities of the two parallel texts 2 Samuel 22 and Psalm 18 with special reference to their te'amim. This analysis leads to a comparison of these two texts with other parallel poetic texts and their te'amim. The te'amim of 2 Samuel 22 and Psalm 18 are found to be a source of information concerning the development of two parallel versions of the Song of David. This information allows the te'amim of Psalm 18 and 2 Samuel 22 to be compared to all the parallel texts of the Hebrew Bible that use different types of te'amim. Chapter Five considers the relationship of the te'amim to the poetics of parallelism. The history of the study of parallelism reveals a number of divergent opinions concerning the relationship of the te'amim to parallelism. An analysis of the poetic performance of the te'amim reveals that the te'amim are expert guides to the poetics of parallelism. The study concludes, in Chapter Six, that scholarly interaction with the te'amim is an important part of the study of biblical poetic texts. The relevance of this simple conclusion is illustrated through a consideration of how such interaction could have enriched five previous studies of Ps 18 and 2 Sam 22.
35
Jilek, Dwight. "Sven-David Sandström's Matthäuspassion: Examining J.S. Bach's Influence and Sandström's Compositional Language, Use of Symbolism, and Religious and Spiritual Motivations." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862768/.
Full textAbstract:
Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) examines the influence of J.S. Bach's MP on Sandström's setting in the use of characters and chorales, 2) illustrates Sandström's compositional language in MP based on recent studies on his choral music, 3) describes his use of musical symbolism, and 4) discusses his religious and spiritual motivations behind the work, as well as his preferred uses in performance.
36
Leone, Matthew J. (Matthew Joseph). "The shape of openness : Bakhtin, Lawrence, laughter." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39750.
Full textAbstract:
How is Bakhtin's conception of novelistic openness distinct from modernist-dialectical irresolution or open-endedness? Is Women in Love a Bakhtinian "open totality"? How is dialogic openness (as opposed to modernist indeterminacy) a "form-shaping ideology" of comic interrogation?This study tests whether dialogism illuminates the shape of openness in Lawrence. As philosophers of potentiality, both Bakhtin and Lawrence explore the dialogic "between" as a state of being and a condition of meaningful fiction. Dialogism informs Women in Love. It achieves a polyphonic openness which Lawrence in his later fictions cannot sustain. Subsequently, univocal, simplifying organizations supervene. Dialogic process collapses into a stenographic report upon a completed dialogue, over which the travel writer, the poet or the messianic martyr preside.
Nevertheless, the old openness can be discerned in the ambivalent laughter of The Captain's Doll, St. Mawr or "The Man Who Loved Islands." In these retrospective variations on earlier themes, laughing openness of vision takes new, "unfinalizable" shapes.
37
Nichols, Margaret K. "D. H. Lawrence and submerged cultures in Birds, beasts and flowers." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/83.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English Literature
38
Langwith, Mark J. "'A far green country' : an analysis of the presentation of nature in works of early mythopoeic fantasy fiction." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/313.
Full textAbstract:
This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.
39
Ben-Shach, Jane Respitz. "The false Messiah in Yiddish literature : a comparison between two dramatic works." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59384.
Full textAbstract:
This thesis discusses the role of the "false Messiah" in modern Yiddish Literature.The figure of the Messiah in Jewish religious imagination signifies the prophetic yearning for redemption at the end of days, but it also provoked hopes in a strong leader who will bring about social and political redemption. Based on historical models, literature from the twelfth to the twentieth century addressed these "false Messiahs" and in the modern period used them to define and illustrate contemporary catastrophe.
Shlomo Molcho by American Yiddish poet Aaron Glanz-Leyeles and Prince Reuveni by Soviet Yiddish author David Bergelson are two twentieth century poetic historic dramas based on two messianic figures of the sixteenth century. These two modern works are compared in relation to the respective authors' life and times, political and aesthetic outlook, and dramatic powers. The comparison shows the usefulness of the "false Messiah" in dramatizing and expressing difficult contemporary issues.
