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1
Kabous, Patricia. "John Edgar Wideman : au-delà de l'héritage." Bordeaux 3, 2011. http://www.theses.fr/2011BOR30042.
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John Edgar Wideman est l’auteur d’une œuvre puissante et lyrique qu’il s’agisse de romans, de nouvelles, d’essais ou de mémoires. Cette étude montre comment tout en s’inscrivant consciemment dans le sillage de la tradition africaine américaine, en contribuant à sa pérennité et en en célébrant sa richesse, il se démarque par une écriture résolument expérimentale, créative et complexe, ce qui fait de lui un écrivain « au-delà de l’héritage ». Elle s’intéresse d’abord au parcours de l’auteur car la genèse et la structuration de l’œuvre entière sont nourries par la biographie. Elle s’introduit ensuite dans l’histoire pour souligner sa répétition et par là même souligner le traumatisme causé par l’esclavage revécu et expérimenté à nouveau par les Noirs avec le racisme qui continue de gangrener les Etats-Unis. La question noire, toujours non résolue, permet à l’écrivain de se concentrer sur le paradigme de la race et la relation père/fils sur un plan très personnel tout en le situant dans le cadre plus vaste de l’histoire des Noirs américains et des relations raciales aux Etats-Unis. Elle étudie ensuite le contenu à la fois politique et social sans lequel l’œuvre serait exsangue. Elle concourt à alimenter une véritable réflexion sur les dysfonctionnements de la société américaine. Ses œuvres de fiction dénoncent et démontent avec autant de force que de précision les mécanismes économiques, l’exclusion sociale et l’aliénation qui en résulte, qui affecte et contribue au déclin de la vie communautaire africaine américaine. Enfin, elle traite des procédés mis en œuvre pour structurer, styliser le réel, rendre compte artistiquement d’une réalité sociale et politique en produisant un effet de beauté et le plaisir de la lecture. Le travail artistique, l’expérimentation illimitée de l’écriture de cet auteur est considérable et inséparable de la dimension politique et sociale. L’œuvre de Wideman charroie de nombreuses questions comme la survie culturelle, la paternité, le paradigme de la race, la sexualité, le trauma historique, le système pénal, la famille et la communauté noire. Elle pose de difficiles questions, des questions que beaucoup d’entre nous évitent consciemment de se poser ou ne prennent pas le temps de considérerJohn Edgar Wideman is the author of a powerful, profound, unsettling and lyrical writings ranging from novels, essays to meditations. The present study examines how coming out of the African American tradition while contributing to its survival by way of celebrating its richness, John Edgar Wideman who is referred to as a–beyond heritage writer–reveals himself through empirical, creative and complex writings. This study points to the author’s life since its genesis as well as its structure, are entirely embedded with biographical insights about Wideman. The study then moves in depth into history in order to underline how its repeats itself, while at the same token points to the psychological trauma caused by the social slavery that African Americans are still undergoing in the twenty-first century as racism continues to shape American race relation. The persistent unsolved Black question gives tools to Wideman to focus on a very personal level upon the father/son race relation paradigm yet putting him in the collective history experienced by African Americans as it is related to race relation in America. This study further discusses the socio-political landscape without which Wideman’s writings would be non-existent. This study aims at generating a thoughtful analysis of the American society dysfunctions. Wideman’s fictional writings criticize and forcefully points to economic mechanisms, social exclusion and the alienation resulting from these social evils affecting and contributing to the decaying of the African American community. Wideman’s writing also discusses processes put into place to structure, idealize reality and account from a stylistic standpoint for a social and political reality by way of producing beauty effect and reading pleasure. The artistic work and the author’s unlimited writing experiments are unique and cannot be dissociated from their political and social dimensions. Wideman’s works examine a host of questions manely cultural survival, durability, racial paradigm, sexuality, historical trauma, incarceration system, family and the African American community. His writings also lay out unconventionnal questions that many among us would rather be consciously or unconsciously in denial of so as to disregard them
2
Hartmann, Melissa Bakeman. "Blurred relationships: The factual fiction of John Edgar Wideman." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2166.
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Control is a central issue in any text: does the author's intention or the reader's interpretation better explain the resulting meaning of the text? This question has long been the subject of debate among textual theorists; this essay proposes a middle ground, namely that the author and the reader engage in a collaborative effort to make meaning in a text.
3
Casmier, Stephen J. "L'esthétique du jazz dans l'oeuvre de John Edgar Wideman." Nice, 1998. http://www.theses.fr/1998NICE2012.
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Pesch, Thomas Joerg. "Microcosmic spaces, power, and identity in John Edgar Wideman's Ghetto Writings." Thesis, University of Leeds, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522966.
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Walker, James E. Jr. "OTHERING, MIRRORING, AND IDENTITY IN JOHN EDGAR WIDEMAN’S BROTHERS AND KEEPERS." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1371582844.
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Berben, Jacqueline. "La communauté et la communication dans l'univers fictif de John Edgar Wideman." Paris 3, 1987. http://www.theses.fr/1987PA030084.
