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Roediger, Morgan A. "Moon City." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1555278169260276.
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Chavez, Katie Louise. "Illustrating Sherlock Holmes: Adapting the Great Detective in Granada Television’s Sherlock Holmes." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/939.
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By using adaptation theory and Linda Hutcheon’s depiction of adapters in the process of adaptation as “first interpreters and then creators” (18), this article argues how the original Sherlock Holmes illustrations, penciled most notably by Sidney Paget, are both a canonical element of the Holmes legacy and themselves an adaptation. This creates a means of exploring why and how the television show Sherlock Holmes (1984-1994), developed by Granada Television, uses the original Holmes illustrations as a source of adaptation to create the appearance of fidelity to Arthur Conan Doyle’s Sherlock Holmes stories. Being faithful to the Holmes stories is not a common adaptation practice. Granada’s Holmes chooses to be faithful to the original illustrations and to the Victorian era, not so much to be unique among Holmes adaptations but to be similar to the 1980s heritage cinema trend of faithfully adapting English literature. Heritage cinema, as Andrew Higson states, is a “potent marketing of the past” (1), and through its propensity to adapt literature faithfully to a past time period, heritage cinema reflects a cultural desire for national nostalgia in 1980s Britain. In the case of Granada’s Holmes, this tactic turns Sherlock Holmes into both financial and cultural capital. By being seemingly faithful to the original illustrations, Granada’s Holmes is left vulnerable to the kinds of fidelity or comparative criticisms that adaptation scholars often denounce. Adaptation studies criticizes efforts to compare the source text to the adaptation, saying it will inevitably lead to privileging the source text. Through my investigation, however, I argue that there is a need to use forms of fidelity criticism in order to more fully explore the reasons why Granada’s Holmes hinges its success around fidelity to the original Holmes illustrations.
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Bradford, Tony. "City of Invention." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1291169312.
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Bergman, Andrew Marlowe. "Vette City." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469792156.
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Jaccaud, Sabine Jeanne. "The postmodern city : architecture and literature." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:90ac276d-030a-4a8f-8743-018c21c5f50f.
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This thesis explores Postmodern architecture and narrative representations of the city as an emblem for the presence of the past in a contemporary environment. The architectural theory of Aldo Rossi is a model for this perception of the city as a locus of memory. Berlin, London and Paris are the places I will consider. Part I presents examples of architectural practice of the 1980s. A project for a museum of German history in Berlin, the Sainsbury Wing of the National Gallery in London and the Place de Stalingrad in Paris re-work urban historical traces. Chapter 4 outlines the theories behind each project and how they develop notions of memory within the city. Part II pursues this thread by focusing on examples of narrative representations of cities. In relation to Germany and Berlin, Wim Wenders' film Per Himmel über Berlin, Walter Abish's novel How German Is It. Christa Wolf's Kindheitsmuster and Hugo Hamilton's Surrogate City are my main sources. I discuss London through Peter Ackroyd's novel Hawksmoor and Paris through examples of Patrick Modiano's writing. A fourth and more theoretical chapter outlines how Postmodern narrative represents history and problematises memory. Two images direct this discussion: the detective and the palimpsest. My sources rely on the model of urban inquests and portray the city as a space shaped by a lamination of traces from superimposed eras. Part III connects architecture and narrative through examples of recent developments in Postmodern museology, mainly the Holocaust Museum. They construe historical narratives by endowing building and contents with a communicative function. As a conclusion, I establish that Postmodern concerns with history focus on the importance of bearing witness to the past, however problematic its representation has become. As the city houses memory, it is a priviledged location for historical traces which define contemporary identity.
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Blake, L. "The American city in literature 1820-1930." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.596709.
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American urban writing of the nineteenth and early twentieth centuries is characterized by a range of discursive, thematic and ideological conflicts. These generate a literature of the city which is often paradoxical, ambiguous or aporetic. Across a wide range of texts, written in different periods and in different generic forms, the American city is thus seen to resist the philosophical or narratological ordering principles employed to loan coherence and cogency to the urban spectacle. Such a resistance functions, this thesis contests, as an articulation and interrogation of the crises of individual, national and artistic identity engendered by the urbanization of America. In this thesis, such textual practices are addressed through a peristrophic engagement with American literary criticism, with theoretical debates on the relation of textual forms to the world of the text's production and with discourses of modernity drawn from social and political theory. By locating each text historically, generically and philosophically, this thesis divides into three contiguous areas of inquiry. Edgar Allan Poe, Herman Melville and Walt Whitman are discussed within the context of romantic idealism. The pronouncedly spiritual representations of the city which each writer produced, is here aligned to the philosophy of nature and the policies of radical individualism which pervades the texts in question. William Dean Howells and Theodore Dreiser are discussed as realists whose urban novels emerged from a self-conscious synthesis of ante-bellum idealism and machine age materialism. This synthesis, it is argued, enabled these writers to explore the effects of capitalist industrialism upon the nation, its citizens and their arts. Edith Wharton and John Dos Passos are discussed as modernists, whose verisimilitudinous representations of the city facilitated a critique both of the mythical lexicon of the ante-bellum period and of the integrated subjectivity and textual unity posited by the realist text.
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Rossouw, Jean-Pierre. "Detection and the modern city." Master's thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/18264.