40
Gatty, Fiona K. A. "Ideal beauty in late eighteenth- and early nineteenth-century French art and art criticism with special reference to the role of drapery and costume." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9c3f5f9e-0a0c-4c1e-a7c1-62ed972cfd12.
Full textAbstract:
Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau idéal' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau idéal' in French art and aesthetics has also not been fully explored. This thesis examines the way in which costume and drapery formed an important component and embodiment of ideal beauty in the work of Winckelmann and in late eighteenth- and early nineteenth-century French artistic circles, providing new insights into the arguments over the meanings of Truth, Beauty and Nature in this period. The thesis proposes that ideal beauty in late eighteenth- and early nineteenth- century France was conveyed in works of art through the accurate rendering of costume and the expressive qualities of drapery in combination with the perfect form and contour of the nude body. The first part of the thesis sets up a proposition that costume and drapery formed part of the definition of ideal beauty in the work of Winckelmann. Highlighting the significance of Winckelmann's work on costume and drapery in French art theory, it demonstrates how the definition of ideal beauty in France also incorporated the accurate rendering of costume and the aesthetic impact of drapery. In demonstrating the significance of costume and drapery to both Winckelmann and French theorists it is proposed that the application of a meta-historical approach of costume and drapery to French art theory can provide new understandings and readings of the definition of ideal beauty, the hierarchy of the genres and the broader aesthetic concerns of late eighteenth- and early nineteenth- century French art. The second part of the thesis applies the proposed hermeneutic of costume and drapery to a small selection of theoretical work on the nature of ideal beauty and on a significant collection of Salon criticism. With this approach to the primary material this thesis demonstrates how French artists were able to express the 'beau idéal' within the traditional academic conventions and hierarchies, and negotiate the sense of public unease over the use of nudity in contemporary art.
41
Driskill, Richard T. "Madonna, maiden and martyr : models of femininity in some early works of André Gide and D.H. Lawrence." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14828.
Full textAbstract:
This dissertation studies certain similarities between some early Bildungsroman of D. H. Lawrence and André Gide. In Lawrence's Sons and Lovers and The Rainbow, and Gide's L'lmmoraliste and La Porte étroite, the authors explore the destructive effects of cultural "Icons", narrowly codified gender roles, upon sensitive young European women at the turn of the century. Through an intricate subtext of allusive imagery, postures, language, and "mythical" patterns, Lawrence and Gide imply that a patristic Christianity had somehow enlisted certain strains of Romance to fashion a pervasive cultural code that encouraged young women to be virginal, passive, and receptive to suffering. The young female protagonists look to their roles as Madonna, Maiden, and Martyr as an escape from a provincial world that offers little to their "over brimming" souls. Ironically, it is their Knight-Christs, the "mentors" who propose to teach them about the higher world, who imprison them further. Pretending to elevate them to the status of Spiritual Muse to inspire the male quest for selfhood, the lovers demand of their Madonna-Maidens a passivity whereby suffering is their only "heroic" act. Male-sculpted models of femininity, then, make it impossible for young women to pursue their own quests for the authentic "self". The final tragedy for the young women comes when their opposite numbers awaken from Romance's pregenital spring to what Lawrence calls "blood-consciousness". The Maidens' Knight-Christs now find restrictive their spiritual lovers and desire instead the initiation into the "flesh" preached by a new cultural code, that of Nietzsche et al. Lawrence's and Gide's young female characters, then, serve as exemplars of an entire generation of young women destroyed in this teleological shift to a new cultural ethos, one in which, suddenly, their "virtues" are judged vices, all they had been presented to them as "natural" is deemed "unnatural".
42
Ohlsson, Anna. "Myt och manipulation : Radikal psykiatrikritik i svensk offentlig idédebatt 1968-1973." Doctoral thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8244.