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Bien que la critique ait favorablement recu les premiers romans de john wideman, l'auteur s'est avise que ses efforts d'ecrivain engage ne touchaient pas le public desire. Destine a la culture afro-americaine, le message a vehiculer necessitait la creation d'une langue adaptee, litteraire et populaire a la fois. Le pari est gagne depuis la parution de la trilogie de homewood. Parler noir et lyrisme poetique nous apprennent que si la beaute et le bonheur de la communaute noire de jadis venaient de son unite, totalement desagregee aujourd'hui, il faut oeuvrer pour retrouver cette solidarite en retablissant la vraie communication. Elle seule permettra aux hommes d'installer un nouvel ordre. Au service de l'image de la communaute comblee, le style de wideman a un appel a la fois particulier et universel. Dans le langage d'interface qu'il a perfectionne, il encourage ses freres noirs a imiter l'exemple de ses personnages "pionniers", leur rappelant sans cesse qu'au prix d'un effort inlassable et d'un espoir inebranlable dans la realisation d'une entente parfaite, les plus desavantages de la terre pourront acceder a la dignnite et au bonheur qui, de nos jours, leur echappentDespite critical acclaim for his first three novels, john wideman felt his purposes as a militant artist for the black cause were not being served. Consequently, he set out to make his style more accessible to a general audience while adapting afro-american speech tradition for literary representation. The measure of his success can be gauged by the homewood trilogy. A combination of black talk and poetic lyricism remind us that the beauty and happiness of the black community of old came from a sense of unity that has since vanished. Hope for reattaining that solidarity lies in reestablishing true communication, which in turn will allow the people to issue in a new order. Wideman's style of writing serves the image of the ideal community, launching an appeal that is paradoxically personal yet universal. In the special interface language that he has developed, he urges his fellow afro-americans to follow the example set by his "pioneer" characters, never to give up the battle nor their belief that one day, thanks to the spirit of mutual understanding, they might well attain the dignity and contentment which have so long been denied them
7
Janifer, Raymond Edward. "The Black nationalist aesthetic and the early fiction of John Edgar Wideman /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487943341527331.
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Monville-De, Cecco Bénédicte. "John Edgar Wideman : une phénoménologie de l'être noir (A Phenomenology of Blackness)." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0490.
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Si la réussite sociale exceptionnelle de John Edgar Wideman participe du schéma narratif canonique de la success story à l'américaine, elle fut dès le début minée par le statut minoritaire du héros. C'est à travers sa rupture avec l'institution et ses modes d'écriture, et une critique de la société américaine que l'écrivain affirme une démarche créatrice qui lui vaudra d'occuper une position centrale au sein des champs littéraire et intellectuel. Et ce, bien qu'une série de contraintes tendent, au contraire, à relativiser et marginaliser sa position. Dès lors, poser la question de l'exceptionnalité du destin de John Edgar Wide revenait non seulement à poser la question de l'émergence et de l'institutionnalisation de la figure de l'écrivain et, plus précisément, de l'écrivain africain américain, de la relation entre les champs littéraire et intellectuel et celui du pouvoir mais aussi de la condition noire dans la société étasunienne. En effet, comme en témoignent les destins de l'écrivain et de sa famille, dont il fera la matière de nombreux essais et fictions, le discrédit ou l'humiliation sociale et politique que constitue l'expérience historique de domination racialisée, sont sans cesse réactualisés par les rapports de domination du monde contemporain et leur violence symbolique détermine les dispositions des individus. L'essentiel de cette thèse a été consacré à la tentative d'objectiver l'acte de création et comprendre, à travers l'examen de la situation spécifique de l'écrivain, quelles furent les conditions de possibilité d'une démarche artistique authentiquement créatriceIf John Edgar Wideman's exceptional social achievement respects the canonical pattern of th American success story, it was undermined from the beginning by Wideman's minority status. It is through his rupture with the institution and his way of writing combined with his critique of the American society that Wideman was assured a creative process that would result in him occupying a central position within literary and intelectual fields. All this in spite of several constrains which would relativize and marginalize his position. At that point interrogating John Edgar Wideman's exceptional destiny meant not only interrogating the emergence and institutionalization of the figure of the writer, and more precisely, of the African-American writer in the American society or the relationship between the literary and intelectual fields with the one of power, but at the same time, I addressed the question of being black in the American society. In fact, as the writer and his family destinies are testifying, the discredit, the social and political humiliation that the historical experience of racial domination constituted are constantly revived by the power struggles of the contemporary world and their symbolic violence determines individual dispositions. The main point of my dissertation is an attempt to objectivize the act of creation and to understand, through the examination of the specific situation of the writer, which were the conditions of possibility of an authentic artistic and creative process
9
Potgieter, Koen [Verfasser]. "Haunted Home : Spectral Cities in the Novels of John Edgar Wideman / Koen Potgieter." Berlin : Freie Universität Berlin, 2019. http://d-nb.info/119308671X/34.
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Kilpatrick, Joel Wesley. "The beaded web: Metaphor and association in John Edgar Wideman's Sent for you yesterday." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3207.