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This dissertation examines detective fiction as a form which has evolved in close relation to the modern city from the nineteenth century to the present. The argument runs that the link between the urban setting and the detective story is an essential characteristic of the form which has been undervalued in the study of detective fiction. The importance of this relationship to the genre is delineated and emphasized through the use of representative examples, beginning with Edgar Allan Poe and then moving to Arthur Conan Doyle, Dashiell Hammett and finally a number of later writers in the field, all of whom use the city as setting for the narrative, as well as a problematizing element. The city can be a comfortably known environment wherein the detective operates, but it can also be a labyrinth of confusing forces and misleading clues. For the detective, whose goal is the solution of the puzzle, this environment causes by turn reassurance and distress. In a comparison between these authors, fundamental differences pertaining to the detective as individual and his interaction with the city are explored, and a development is described which sees the detective becoming increasingly unsure of the city and of his position within it. In terms of the genre, this relation shows how the detective becomes a figure who has to be dealt with in ever more complex terms, a shedding of the sureties of the past. On the personal level, the detective becomes a symbol of the modern individual in the city, who tries to make some sense of the living environment which the city offers, and the difficulties which the city creates for perception of the environment and the development of self-realization in terms of this environment. The study therefore operates on three levels: the formal, where the epistemology of the detective form is traced from early confidence to later manifestations of disruption of these confidences; the socio-urban, where the representation of the city is described as it changes; and the linked concern operating on the individualistic level, the development of the detective as unitary individual and "hero".
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Garcia, Garcia Rafael. "El horizonte de expectativas y las comunidades interpretativas en fray Luis de Granada: el Libro de oración y meditación, la Guía de pecadores y la Introducción al símbolo de la fe." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281991692.
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Coughlin, Steven. "Another City." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1363951384.
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Brunning, Alizon. "Signs of change in Jacobean city comedy." Thesis, University of Central Lancashire, 1997. http://clok.uclan.ac.uk/19035/.
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This thesis is concerned with a study of a particular genre, Jacobean city comedy, in relation to its socio-economic and religious context. It aims to show that the structural forms of city comedy share similarities with structures in Jacobean social consciousness. By arguing that the plays are productions of a material age this study suggests that these structures are manifestations of ideological changes brought about by two related systems of thought: capitalism and Protestantism.
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Stewart, Matthew. "Ghostland in Moon City: Stories and a Novella." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586773373865532.
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Murphy, Kris Robert. "His Lost City: F Scott Fitzgerald's New York." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625818.
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Muchemwa, Kizito Zhiradzago. "Imagining the city in Zimbabwean literature 1949 to 2009." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85579.
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Thesis (PhD)-- Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: My thesis is on the literary imagining of the city in Zimbabwean literature that emerges as a re-visioning and contestation of its colonial and postcolonial manifestations. Throughout the seven chapters of the thesis I conduct a close reading of literary texts engaged in literary (re)creations of the city. I focus on texts by selected authors from 1949 to 2009 in order to trace the key aspects of this city imagining and their historical situatedness. In the first chapter, I argue the case for the inclusions and exclusions that are evident. In this historical span, I read the Zimbabwean canon and the city that is figured in it as palimpsests in order to analyse (dis)connections. This theoretical frame brings out wider relationships and connections that emerge in the (re)writing of both the canon and city. I adopt approaches that emphasise how spaces and temporalities ‗overlap and interlace‘ to provoke new ways of thinking about the city and the construction of identity. I argue for the country-city connection as an important dynamic in the various (re)imaginings of the city. Space is politicized along lines of race, ethnicity, gender and class in regimes of politics and aesthetics of inclusion and exclusion that are refuted by the focal texts of the thesis. I analyse the fragmentation of rural and urban space in the literary texts and how country and city house politico-aesthetic regimes of domination, exclusion and marginalisation. Using tropes of the house, music and train, I analyse how connections in the city are imagined. These tropes are connected to the travel motif found in all the chapters of the thesis. Travel is in most of the texts offered as a form of escape from the country represented as a site of essentialism or nativism. Both settlers and nationalists, from different ideological positions, invest the land and the city with symbolic political and cultural values. Both figure the city as alien to the colonised, a figuration that is contested in most of the focal texts of the thesis.
Travel from the country to the city through halfway houses is presented as a way of negotiating location in new spaces, finding new identities and contending with the multiple connections found in the city. The relentless (un)housing in Marechera‘s writing expresses a refusal to be bounded by aesthetic, nationalist and racial houses as they are constructed in the city. In Vera‘s fiction, travel – in multifarious directions and in a re-racing of the quest narrative in Lessing – becomes a critical search for a re-scripting of gender and woman‘s demand for a right to the city. The nomadism in Vera‘s fiction is re-configured in the portrayal of the marginalised as the parvenus and pariahs of the city in the fiction of Chinodya and Tagwira. In the chapter on Chikwava and Gappah, in the contexts of spatial displacement and expansion, the nationalist nativist construction of self, city and nation comes under stress.