Full textAbstract:
The aim of the present thesis is to study radical criticism of psychiatry in public discussion in Sweden between 1968 and 1973. Although it was not the first time psychiatry had been challenged, the debate during these years displayed an unprecedented intensity. What is mental illness – a myth, an etiquette, an illusion? Is psychiatry a means of social control? Such were the questions raised at the time. In my thesis, I study the contexts as well as the arguments of these discussions. To this end, a great variety of sources have been consulted: books, newspapers, magazines, films etc. In part, the Swedish debate on psychiatry ran parallel to international discussions on the topic, which have been regarded as a manifestation of anti-psychiatry. This standpoint is often associated with psychiatrists such as R. D. Laing, David Cooper and Thomas Szasz. In my thesis, I challenge the concept of anti-psychiatry, arguing that other concepts are better suited to capture the diversity of the debate in all its nuances. Thus, I make use of radical and reformatory criticism – concepts which have been suggested by the sociologist Tommy Svensson – while also seeking to develop them further. In addition to the international perspective, the psychiatry debate must also be interpreted in its specifically Swedish context. One aspect of this is the Swedish tradition of Government Official Reports: psychiatry had been subject to many investigations prior to the debate in the 1960s and 1970s, and others would follow in its wake. Another characteristic feature of the Swedish debate is two events that formed very suitable targets for critique: Sociopatutredningen and Mentalhälsokampanjen. These events seemed to confirm the most farreaching concerns of the radical critics, namely that psychiatry is a means of social control.
43
Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
Full textAbstract:
Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
44
Ask, Nunes Denise. "Maxime Miranda in Minimis: Reimagining Swarm Consciousness and Planetary Responsibility." Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-117997.
Full textAbstract:
This essay explores Swarm Consciousness in relation to the novels Ender’s Game by Orson Scott Card, Remembering Babylon by David Malouf, and the manga Nausicaä of the Valley of the Wind by Hayao Miyazaki. Through these novels, Swarm Consciousness can be reimagined in order to challenge the ways insects have previously been considered in literature. Swarm Consciousness is originally a concept from biology that explains the self-organizing systems of social insects such as for example bees or ants. Previously it was believed that these insect societies consisted of a great majority of mindless drones that were governed by a central authority, most commonly envisioned as a queen. However, if we base our vision of Swarm Consciousness on the more recent understanding of insect self-organization it is possible to challenge this rigidly divided traditional perspective into one that instead has the potential to give rise to visions of new and more creative interactions between humans and insects. These interactions are not limited to an in-group, out-group mentality, but Swarm Consciousness can be used to imagine interactions between groups, irrespective of their species identity. Due to this shift towards a more decentralized perspective, it is possible to create a new way of imagining the umwelt, as Jakob von Uexküll would define it, the unique environment, of vastly different creatures. The limits of the umwelt can be breached with the aid of Swarm Consciousness and create new possible forms of interspecies imagination. However, these intimate interactions surpass the individuals involved and create opportunities for glimpsing a wider planetary perspective which gives rise to an increased sense of planetary responsibility. Thus, Swarm Consciousness challenges both how we can think, but also who we can think with and, as a consequence, opens up new ways of perceiving unique and individual worlds, as well as the entire planet.
45
McConnell, Sarah E. "The Key to Unlocking the Secret Window." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33226/.
Full textAbstract:
David Koepp's Secret Window was released by Columbia Pictures in 2004. The film's score was written by Philip Glass and Geoff Zanelli. This thesis analyzes transcriptions from six scenes within the film in conjunction with movie stills from those scenes in an attempt to explain how the film score functions.
46
Franks, Jamie N. "Becoming Other: Virtual Realities in Contemporary Science Fiction." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1908.
Full textAbstract:
The purpose of this thesis was to explore the boundary between human and other created by virtual worlds in contemporary science fiction novels. After a close reading of the three novels: Surface Detail, Existence, and Lady of Mazes, and the application of contemporary literary theories, the boundary presented itself and led to the discovery of where the human becomes other. The human becomes other when it becomes lost to the virtual world and no longer exists or interacts with material reality. Each of the primary texts exhibits both virtual reality and humanity in different ways, and each is explored to find where humanity falls apart. Overall, when these theories are applied to real life there is no real way to avoid the potential for fully immersive virtual worlds, but there are ways to avoid their alienating effects.