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This thesis looks at how Wideman takes advantage of the associative function of metaphor, creating a vast network, or web, or interconnected images. In deviating from linguistic norms, and growing steadily from page to page, this web causes the novel to appear symbolic. It also appears to have a symbolic meaning of its own, possibly representing the intricate social and spiritual connections that comprise the novel's fictional community of Homewood.
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Bunyan, Scott Callum. "Beyond disjunction and appropriation : struggles for personal connections in the works of John Edgar Wideman." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555264.
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Richard, Jean-Pierre. "Du negrier au bateau ivre : figures et rythmes du temps dans l'oeuvre de john edgar wideman." Paris 7, 1998. http://www.theses.fr/1998PA070090.
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Les premieres publications de john edgar wideman coincident avec l'emergence du black arts movement dans son pays, les etats-unis d'amerique. Toutefois son oeuvre ne doit rien au nationalisme "noir". Comme richard wright, ralph ellison et robert hayden le firent avant lui, wideman rejette toute definition raciale de l'homme. Ses trois premiers romans, publies entre 1967 et 1973, composent une longue lamentation de la pensee dichotomique en "noir" et "blanc". L'auteur se contente d'y suggerer que la voie du salut passe plutot par l'imagination que par un heroisme "noir", dont il recuse divers modes dans hurry home et the lynchers. Il faut attendre la parution de la trilogie d'homewood en 1981-1983 pour que la deploration du "petit temps" de l'histoire raciale cede la place a la celebration d'un autre temps, non lineaire, inspire du "grand temps" africain et du "temps du reve" des aborigenes australiens. C'est en revenant aux innombrables recits qu'il a toujours entendu raconter dans sa famille a homewood (un quartier de pittsburgh), que wideman decouvre a la fois le pouvoir du recit, superieur au pouvoir individuel du seul auteur, et le va-et-vient constitutif du recit entre passe et avenir. Employe des lors a produire sans fin du "present perpetuel de narration", ou co-existent ce qui fut, ce qui est et ce qui sera, il constate que la navette du texte peut defaire celle des navires negriers. A partir de 1989, passe maitre dans l'art du recit, c'est desormais sans complexe qu'il remonte au moment ou furent inventees les notions modernes de "race" et d'"ethnicite", en plein siecle des lumieres, au plus fort de la traite transatlantique. L'oeuvre de wideman joue du temps pour communiquer la non essence de ce dernier a la "negrite" : redefinie, celle-ci ne designe plus une identite fixe imposee a certains par le discours dominant, mais un chemin de liberte, l'exploration du possible infini qui seul definit, selon cet auteur, notre conditionJohn edgar wideman's fiction was first published when the black arts movement was fast developing in his country, the united states of america. Yet it owes little to "black" nationalism. From the start any racial definition of man is forcefully rejected by this heir to richard wright, ralph ellison and robert hayden. In his first three novels, published between 1967 and 1973, he laments at length the prevailing "black" / "white" dichotomy, but fails to find consistent ways out of what he calls "little time", i. E. Racial history. Perceived as yet another rehash of the paradigm of race, black heroics are unambiguously disqualified in hurry home and the lynchers. Only in 1981-1983 with the homewood trilogy does wideman strike a new and more jubilant note, as he lovingly gathers up the numerous stories of ordinary life which were told around him when a child. Authorship is no longer a matter of absolute control over the text; rather it means opening up to the many voices competing for air time and truth within society. The storyteller acts as medium to them all. Only then can he hope to gain access to (african) "great time" or (australian) "dreamtime", "a nonlinear, atemporal medium in which all things that ever have been, are, or will be mingle freely". As all stories go backward and forward, linear time collapses and the always present tense of narrative takes over. To counter the notorious slavers' shuttle and erase racial history, wideman has now come to rely on the semi-autonomous shuttle of narrative. Since 1989 his assiduous and ever more sophisticated weaving of textual "great time" is coupled with an uninhibited revisiting of the so-called enlightenment, when africans were transported to the new world, the modern notions of "race" and "ethnicity" invented and ancient greece remodeled and cleansed of all egyptian influence. Because there is always one more voice to hear, there can be no end to the storytelling. Narrative "great time" is what comes next and next and next. In wideman's fiction "blackness" is the opposite of a boxed-in identity: it means revealing and exploring man's infinite possibilities
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Valadié, Flora. "Travail de l'image, critique de l'histoire dans l'écriture americaine contemporaine. John Edgar Wideman, Richard Powers, Paul Auster." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030132.