I interrogate how ideologies of space shape politico-aesthetic regimes in both the country and the city throughout the different historical phases of the city. In this regard I adopt theoretical approaches that engage with questions of aesthetic equality as they relate to the contestation of spatial partitioning based on categories of race, gender and class. In city re-imaginings this re-claiming of aesthetic power to imagine the city is invoked and in all the texts it emerges as a reclaiming of the right to the city by the colonised, women, immigrants and all the marginalised. I adopt those approaches that lend themselves to the deconstruction of hegemonic figuration, disempowerment and silencing of the marginalised, especially women, in re-imagining the city and their identities in it.<br>AFRIKAANSE OPSOMMING: My tesis se onderwerp is die literêre voorstellings van die stad in Zimbabwiese letterkunde wat ontstaan as ‗n herverbeelding van en teenvoeter vir beide koloniale en postkoloniale manifestasies. Regdeur die sewe hoofstukke van die tesis voer ek deurtastende interpretasies van literêre tekste aan, wat die stad op nuwe maniere uitbeeld. My fokus val op tekste deur geselekteerde skrywers van 1949 tot 2009 ten einde die sleutelelemente van hierdie proses van stadverbeelding en die historiese gesitueerdheid daarvan te ondersoek. In die eerste hoofstuk bied ek die argument aan betreffende die voor-die-hand liggende in- en uitsluitings van tekste. Deur hierdie historiese strekking lees ek die Zimbabwiese kanon en die stad wat daarin figureer as palimpseste, ten einde die (dis-)konneksies te kan analiseer. Hierdie teoretiese beraming belig die wyere verhoudings en verbindings wat na vore kom in die (her-) skrywe van beide die kanon en die stad. Ek gebruik benaderings wat benadruk hoe ruimtes en tydelikhede oormekaarvloei en saamvleg om sodoende nuwe maniere om oor die stad en oor identiteitskonstruksie te besin, aanmoedig. Ek argumenteer vir die stad-platteland konneksie as ‗n belangrike dinamika in die verskillende (her-)voorstellings van die stad. Ruimte word só verpolitiseer met betrekking tot ras, etnisiteit, gender en klas binne politieke regimes asook ‗n estetika van in- en uitsluiting wat deur die kern-tekste verwerp word. Ek analiseer verder die fragmentasie van landelike en stedelike ruimtes in die literêre tekste, en hoe die plattelandse en stedelike ruimtes tuistes bied aan polities-estetiese regimes van dominasie, uitsluiting en marginalisering. Die huis, musiek en die trein word gebruik as beelde om verbindings in die stad te ondersoek. Hierdie beelde sluit aan by die motif van die reis wat in al die hoofstukke manifesteer. Die reis word in die meeste tekste gesien as ‗n vorm van ontsnapping uit die platteland, wat voorgestel word as ‗n plek van essensie-voorskrywing en ingeborenheid. Beide intrekkers en nasionaliste, uit verskillende ideologiese vertrekpunte, bekleed die platteland of die stad met simboliese politieke en kulturele waardes. Beide verbeeld die stad as vreemd aan die gekoloniseerdes; ‗n uitbeelding wat verwerp word in die fokale tekste van die studie.
Reis van die platteland na die stad deur halfweg-tuistes word aangebied as metodes van onderhandeling om plek te vind in nuwe ruimtes, nuwe identiteite te bekom en om te leer hoe om met die stedelike verbindings om te gaan. Die onverbiddelikke (ont-)tuisting in die werk van Marechera gee uitdrukking aan ‗n weiering om deur estetiese, nasionalistiese en rassiese behuising soos deur die stad omskryf en voorgeskryf, vasgevang te word. In die fiksie van Vera word reis – in telke rigtings en in die her-rassing van die soektog-motif in Lessing – ‗n kritiese soeke na die herskrywing van gender en van die vrou se op-eis van die reg tot die stad. Die nomadisme in Vera se fiksie word ge-herkonfigureer in uitbeelding van gemarginaliseerdes as die parvenus en die uitgeworpenes van die stad in die fiksie van Chinodya en Tagwira. In die hoofstuk oor Chikwava en Gappah word die nasionalistiese ingeborenes se konstruering van die self, stad en nasie onder stremmimg geplaas in kontekste van ruimtelike verplasing en uitbreiding.
Ek ondervra hoe ideologieë van spasie vorm gee aan polities-estetiese regimes in beide die platteland en die stad regdeur die verskillende historiese fases van die stad. In hierdie opsig maak ek gebruik van teoretiese benaderings wat betrokke is met vraagstukke van estetiese gelykheid met verwysing na kontestasies oor ruimtelike verdelings gebaseer op kategorieë van ras, gender en klas. In herverbeeldings van die stad word hierdie reklamering van die estetiese mag om die stad te verbeel, bygehaal in al die tekste as herklamering van die reg tot die stad deur gekoloniseerdes, vroue, immigrante en alle gemarginaliseerdes. Ek maak gebruik van benaderings wat hulself leen tot die dekonstruksie van hegemoniese verbeelding, ontmagtiging en die stilmaak van gemarginaliseerdes, veral vroue, in die herverbeelding van die stad en hul plek binne die stadsruimte.
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Gilloch, Graeme Peter. "An analysis of Walter Benjamin's writings on the city." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385360.
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Persson, Dennis. "The Industrialised City of Great Expectations? : Pip's journey from the marshes to the city." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-10215.
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This bachelor thesis will have its focus on Great Expectations by Charles Dickens. The central claim of this thesis is that in the novel Great Expectations, the protagonist Pip is used by Dickens as a metaphor for the British urbanization during the period of industrialisation. The literary theory that will help to analyse and prove this claim will be New Historicism. The central praxis of using non-literary historical documents and comparing them it to a literary text such as Great Expectations will be used in the discussion part of this thesis. As New Historicism tends to be unclearly defined, this thesis applies H.Aram Veeser’s definition and his definition is explained in this thesis. The thesis is structured thus firstly, Pip’s time in the marshes will be discussed and in this discussion and the following ones. Characters that influence Pip is used to see Pip’s alternation.Secondly, after discussing Pip’s time in the marshes, his time in London is discussed. Finally, Pip’s return to the marshes after living in the city is discussed to clearly see his change in attitude and whether the urbanisation is for the better or it worsens his state of mind. Pip’s journey in Great Expectations expresses an ambivalence against urbanization. As urbanisation has great expectations in the rural communities, Pip sees that this comes to a high cost.
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Inan, Dilek. "The city and landscapes beyond Harold Pinter's rooms." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4373/.