47
Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.
Full textAbstract:
The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
48
MacKenzie, Victoria R. "Contemporary poets' responses to science." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4058.
Full textAbstract:
This thesis considers a range of contemporary poets' responses to science, emphasising the diversity of these engagements and exploring how poetry can disrupt or re-negotiate the barriers between the two activities. My first chapter explores the idea of ‘authority' in both science and poetry and considers how these authorities co-exist in the work of two poet-scientists, Miroslav Holub and David Morley. My second chapter considers the role of metaphor in science and the effect of transferring scientific terms into poetry, specifically with reference to the poetry of Michael Symmons Roberts who engages with the metaphors related to the human genome. In my third chapter I focus on collections by Ruth Padel and Emily Ballou that tell the life of Charles Darwin in verse. I discuss how these collections function as forms of scientific biography and show that poetic engagement with Darwin's thought processes reveals some of the similarities between scientific and poetic thinking. An area of science such as quantum mechanics may seem too complex for a non-scientist to respond to in poetry, but in my fourth chapter I show how Jorie Graham uses ideas from twentieth-century physics to re-think the materialism of the world and our perception of it. My final chapter is concerned with the relationship between ecopoetry and ecological science, with regard to the work of John Burnside. I show that although he is informed about scientific matters, in his poetry he suggests that science isn't the only way of understanding the world. Rather than framing science and poetry in terms of the ‘two cultures', this thesis moves away from antagonism towards productive interaction and dialogue. Whilst science and poetry are clearly very different activities, the many points of overlap and connection between them suggest that poetry is a resonant and unique way of exploring scientific ideas.
49
Kinnett, Forest Randolph. ""Now His Time Really Seems to Have Come": Ideas about Mahler's Music in Late Imperial and First Republic Vienna." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12141.
Full text
50
Tapscott, Elizabeth L. "Propaganda and persuasion in the early Scottish Reformation, c.1527-1557." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4115.
Full textAbstract:
The decades before the Scottish Reformation Parliament of 1560 witnessed the unprecedented use of a range of different media to disseminate the Protestant message and to shape beliefs and attitudes. By placing these works within their historical context, this thesis explores the ways in which various media – academic discourse, courtly entertainments, printed poetry, public performances, preaching and pedagogical tools – were employed by evangelical and Protestant reformers to persuade and/or educate different audiences within sixteenth-century Scottish society. The thematic approach examines not only how the reformist message was packaged, but how the movement itself and its persuasive agenda developed, revealing the ways in which it appealed to ever broader circles of Scottish society. In their efforts to bring about religious change, the reformers capitalised on a number of traditional media, while using different media to address different audiences. Hoping to initiate reform from within Church institutions, the reformers first addressed their appeals to the kingdom's educated elite. When their attempts at reasoned academic discourse met with resistance, they turned their attention to the monarch, James V, and the royal court. Reformers within the court utilised courtly entertainments intended to amuse the royal circle and to influence the young king to oversee the reformation of religion within his realm. When, following James's untimely death in 1542, the throne passed to his infant daughter, the reformers took advantage of the period of uncertainty that accompanied the minority. Through the relatively new technology of print, David Lindsay's poetry and English propaganda presented the reformist message to audiences beyond the kingdom's elite. Lindsay and other reformers also exploited the oral media of religious theatre in public spaces, while preaching was one of the most theologically significant, though under-researched, means of disseminating the reformist message. In addition to works intended to convert, the reformers also recognised the need for literature to edify the already converted. To this end, they produced pedagogical tools for use in individual and group devotions. Through the examination of these various media of persuasion, this study contributes to our understanding of the means by which reformed ideas were disseminated in Scotland, as well as the development of the reformist movement before 1560.