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Les romans de Powers, Auster et Wideman sont travaillés par l’image et hantés par l’histoire. Au fil des pages, photographes, peintres, spectateurs visionnaires ou témoins aveugles signifient la toute-puissance d’une image qui, bien souvent, scelle la rencontre du regard et du passé. L’entrée dans l’image est aussi entrée dans l’histoire événementielle, et l’histoire quant à elle ne se donne à voir que sous forme d’image, photographique, picturale ou langagière. Cependant, l’image, qu’elle soit littérale ou littéraire, oppose une temporalité propre au temps de l’histoire : conjonction précaire du passé et du présent, simultanéité de temporalités disjointes, l’image, par son hétérogénéité même, disloque le cours de l’histoire. Dans les six romans de Powers, Auster et Wideman qui constituent le corpus de cette thèse, l’image apparaît alors comme le lieu de la conversion du temps chronologique en temps imaginaire ; par le truchement de l’image, le temps des horloges est suspendu tandis qu’afflue celui de la fiction. En reconfigurant le temps, l’image politise l’écriture des trois écrivains : parce qu’elle est en excès de tout discours historiciste, elle fait exploser les mythes fondateurs de l’Amérique et les postulats d’une histoire orientée. Elle démonte le discours du progrès chez Powers, brouille le code des couleurs chez Wideman, et vide le symbole de sa force consensuelle chez Auster. Elle ouvre un temps convulsif à l’intérieur du temps chronologique, et engage, par sa forme même, le regard qui se pose sur elle. Parce qu’elle est force explosive et fictionnante, l’image engendre alors une communauté qui ne communie plus autour de mythes et de symboles, mais s’éprouve en tant que fiction ; l’image apparaît ainsi comme une image « en reste », un résidu et une réserve qui désœuvre la communauté, défait toute clôture narrative et totalité organique, et réinvente les imaginaires du communAuster’s, Power’s and Wideman’s novels are wrought by images and haunted by history. Page after page, photographers, painters, visionary onlookers, or blind witnesses testify to the might of images that force the gaze to confront the past. Entering an image also means entering history and history, in its turn, reveals itself under the form of photographic, pictorial, or verbal images. However, the image, whether literal or literary, pits its own temporality against the time of history : a tenuous conjunction of past and present, a simultaneous combination of disconnected temporalities, the image, by its very heterogeneity, disrupts the flow of history. In the six novels by Paul Auster, Richard Powers, and John Edgar Wideman that make up the corpus of this dissertation, the image then is the crux where chronological time is converted into imaginary time; through the image, clockset time is suspended while the time of fiction flows in. By rearranging time, the image politicizes the writings of these three authors: because it exceeds historicist and positivist discourses, the image blows apart the founding myths of America and the premises of a biased history. In Powers’s novels, it debunks the discourse of progress, in Wideman’s it blurs the code of colours , and drains the symbol of its consensual strength in Auster’s. The image opens up a convulsive time within chronological time and by its sheer form, commits the gaze that rests on it. Because of its explosive and fictional strength, the image begets a community that no longer communes around myths and symbols but experiences itself as fictional ; a lingering image, a remnant and a supply of meaning, it makes the community inoperative, as it undermines narrative closure and ruins any notion of an organic whole, thus crafting new forms of poetic commonality
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Howley, Colin Paul. "'Of Hoop and Men' : Blackness, Masculinity and Basketball in the Later Writings of John Edgar Wideman, 1984-2001." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521970.
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Weets, Tatiana. "L'oeuvre de John Wideman : une écriture de la clandestinité." Paris 3, 1998. http://www.theses.fr/1998PA030200.
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John edgar wideman est l'auteur d'une oeuvre dense et complexe. Qu'il s'agisse de romans, de nouvelles, d'essais ou de memoires, l'oeuvre se caracterise par la souplesse de sa langue qui inclut toutes sortes d'influences : celle de t. S. Eliot mais aussi celles d'autres ecrivains afro-americains, celle du blues, celle du passe de l'auteur. Il en resulte une voix tres specifique ou se melent lyrisme et realisme. C'est la creation de cet idiome qui permet a john wideman de se reapproprier les histoires de sa communaute en les racontant dans une langue qui ne les trahit pas. Les difficultes de l'ecriture ne sont donc pas attribuable a un seul desir d'experimentation litteraire mais, plus fondamentalement, a la recherche d'un langage qui permette a ces histoires eminemment personnelle - souvent douloureuses et secretes - de se dire. Toutefois ces ecrits qui traitent principalement du temoignage, du devoir de memoire ou encore de l'heritage et qui sont ancres dans le personnel resonnent aussi d'enjeux collectifs. Cette etude de l'oeuvre de wideman comme ecriture de la clandestinite est ternaire, elle s'interesse d'abord a la clandestinite de l'oeuvre par rapport a une certaine norme narrative, puis a la clandestinite des textes vis-a-vis d'eux-memes, a tout ce qui demeure irreductiblement secret, et finalement a la clandestinite de l'oeuvre par rapport aux absences qui la motivent. Une fois ces pistes suivies on se rend compte que si ces textes resistent autant a l'analyse c'est qu'en eux cohabitent des systemes mutuellement exclusifs, ceux de la parole et ceux du silence. Autrement dit, l'ecriture est paradoxalement le lieu du secret, de la clandestinite. Et si cette oeuvre est scindee et scindante c'est donc qu'elle renvoie inlassablement a cette impossibilite d'ajuster l'ordre du souhait a celui du reelJohn edgar wideman is the author of multilayered, complex texts. His novels, stories, memoirs and critical essays are characterised by the fluidity of their language and style which reflect a broad array of influences ranging from t. S. Eliot to past and present african-american writers as well as the blues. A most prominent influence is the author's past. The result is the creation of a very specific voice where lyricism and realism coexist. It is the creation of this personal idiom which has enabled wideman to reappropriate the stories of his community and to tell them in a language that does not betray them. The complexities of wideman's writing reveal his interest in literary experimentation but more fundamentally the necessity of a search for a form that will allow these stories, often verging on the unspeakable, to be spoken. These texts which mostly deal with testimony, memory and inheritance and which are thus profoundly personal nevertheless retain a collective value. In drawing from the most intimate wideman reaches the universal. This study of wideman's works as the writing of the unspeakable is threefold and relies mostly on the technique of close reading. It deals first with wideman's narrative choices and their opposition to what could be termed a narrative norm. My study then turns to the way in which the unspeakable and its metaphors inform these texts and finally with the links between loss, or absence, and writing. Ultimately this study concludes that if wideman's texts are so resistant to analysis it is largely because they attempt at recovering all that has been forgotten, at naming the nameless
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Silva, Luiz Eduardo Prates da. "Fios para a rede - cotejando conceitos de John Wesley e Edgar Morin: contribuição à educação nas instituições educacionais metodistas no Brasil, hoje." Faculdades EST, 2010. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=317.