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Pinter's dramas have been labelled as 'absurd', 'mysterious', 'enigmatic', 'taciturn'. There has been a constant tendency to reduce the idea of the 'Pinteresque' to language when Pinter is preoccupied with the tensions between reality and the world of the imagination. He has, actually and accurately, used theatre as a 'critical act' to denote the abstracted realities, and he has applied his language to embody his world-view - his concerns in the contemporary capitalist world. Pinter has journeyed from the room to the outside world, from the private to the public social space, and has identified an inescapable sense of pessimism and alienation, and investigated an alarming world of atrocities. There are cities and landscapes beyond Pinter's rooms, cities peopled by wandering, displaced figures surveying the self-estranged city that is modern consciousness, and landscapes where his people retreat into the private realms of memory and fantasy. This thesis explores the virtual geographies beyond Pinter's rooms through the vocabulary of some modernist theoreticians and social scientists, as there are significant parallels between their analytical observations and the poetic perceptions of Pinter, a practising artist, and the phantom images of his characters. Pinter's plays and film adaptations tend to portray the city as a colonial present, and the country as a mythological past. The 1970s' plays portray a community of isolation, urban decay, dispossession and suffering, through the figure of the 'flâneur' - his characters' subjective experiences, memories and fantasies in the metropolis. In these memory plays, men and women have different mental landscapes and desires. To some extent the city is both a male-constructed world and an image of the twentieth century; in both senses it is anti-human and in decline. In his 1980s mature plays, Pinter's lyrical interiors and serene landscapes are colonised by the metropolis. Here Pinter investigates a universally oppressive space filled with misery and social dislocation. The city destroys humanity in a decaying modem world. These plays identify the global city as the locus of existential alienation and as the centre of political power and oppression - a world of brute masculine power. The last two plays, in this study explore other wastelands of human isolation and suffering, and criticise the British suspicion of the 'intelligentsia'. Using scenes that are ingrained in the contemporary audience's physical memory, Pinter makes the distinction between being an active participant and being a witness, a 'spectator' in this alarming world. And thus, he criticises the tradition of mockery of the artistic and the intellectually curious in Britain, and urges a need for a 'politically curious', at politically questioning theatre-going society.
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Wells, Caragh. "Writing the city : the urban novel in Spain with particular reference to Barcelona." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267208.
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Quevedo, Alvarado Maria Piedad. "Epistemología Criolla, Práctica Poética y Soberanía Simbólica en la Nueva Granada: El Desierto Prodigioso y Prodigio del Desierto de Pedro de Solís y Valenzuela." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11631.
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This work seeks to relocate El desierto prodigioso y prodigio del desierto (1650 ca.) within the discursive net of 17th Century Spanish Empire, and to make visible its agendas within the context of the New Kingdom of Granada. Hence, this work states the enunciation of a creole epistemology, defined as an interrogative attitude assumed by the colonial subjects on discourses and forms of writing associated with the Metropoli, which statements of truth and authority are proved inadequate in colonial contexts. These subjects are not necessarily spanish descendants born in America; they are called «criollos» because of their elitist attitude towards their american origin along with their mastering of the discursive reason.<br>Romance Languages and Literatures
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Muller, Vivienne. "Imagining Brisbane : narratives of the city 1975-1995 / by Vivienne Muller." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18488.pdf.
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Balshaw, Maria. "'City of refuge' : Harlem and urban aesthetic twentieth-century African American literature." Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263909.
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Murphet, Julian Sean. "Literature and the postmodern city : the contemporary writing of Los Angeles." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624797.
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Wang, Juan. "Classical music policy and practise in a British city." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/12935/.
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The argument in my thesis regarding cultural policy points out a fundamental contradiction about the nature of democracy. The impulse that should motivate public cultural policies is primarily democratic: it is to give universal access to what are deemed unique cultural practices. However, these practices are often socially and culturally inaccessible. For instance, in the case of the high arts and the world of classical music, works are often prized precisely because of their high degree of sophistication within a particular tradition, something that tends to prevent such works from being immediately understood or enjoyed by the general public. Therefore, it seems, an effective cultural policy is crucial to offer universal access to unique cultural practices, like classical music. Based on the theoretical work of Jim McGuigan (drawing upon Habermas's notion of the public sphere) and of Tony Bennett (drawing upon Foucault's notion of governmentality), my research starts at a local city level in a British context, and then focuses on the relationship between classical music and cultural policy. I also pose the question of how the value implicit in a ‘culture in common’ and the plural forms of cultural expression help the development of self-respect and esteem and thus contribute to democratic values in a British context. My thesis is designed to contribute to a critical understanding of how classical music policy has been exercised at a local level. This has been achieved by adopting a qualitative research approach. Thus, my research findings show that power differentials exist in the field of cultural policy. The research focus in this thesis suggests that music policy might focus too much on the imposition of a top-down model that is unable to deal adequately with the dispersion of power. Further, the current debate does not take into account the importance of tradition and the critical role of multiculturalism. The theory points to ways these features can be incorporated into future debates on cultural policy.
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Klimasmith, Elizabeth. "At home in the city : networked space and urban domesticity in American literature, 1850-1920 /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9372.
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Duggan, Lucy. "Reading the city : Prague in Czech and Czech-German narrative fiction since 1989." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3827cf9c-fa91-4fb5-aa7e-8942de885729.
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In the course of its history, Prague has been the site of many significant cultural confrontations and conversations. From the medieval chronicle of Cosmas to the work of contemporary writers, the city has taken shape in literature as a multivalent space where identities are constructed and questioned. The evolution of Prague's literary significance has taken place in an intercultural context: both Czech-speaking and German-speaking writers have engaged with the city and its past, and their texts have interacted with each other. The city has played a central part in many collective narratives in which myth, history and literature intertwine. Looking at contemporary prose fiction written in both Czech and German, this thesis explores continuities and contrasts in the literary roles played by Prague. It analyses two German-speaking emigrant authors, Libuše Moníková (1945-1998) and Jan Faktor (1951- ), viewing them alongside three Czech writers, Jáchym Topol (1962- ), Daniela Hodrová (1946- ), and Michal Ajvaz (1949- ). Through close readings of eight texts, the thesis approaches the imagined city from four angles. It discusses how contemporary authors portray the search for meaning in the city by imagining Prague as two contrasting realms (the 'real' city and the 'other' city), how the discontinuities of the city are reflected by the fragmentation of the authorial stance, how these authors assemble new Prague myths from the vestiges of older topoi, and how they confront the contradictory urges to uphold the boundaries of the city and to transgress them. In post-1989 Prague, authors explore the unstable spaces between continuity and discontinuity, constructing an authorial ethos in these areas of tension.