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Diante das demandas contemporâneas e em busca de sobrevivência frente à
mercantilização da educação, instituições educacionais confessionais, como é
o caso das instituições vinculadas à Igreja Metodista, procuram se articular em
redes. Este trabalho visa enfatizar alguns pontos específicos do pensamento
de John Wesley e de Edgar Morin, que possam contribuir para que essas redes
não estejam vinculadas apenas aos aspectos administrativo-financeiros, mas
que tenham, concomitantemente, elementos de reflexão que encerrem uma
carga de sentido, encontrado na confluência da tradição ou seja, na visão
teológica do iniciador do movimento metodista, com o contemporâneo, ou seja,
com os desafios colocados à educação nos dias atuais, a partir do paradigma
da complexidade de Edgar Morin. Essas contribuições são consideradas como
fios para a tecitura da rede, tendo em vista que complexus tem como uma de
suas conotações um tecido de constituintes heterogêneos inseparavelmente
associados. Rede também pode ter outras conotações, como rede de
segurança e para o pescador é um instrumento que garante a sobrevivência.
Os elementos escolhidos como fios para tecer a rede são a antropologia, a
soteriologia, no sentido de salvação social, e a criação e nova criação em
John Wesley. E, ainda, aspectos da antropologia, solidariedade e crise de
destino da humanidade, e educação em Edgar Morin. A tecitura é apresentada
a partir do cotejamento desses conceitos/fios. Exemplificando e apontando
sinais de esperança, apresento algumas práticas e experiências já em vigor na
Universidade Metodista de São Paulo, onde encontro aproximações e
possíveis relações com o material apresentado como os fios e o tecido da rede.
Concluo o trabalho retomando e aprofundando os pontos de confluência entre
alguns aspectos dos pensamentos dos dois autores, como suporte para a
defesa do que considero a educação necessária para o atual momento
histórico, portanto aquela que proponho que deva ser desenvolvida pela Rede
Metodista de Educação.In face of contemporary demands and struggling to survive against the commodification of education, confessional educational institutions, as is the case of the institutions related to the Methodist Church, seek to articulate into networks. This paper aims to highlight some specific points of John Wesleys and Edgar Morins thought, which may allow that such networks be linked not only to the administrative and financial aspects, but have at the same time, elements of reflection carrying a load of meaning, to be found at the confluence of 'tradition', that is, the theological vision of the father of the Methodist movement, with the contemporary vision, that is, the challenges posed to education today, from Edgar Morins paradigm of complexity viewpoint. These contributions are considered as threads weaving the fabric of the network, given that the complexus has as one of its connotations a tissue of heterogeneous constituents, inseparably bound. A net may also have other connotations, such as the "safety net", while for the fisherman, it is an instrument that ensures survival. The elements chosen as threads to weave this network are anthropology, soteriology, in the sense of social salvation, and the creation and 'new creation' in John Wesley. And still, aspects of anthropology, solidarity and the humanitys fate crisis, and education in Edgar Morin. The texture is shown based on a careful examination and comparison of these concepts/threads. Exemplifying and pointing to signs of hope, I describe some experiences and practices being used at the Methodist University of São Paulo, where we find similarities and possible connections with the material presented as the threads and the fabric of the network. I conclude this recovering and examining carefully points of the confluence between some aspects on the thoughts of the two authors as support of defense of what I consider the necessary education for the current historical moment, therefore, the one which I propose that should be developed by Methodist Educational Network.
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Simpson, Tyrone R. "Under psychic apartheid literary ghettoes and the making of race in the twentieth-century American metropolis (Anzia Yezierska, Michael Gold, Gloria Naylor, John Edgar Wideman) /." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162261.
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Thesis (Ph.D.)--Indiana University, 2004.Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0181. Chair: Eva Cherniavsky. Title from dissertation home page (viewed Oct. 12, 2006).
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Thomas, Eric Sanders. "An Examination of the Solo and Duet Vocal Repertoire of Kenneth Mahy." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/105.
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This doctoral essay examines the vocal solo and duet repertoire of Kenneth Mahy, an American composer of art song and choral music in the late twentieth and early twenty-first centuries. By examining his songs, assessing their difficulty, and analyzing their texts, this essay establishes that Kenneth Mahy is a composer worthy of note. In addition, this study provides pedagogical observations and performance notes of his songs. Furthermore, this essay provides biographical information about Mahy, and examines how his training, education, military experience, and unique experiences as the son of missionaries in China and the Philippines, among other influences, have affected and shaped his compositions. Resources include source material gathered from Mahy's personal archives, manuscripts and scores, and personal interviews with Mahy. This information provides comprehensive insight into a unique and deserving composer of modern American art song.
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Sporrong, Elin. "Den kvantandliga diskursen : En undersökning av nyandlighetens möte med kvantfysiken." Thesis, Stockholms universitet, Avdelningen för idéhistoria, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-78696.
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This paper aims to describe and elaborate on a recent discursive change within the new-age movement. Since the seventies and the publishing of speculative popular science books like The Tao of Physics by Fritjof Capra and The self-aware Universe by Amit Goswami, the idea that quantum physics resonates with spirituality has become the topic of hundreds of books and movies. The quantum-spiritual discourse has three distinct ways to approach quantum physics in its discussion on spirituality: The parallelistic approach which emphasizes the similarities between eastern philosophies and modern physics, the monistic-idealistic approach which tells us that mind is the foundation of matter and the scientific spiritual approach which tries to explain spiritual claims scientifically. In the quantum-spiritual discourse, quantum physical phenomena (e.g. non-locality and entanglement) are being called upon to validate metaphysical statements. The primary assumption of the discourse is that the shift of paradigm due to the establishment of modern physics also is a shift of paradigm of spirituality. With the object to examine the common claims made in the discourse, cross-references between spiritual arguments and facts of quantum physics are being made. A discussion is held about the probable influence of the historical context, with particular focus on the monistic evolvement during the late nineteenth century.
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Lewis, Kevin D. "“The Miracle of Unintelligibility”: The Music and Invented Instruments of Lucia Dlugoszewski." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321641867.
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Samadzadegan, Sepideh Verfasser], Dieter W. [Akademischer Betreuer] [Fellner, Edgar [Akademischer Betreuer] Dörsam, Jon Yngve [Akademischer Betreuer] Hardeberg, Johannes A. [Akademischer Betreuer] Buchmann, Kay [Akademischer Betreuer] Hamacher, and Marc [Akademischer Betreuer] Fischlin. "Printing Beyond Color: Spectral and Specular Reproduction / Sepideh Samadzadegan. Betreuer: Dieter W. Fellner ; Edgar Dörsam ; Jon Yngve Hardeberg ; Johannes A. Buchmann ; Kay Hamacher ; Marc Fischlin." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2016. http://d-nb.info/111214143X/34.
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Esposito, Donato. "The artistic discovery of Assyria by Britain and France 1850 to 1950." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/553.
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This thesis provides an overview of the engagement with the material culture of Assyria, unearthed in the Middle East from 1845 onwards by British and French archaeologists. It sets the artistic discovery of Assyria within the visual culture of the period through reference not only to painting but also to illustrated newspapers, books, journals, performances and popular entertainments. The thesis presents a more vigorous, interlinked, and widespread engagement than previous studies have indicated, primarily by providing a comprehensive corpus of artistic responses. The artistic connections between Britain and France were close. Works influenced by Assyria were published, exhibited and reviewed in the contemporary press, on both sides of the English Channel. Some artists, such as Gustave Doré, successfully maintained careers in both London and Paris. It is therefore often meaningless to speak of a wholly ‘French’ or ‘British’ reception, since these responses were coloured by artistic crosscurrents that operated in both directions, a crucial theme to be explored in this dissertation. In Britain, print culture also transported to the regions, away from large metropolitan centres, knowledge of Assyria and Assyrian-inspired art through its appeal to the market for biblical images. Assyria benefited from the explosion in graphical communication. This thesis examines the artistic response to Assyria within a chronological framework. It begins with an overview of the initial period in the 1850s that traces the first British discoveries. Chapter Two explores the different artistic turn Assyria took in the 1860s. Chapter Three deals with the French reception in the second half of the nineteenth century. Chapter Four concludes the British reception up to 1900, and Chapter Five deals with the twentieth century. The thesis contends that far from being a niche subject engaged with a particular group of artists, Assyrian art was a major rediscovery that affected all fields of visual culture in the nineteenth century.
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Fanning, Sarah Elizabeth. "Changing fictions of masculinity : adaptations of Jane Eyre and Wuthering Heights, 1939-2009." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8524.
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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.
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FEDERICO, LUCA. "L'apprendistato letterario di Raffaele La Capria." Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1005664.
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Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.
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Vogt, Edgar-John [Verfasser]. "Characterisation of the spindle assembly checkpoint in mammalian oocytes / vorgelegt von Edgar-John Vogt." 2009. http://d-nb.info/1002778816/34.