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Lamont, Craig Ronald. "Georgian Glasgow : the city remembered through literature, objects, and cultural memory theory." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7041/.
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The core argument under discussion in this thesis is that Georgian Glasgow (1714-1837) has been largely overshadowed by the city’s unprecedented growth in the following centuries when it became a symbol of the industrial age. In this sense much of the work being done here is a form of cultural excavation: unearthing neglected histories from the past that tell us more than is presently known about the development of Glasgow. The thesis will engage with literature, history, and memory studies: a collective approach that allows for both general discussion of ideas as well as specific engagement with literature and objects. The larger issues to which these converging disciplines will be applied include the Scottish Enlightenment, religion, cultural identity, slavery, and diaspora. The thesis is developed chronologically through the Georgian period with contextual discussions of the seventeenth and nineteenth centuries at each stage. This results in a more rounded analysis of each theme while making the argument that Georgian Glasgow remains underrepresented in the public realm. The main historical figures that help this argument are: Robert and Andrew Foulis; Tobias Smollett; Adam Smith and James Boswell; and John Galt. Each of these main figures represent distinct themes that define the case studies of the argument. They are: print culture and religion; science and medicine; slavery; and transatlantic migration and colonisation. There are crossovers, for instance the points made about religion in chapter one may be utilised again in chapters two and four; while the very broad theme of the Scottish Enlightenment is discussed to varying degrees in every chapter. The methodology strives to discuss literary, historical, and theoretical memory studies together. In the latter field, the theories of the pre-eminent scholars underpin the case studies of people, places, and objects. Given the connection of this thesis to the major Glasgow Life exhibition, How Glasgow Flourished: 1714-1837 (2014), this interdisciplinary approach is able to reflect the public response to ‘Georgian Glasgow.’ The majority of these findings are revealed in the conclusion chapter, although the experience of working collaboratively with Glasgow Museums informed the thesis as a whole. While this thesis primarily aims to recover and engage with the forgotten aspects of Glasgow’s past, it is also shaped as a methodological template transferrable to other places and time periods. By engaging with the specialisms of academia and taking them into the public realm via other institutions, this thesis strives to remember Georgian Glasgow while outlining a practical process for cultural engagement elsewhere.
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Peterson, Kristin Anne. "The stranger in the city : genre and place in the works of Nikolai Gogol and Liudmila Petrushevskaia /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu148820385724868.
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Clark, Catherine Anne. "From the Country to the City: Southern Identity in the Stories of Taylor and O'Connor." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625353.
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Gutwein-Guenther, Alan. "When they tried to save a city, they forgot to build playgrounds /." Full text available online, 2008. http://www.lib.rowan.edu/find/theses.
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Hall, Michael. "Francis Brett Young’s Birmingham : North Bromwich – City of Iron." Thesis, University of Birmingham, 2008. http://etheses.bham.ac.uk//id/eprint/172/.
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In this thesis I investigate Francis Brett Young’s Birmingham portrait in his North Bromwich novels, showing it to be a valid interpretation, though biased to suit the anti-urban prejudices of its author. Chapter One sets Young in his biographical and literary context. Birmingham during the North Bromwich era (c1870-1939) is examined and the role of novels as historical source established. In Chapter Two I define and explore Young’s North Bromwich canon, one exemplar among many historical realities, and show that the name and soubriquets of North Bromwich interpret Birmingham. Chapter Three investigates North Bromwich’s climate and topography, commercial, political and civic life, indicating clear Birmingham parallels. Chapter Four describes North Bromwich suburbs, housing and transport, each of which accurately replicates Birmingham originals. In Chapter Five I show North Bromwich’s recreational and religious life reflecting Young’s own Birmingham experience. Chapter Six traces North Bromwich’s interpretation of Birmingham’s educational provision, particularly concentrating upon its university’s evolution. Chapter Seven establishes links between North Bromwich and Birmingham medicine, revealing thinly-disguised fictional characters as key Birmingham practioners. Summarizing the above, Chapter Eight confirms the integrity of Young’s North Bromwich portrait and his seminal role in the on-going literary interpretation of Birmingham.
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Holland, Ailsa. "The city of dreams and the city of stern reality : British literature and the experience of Vienna in the 1930s." Thesis, University of Southampton, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268633.
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Tsakoumagos, Nicole. "The Sting in the Green City." Cleveland State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=csu1527011110092336.
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Honess, Claire E. "'Di Fiorenza in popol giusto e sano' : the concept and image of the city in Dante." Thesis, University of Reading, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339510.
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Livesey, Graham. "Narrative, ephemerality and the architecture of the contemporary city." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60547.
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This thesis proposes the exploration of three architectural sources that are narrative in nature: the Renaissance Entry of a Monarch as a public event in the city, the Surrealist novel as a critical medium, and the Teatro del Mondo project by Aldo Rossi for the Venice Biennale of 1979-80, in order to address the making of architecture in the contemporary city. The royal entry and the modern novel are forms that provide for possible interpretation of the city and reflect the difference between the modern and the pre-modern eras. Aldo Rossi's Teatro del Mondo as a work of architecture that was both ephemeral and a place of narrative, was a project that addressed the difficult problems of the architecture of the city. Architecture no longer participates in the realization of ritualistic narrative, as when the festival gave permanence to urban institutions by revealing the order of the Cosmos. However, there remains the necessity for architecture to engage imagination and the narratives implicit in the world.