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Ndibe, Okey. "History and memory in the fiction of Chinua Achebe, John Edgar Wideman, and Zakes Mda." 2009. https://scholarworks.umass.edu/dissertations/AAI3379998.
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This dissertation explores the nature and context of the dialogue between African and African American writers, buttressed by the extensive use of history and memory by Chinua Achebe, John Edgar Wideman, and Zakes Mda, the three writers at the center of this study. Through the reading of three primary texts – Achebe’s Things Fall Apart, Wideman’s The Cattle Killing, and Mda’s The Heart of Redness – the dissertation examines not only the writers’ engagement with memory and history but also their deployment of “African” metaphysics, modes of apprehension and narrative traditions. The study foregrounds how a growing number of contemporary African and African American writers share an interest in probing connections, common fissures and tensions in their historical experiences. It explores the writers’ investment in history, concern with memory acts, the deployment of the logistics of ogbanje and its allied concepts within their communicative economies, and their involvement in a tripartite trans-Atlantic response to hegemonic discourse.
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McDonald, John Daniel. "Toward a Baptist View of Metaphilosophy: An Analysis of E. Y. Mullins, John Newport, Richard Cunningham, and L. Russ Bush." Diss., 2014. http://hdl.handle.net/10392/4606.
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The purpose of this dissertation is to analyze how four Southern Baptist scholars: E.Y. Mullins, John Newport, Richard Cunningham, and L. Russ Bush, understood--whether explicitly or implicitly--the nature of philosophy. Three issues will be explored as a result of their metaphilosophical views. First, what is the relationship between faith and reason? Second, is a Christian philosophy possible? And third, what role does philosophy serve in the life of the believer?
Chapter 1 sets the historical context regarding the issue of metaphilosophy. Philosophy has been traditionally understood as the love of wisdom. However, since the Enlightenment and the dawning of modern Western philosophy, how thinkers understood the nature of philosophy changed dramatically. As the natural sciences progressed rapidly in the advancement of knowledge, thinkers increasingly viewed philosophy as being in need of change regarding its method and purpose. By the time of the twentieth century, philosophy's identity was in a state of confusion and uncertainty.
Chapter 2 analyzes the metaphilosophy of E. Y. Mullins. For Mullins, philosophy investigated the foundational questions of human existence and operated autonomously from science and religion. The data of philosophy included all of life, including the findings of the various fields of knowledge, and sought to unify all truth into a cohesive unit. The value of philosophy is found in its ability to go beyond the descriptions of science in order to interpret the world in which one lives.
Chapter 3 analyzes the metaphilosophy of John Newport. According to Newport, philosophy is identified with worldview--the structure of one's beliefs about the world. One's worldview affects how one lives and operates within the world. Philosophy includes not only the analytic task of critiquing and clarifying ideas and beliefs, but also the synthetic task of incorporating beliefs into a coherent structure. Philosophy also involves analyzing the key-principles that underlie one's belief structure--those principles that are basic to an individual. Philosophy, or worldview, is valuable to the individual by helping one to make sense of life and to avoid bad decisions.
Chapter 4 focuses on the metaphilosophy of Richard Cunningham. Cunningham views philosophy as one's attempt to understand his experience in all its facets. It is a deliberate action on the part of the individual, one that leads to the development of his worldview. Philosophy involves the traditional tasks of analysis and synthesis, and its value is found in its ability to afford one to live more effectively.
Chapter 5 presents the metaphilosophy of L. Russ Bush. Bush's definition of philosophy is methodological in nature as he views philosophy more as an activity than as a way of life. One employs the laws of logic and other philosophical tasks when analyzing one's own or competing worldviews in order to judge between their similarities or differences, and their strengths or weaknesses. In a day and age where many individuals lazily accept their beliefs without deep reflection, philosophy helps one to hold to beliefs that are more consistent and it helps one to better dialogue with others of differing worldviews.
Chapter 6 concludes the dissertation by highlighting the strengths and weaknesses of the four thinkers presented in the preceding chapters. Suggestions are provided on how to strengthen a Baptist view of metaphilosophy in light of the weaknesses provided. Finally, the current state of philosophy in the Southern Baptist Convention is provided.
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Wescott, Joseph Warren. "A vision of an open door : the establishment and expansion of the North Carolina community college system /." 2005. http://www.lib.ncsu.edu/theses/available/etd-04282005-232138/unrestricted/etd.pdf.
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Thesis (Ed.D.)--North Carolina State University.Vita. Originally issued in electronic format. UMI number: 3175982. Includes bibliographical references (p. 130-139). Also available via the World Wide Web.
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Trninic, Marina. "Blackening Character, Imagining Race, and Mapping Morality: Tarring and Feathering in Nineteenth Century American Literature." Thesis, 2013. http://hdl.handle.net/1969.1/151298.