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Jönsson, Isak. "International Intrusion in China Miéville's The City & The City : Construction and Deconstruction of Ideological State Apparatus." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-42888.
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Cleary, Emma. "Jazz-shaped bodies : mapping city space, time, and sound in black transnational literature." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2205/.
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“Jazz-Shaped Bodies” addresses representations of the city in black transnational literature, with a focus on sonic schemas and mapping. Drawing on cultural geography, posthumanist thought, and the discourse of diaspora, the thesis examines the extent to which the urban landscape is figured as a panoptic structure in twentieth and twenty-first century diasporic texts, and how the mimetic function of artistic performance challenges this structure. Through comparative analysis of works emerging from and/or invested with sites in American, Canadian, and Caribbean landscapes, the study develops accretively and is structured thematically, tracing how selected texts: map the socio-spatial dialectic through visual and sonic schemas; develop the metaphorical use of the phonograph in the folding of space and time; revive ancestral memory and renew an engagement with the landscape; negotiate and transcend shifting national, cultural, and geographical borderlines and boundaries that seek to encode and enclose black subjectivity. The project focuses on literary works such as James Baldwin’s intimate cartographies of New York in Another Country (1962), Earl Lovelace’s carnivalising of city space in The Dragon Can’t Dance (1979), Toni Morrison’s creative blending of the sounds of black music in Jazz (1992), and the postbody poetics of Wayde Compton’s Performance Bond (2004), among other texts that enact crossings of, or otherwise pierce, binaries and borderlines, innovating portals for alternative interpellation and subverting racially hegemonic visual regimes concretised in the architecture of the city. An examination of the specificity of the cityscape against the wider arc of transnationalism establishes how African American, AfroCaribbean, and Black Canadian texts share and exchange touchstones such as jazz, kinesis, liminality, and hauntedness, while remaining sensitive to the distinct sociohistorical contexts and intensities at each locus, underscoring the significance of rendition — of body, space, time, and sound — to black transnational writing.
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Watson, Luke. "Black Bodies in the Open City: Precarity and Belonging in the work of Teju Cole." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/31010.
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This dissertation attempts to read Nigerian-American writer Teju Cole’s fiction and essays as sustained demonstrations of precarity, as theorised by Judith Butler in Precarious Life (2004). Though never directly cited by Cole, Butler’s articulation of a shared condition of bodily vulnerability and interdependency offers a generative critical framework through which to read Cole’s representations of black bodies as they move across space. By presenting the ‘black body’, rather than ‘black man’, as the preferred metonym for black people, Cole’s work, which I argue can be read as peculiar travel narratives, foregrounds the bodily dimension of black life, and develops an ambivalent storytelling mode to narrate the experiences of characters who encompass multiple spatialities and subjectivities. Through close analysis of the novels Open City (2011) and Every Day is for the Thief (2007), and essays from the collection Known and Strange Things (2016), principally “Black Body” and “Unmournable Bodies”, I argue that Cole’s work subverts certain tropes in the tradition of black literary cosmopolitanism, as exemplified by James Baldwin, at the same time as Cole self-consciously situates himself within that tradition. It is the insistence on the black body as site of publicity at once desirable and vulnerable, to paraphrase Butler, that allows Cole to make these interventions. A tentative critical consensus on Cole’s work has begun to emerge: his oeuvre is read alongside a cohort of contemporary African and black diasporic writers whose works navigate the tenuous boundary between Western centers and peripheral Africa. It is not my intention in this dissertation to argue against those readings, but rather to offer the concept of precarity as productive framework that allows for readings that other spatio-temporal frameworks may occlude.
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De, Bearn Gaston. "A Knowable World: America, the City, and the Thematics of Book Five of William Carlos Williams' "Paterson"." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626061.
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Suarez, Veronica. "Nights in The City Beautiful." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3851.
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Nights in The City Beautiful is a collection of confessional, free verse poems that explores sexual trauma, mental health, the exigencies of marriage, and the complexities of human desire. These interconnected poems are grounded with a braided narrative and tackle taboo themes. In Part 1: Monogamy, the reader journeys into the world of Vincent and Victoria, their profound love, and their anxiety disorders. In Part 2: Polyamory, Victoria gets caught in a love triangle when she meets her publishing coworker, Peter Langley.
The book evokes the movement of Romanticism and first-and-second-generation Romantic poets such as William Blake and Lord Byron. Contemporary influences on this collection include Aaron Smith’s Primer, Stacey Waite’s Butch Geography, and Tracy K. Smith’s The Body's Question.
Nights in The City Beautiful merges lyricism with narrative, the ethereal with the physical. It is a novella in verse that delves into the boundaries of sexuality, love, and intimacy.
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LIU, Yu. "Shakespeare on the city and its outcasts : a study on tragedy and political philosophy." Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/eng_etd/11.
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The present thesis aims to analyze the eternal tension between the city and its outcasts in Shakespeare’s three Roman tragedies, i.e. Coriolanus, Julius Caesar and Antony and Cleopatra with political philosophy as its frame of reference. Great tragedies embody the universal tension that transcends the specific person; thus, I depart from the long tradition of Shakespeare criticism that often attributes the tragic cause to the personalities of the protagonists, by exploring this tension on a larger historical canvas. In these three plays, Shakespeare discusses important issues of “Being and Time,” “Natural and Artificial Virtue,” “the community and its outstanding individuals” etc., and forges the tragic cores in the paradoxes of these questions. As an exemplar of Aristotle’s “magnanimous man,” Coriolanus is moulded by the old value system of aristocracy, while his exile and revenge suggest he cannot live with or without the city. The tragedy of Brutus and Cassius is that every choice they make is a struggle between pragmatic politics and their moral beliefs, as well as their limited understanding of the present and the ever-changing status of Being. Antony’s love for Cleopatra represents the city’s longing for conquest and appreciation for heterogeneous cultures, but the city, or the Augustan discourse, will not admit the latter for it will threaten the independence of its Roman self. The last chapter of my thesis studies Antony’s antagonist, Octavius, from the perspective of Machiavelli’s “New Prince,” to articulate the possible relation between Shakespeare and Machiavelli and explore more deeply Shakespeare’s reflections about Jacobean England and their corresponding resonances in the modern era. Since the stagecraft and the statecraft of Shakespeare’s world and Ancient Rome penetrate each other through these three tragedies, the aim of my thesis is to assess how the tensions between the city and its outcasts have been filtered through interdependent but independent stages and states of different time and space.
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Smith, Jared. "Beyond the inferno : literary representations of New York City before and after 9/11." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/14270.
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Includes bibliographical references (leaves 75-82).<br>From its founding, New York City has served as the gateway to the New World and, as such, has been the impetus behind the American Dream. As the city grew in size and importance, though, so the levels of antagonism rose among its inhabitants, for, like any large-scale urban environment, it was filled with what Georg Simmel labels 'overwhelming social forces' (1950:410). These forces became even more relevant within the context of what Fredric Jameson calls the 'postmodern hyperspace' (1984:83) of urban society which emerged during the latter half of the twentieth century. Thus, by focusing on the real-world example of New York, this dissertation examines how the dialectical negotiation between a postmodern city's form and its function has a profound impact on the identities of that city's inhabitants, producing alienating and antagonistic experiences of city life which, in turn, places increasing pressure on both the conception and perception of an individual's status within the boundaries of that cityscape. The terrorist attacks that occurred on 11 September 2001 functioned as yet another overwhelming force that greatly affected New York's inhabitants. The dedicated media coverage of the event effectively burned the image of a 'wounded' New York into people minds. This emotional imprinting occurred not only because of the horrifying destruction wrought upon the city, leading to the loss of the spectacle that was the World Trade Centre, but also because of the change that this destruction brought about in the mindset of everyone who watched those buildings fall, leading to the establishment of a 'before' and 'after' dialectic. Two literary texts that highlight this dialectic were chosen to provide the basis of this dissertation's analysis. These are Salman Rushdie's Fury (2001) and Don DeLillo's Falling Man (2007). Written and set in 2000, Fury provides an insightful and provocative account of life in New York at the turn of the twenty-first century and, through a retrospective reading of this novel, one can identify its prescience in depicting a New York in which the escalating antagonism, both within and without the city, seems to herald impending disaster. Indeed, that disaster was the 9/11 attacks, which Falling Man takes as its subject, providing individualised, albeit 3 fictional, accounts of the trauma that was experienced by those who were in the towers and their families, as well as those who witnessed it. By offering an analysis of Rushdie and DeLillo's narrative strategies in these novels, specifically in light of Michel Foucault's theory of the heterotopia, Italo Calvino's conception of the 'infernal city' in his Invisible Cities (1974), and the work of key 9/11 theorists this dissertation will plot the trajectory of the 'before' and 'after' dialectic in order to ascertain how effectively these novels function as (re)presentations of the real-world city of New York.
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Garske, Kevin T. "Society and Suffering: City as Character in 19th Century Realism." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1219.
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The aim of this thesis is to investigate the relationship between the city and the individual in literature, thereby acknowledging the anthropomorphic qualities we endow with our cities and in turn, how these qualities consolidate into the trope of the city character. We build this understanding by discussing the social, moral, political, literary, etc. associations of the city, and how these lend themselves to expressions of human energy or reflections of human character. These understandings are then given form through close readings of Gustave Flaubert’s Sentimental Education and Fyodor Dostoevsky’s Crime and Punishment.
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Cowling, Jane. "An edition of the records of drama, ceremony and secular music in Winchester City and college 1556-1642." Thesis, University of Southampton, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239368.
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Blake, Linda Jane. "Building the American city : writing the American self; American literature and the urbanization of the nation 1840-1940." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284968.
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Klimasmith, Elizabeth. "At home in the city : urban domesticity in American literature and culture, 1850-1930 /." Durham : University of New Hampshire press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40052609r.
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Mann, Paisley Claire. "The politics of public space : cultural anxiety, Victorian literature, and the city of Paris." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54608.
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Bartolini, Nadia. "A city in the savage garden: La Nouvelle-Orléans telle que représentée par les vampires d'Anne Rice." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26440.
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While writers in the 18th and 19th centuries kept New Orleans' untamed and eerie spirit alive in their literary works, Anne Rice has added a new dimension to its atmosphere to serve the purposes of a community of vampires. This thesis focusses on the representation of New Orleans in Rice's The Vampire Chronicles. The "autobiographical" style of her series provides a vampire's perspective on New Orleans. This is particularly evident when we consider the following: the space depicted by the vampire is limited by its nocturnal as well as its immortal nature (New Orleans from 1791 to 1999 is seen through the eyes of the same characters). We will use a series of typical locales used by the vampires to illustrate the nocturnal lifestyle of the vampires. From the seven novels of the series, New Orleans is represented through various descriptions of place, comparisons with other cities, recollections, and gothic elements. The reader senses the feelings of identity, rootedness and belonging described by the vampiric characters. Descriptions of spatial activities by the vampires themselves make New Orleans even more familiar. Rice's fiction demonstrates the social relevance of literature. The representation of New Orleans in The Vampire Chronicles has contributed to tourists' expectation of the city and has drawn many fans around the world to experience the "magical and magnificent" New Orleans as described by her vampires.