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This study examines the ritual of tarring and feathering within specific American cultural contexts and literary works of the nineteenth-century to show how the discourse surrounding the actual and figurative practice functioned as part of a larger process of discursive and visual racialization. The study illustrates how the practice and discourse of blackening white bodies enforced embodiment, stigmatized imagined interiority, and divorced the victims from inalienable rights. To be tarred and feathered was to be marked as anti-social, duplicitous and even anarchic. The study examines the works of major American authors including John Trumbull, James Fenimore Cooper, Edgar Allan Poe, and Nathaniel Hawthorne, analyzing how their works evidence a larger national conflation of character, race, and morality. Sometimes drawing on racial imagery implicitly, and sometimes engaging in the issues of race and slavery explicitly, their works feature tarring and feathering to portray their anxieties about social coercion and victimization in the context of the “experiment” of democracy. Trumbull’s mock-epic genre satirizes the plight of the Tory and diminishes the forms of the revolution; Cooper’s novel works as a rhetorical vehicle to prevent a perceived downfall of the republic; the short fiction of Poe exaggerates the horror of uneven and racialized power relations; and Hawthorne’s body of work ironizes the original parody of tar and feathers to expose the violent nature of democratic foundation. Relying on an interdisciplinary approach, this first, in-depth study of tarring and feathering in America reveals that the ritual is a fertile ground for understanding the multivalent social constructs of the time. Examining tarring and feathering incidents can tell scholars about the status of racial feeling, moral values (including sexual and gender norms), and economic fissures of the context in which they occur. Abjecting the body of the victim, the act rewrites the individual’s relationship to the body politic, and the performance of the ritual reveals the continuously emergent, publically sanctioned forms of belonging to the community and the nation. Moreover, examining the representation of tarring and feathering can tell scholars about an author’s relationship to the ideology of an American way.
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Henry, Kajsa K. Dickson-Carr Darryl. "A literary archaeology of loss the politics of mourning in African American literature /." 2006. http://etd.lib.fsu.edu/theses/available/etd-07042006-002318.
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Thesis (M.A.)--Florida State University, 2006.Advisor: Darryl Dickson-Carr, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 26, 2006). Document formatted into pages; contains viii, 103 pages. Includes bibliographical references.
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Issidoro, Agustín. "Bello ruido: de la altura al sonido. Transformaciones del medio musical en el siglo XX." Bachelor's thesis, 2021. http://hdl.handle.net/11086/23052.
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Este trabajo nace de una constelación de preguntas e inquietudes. Algunas fueron surgiendo a lo largo del trayecto académico en la forma de interrogantes teóricos que se desprendían de los contenidos del plan de estudios; otras comenzaron a formularse alrededor de la práctica compositiva, en esos momentos condensados en los que nos quedábamos mirando los pentagramas esperando una idea; otras caían con la noche en las charlas entre amigos y pares en los patios después de jornadas de ensayo; las más lacerantes nos sorprendían con la curiosidad de un familiar que se interesaba por nuestra actividad.
De alguna manera, todas estas preguntas buscan comprender mejor qué es lo que hacemos cuando decimos que hacemos “música contemporánea”. Al principio, estos interrogantes giraban en torno a una de las características más sobresalientes, diríamos más evidentes, de esta música: la presencia del ruido y la construcción del discurso musical a partir de sistemas no vinculados a las alturas. ¿Por qué hay ruido en la música? ¿Cómo llegó el ruido a poder contarse entre los materiales disponibles para el compositor? En una segunda instancia, preguntarnos por el ruido nos llevó a modificar el lugar desde el cual nos posicionábamos y entonces nos interrogamos, no ya por la posibilidad de hacer música con ruido, sino por la posibilidad de escuchar al ruido.
¿Puede ser música el ruido? ¿Cómo se escucha al ruido? Y más precisamente para nosotros: ¿Cómo se escucha la música contemporánea del siglo XXI? Aquí el adverbio no pretende prescribir un modo de escuchar la música, sino que se pregunta por su posibilidad: ¿Cómo es posible la experiencia estética del ruido en el discurso musical? Y más fundamentalmente: ¿Cuáles son las condiciones de la música contemporánea del siglo XXI? Así, este trabajo comienza en el ruido, pero termina en otro lado. Partimos del ruido, proponiéndolo como uno de los posibles vectores para explicar, no sólo cuáles son
las condiciones de la música actual sino cómo éstas llegaron a serlo. Nuestro lugar de llegada es la constitución del sonido como medio del arte musical.
En nuestra investigación nos enfocaremos específicamente en el desarrollo de la música de tradición escrita occidental. Argumentaremos que las condiciones estéticas fundamentales de la práctica musical están basadas en una relación medial entre el discurso artístico y el sonido. Sin embargo, dicha relación que da forma a la experiencia estética contemporánea es producto de una serie de cambios sociales y culturales que comenzaron a desarrollarse a mediados del siglo XIX y que transformaron las maneras de pensar, componer y escuchar la música hacia mediados del siglo pasado. En una primera instancia, nos hemos referido a este proceso como la incorporación del ruido al discurso musical. En una segunda instancia, luego de una discusión sobre el concepto de ruido, nos referimos al mismo proceso como un cambio de paradigma medial, de la altura al sonido.Fil: Issidoro, Agustín. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Música; Argentina.