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Nilsson-Tysklind, Emma. ""I'm still here. Sort of." : Constructed Identities in Paul Auster's City of Glass." Thesis, Högskolan Dalarna, Engelska, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3355.
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Paul Auster’s City of Glass contains a jumble of identities. In fact, the identities are more numerous than the characters, and consequently, characters have several different identities. Some of these identities are obvious constructs, but with others the degree of construction is less evident. Poststructuralist theory, however, puts forward the idea that these seemingly original identities are in fact constructs to the same level as all others. Thus, this essay argues that there are no original identities; identities are constructed by outer factors. This essay discusses three outer factors contributing to the construction of identities, factors commonly discussed in poststructuralist criticism, these three being language, cultural codes and chance.
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Rubin, Corey Michael. "Rats in the city: mapping a space-character interface in the narratives of Spain's generation X." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2618.
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This dissertation analyzes the ways in which the Spanish Generation X writers José Ángel Mañas (b. 1971), Lucía Etxebarria (b. 1966), Gabriela Bustelo (b. 1962), and Pedro Maestre (b. 1967) represent Madrid and other late twentieth-century cityscapes in their respective novels Ciudad rayada (1998), Beatriz y los cuerpos celestes (1998), Veo veo (1996), and Matando dinosaurios con tirachinas (1996). These novels sketch an alarming social portrait of youth dissent in Spain's nascent democracy, which had relatively recently joined social, political, and economic arms with the rest of Western Europe. I read the representations of Madrid, Edinburgh, Elda, and Alcoy in these narratives as antagonistic and anthropomorphic spaces that stalk, coerce, and then attack the first-person narrators who scurry about them, rat-like. But these characters demonstrate impressive instincts that protect them from death and emotional destruction and strengthen their identities in the face of a postauthoritarian society enmeshed in the forces of global capitalism.
These Generation X authors introduce their characters to a discordant physical environment, one that works against the grain of the image Spain sought to show the world in 1992 as Barcelona hosted the Summer Olympics, Seville held the Universal Exposition, and Madrid was recognized as the European Union's Capital of Culture. Spain was trying to show the world that it had resurrected itself from the ashes of dictatorship to become a modern democracy worthy of a seat at Europe's table. But Mañas, Etxebarria, Bustelo, and Maestre do not accept that line of thinking. In their renderings, Spain does not emerge as successful in international political and economic arenas but as a highly conflictive nation.
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Luo, Feng, and 洛楓. "The image of the city in contemporary Chinese poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31210168.
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Annunciação, Viviane Carvalho da. "Exile, home and city: the poetic architecture of Belfast." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-30102012-123412/.
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The present thesis is concerned with how the poetry written in Northern Ireland throughout the twentieth century reifies the city of Belfast through language, metaphor and imagery, compiling a concrete constellation of aesthetic experiments. It also examines how its poets have represented not only Belfasts concrete and architectural landmarks, but also its historical and spatial displacements. Due to the Anglo-Irish Treaty in 1922, through which Ulster remained a constitutive part of the British Isles, while the South started to build the foundations of what was going to become the Republic of Ireland, Northern Irish poets have built a poetic landscape that has been instead incessantly fragmented through the motifs of alienation and displacement of subjectivity. Through the analysis of the Belfast poems by the poets Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis and Miriam Gamble, the thesis shows the poetic architecture of Belfast points to wider sociological spaces. It is never alone, or even single, but always plural and globally referential. Through a space of confluence which brings together dissimilar discourses, the selected poems present a desire to possess Belfast artistically, a city where art, history and memories intermingle and interact in a dynamic manner. Images, styles and ideas are carried from generation to generation and create a constellation of fearful and hopeful dreams. It engages past and present in a fruitful reflection on identitarian and artistic belonging.<br>A presente tese tem como objetivo compreender como a poesia escrita na Irlanda do Norte representa a cidade de Belfast durante o século vinte. A hipótese defendida pela tese é a de que o trabalho poético com a métrica, figuras de linguagem e imagens cria uma constelação de experimentos estéticos. O trabalho também compreende como os poetas recriaram não somente os pontos de referência arquitetônicos de Belfast, mas também os seus próprios deslocamentos históricos e geográficos. Devido à assinatura do tratado anglo-irlandês em 1922 através do qual o Ulster se manteve parte das Ilhas Britânicas e o sul começava a 7 construir as fundações do que seria chamada futuramente de República da Irlanda, os poetas pertencentes à Irlanda do Norte criaram uma paisagem poética que é incessantemente fragmentada por meio da alienação e do deslocamento subjetivo. A análise dos poemas de Belfast escritos por Louis MacNeice, John Hewitt, Padraic Fiacc, Michael Longley, Derek Mahon, Ciaran Carson, Paul Muldoon, Medbh McGuckian, Seamus Heaney, Sinéad Morrissey, Leontia Flynn, Allen Gillis e Miriam Gamble, demonstra que a arquitetura poética de Belfast aponta para espaços sociológicos mais abrangentes. A cidade não é retratada singularmente, mas em sua conexão com outras localidades globais. Por meio de um espaço de confluência, que agrupa discursos diversos, os poemas selecionados apresentam um desejo simbólico de possuir Belfast, uma cidade em que arte, história e memórias interagem de forma dinâmica. Imagens e estilos são passados de geração para geração, criando uma constelação de sonhos aterrorizantes e esperançosos, que engajam passado e presente em uma reflexão sobre pertencimento identitário e artístico.