Dissertations / Theses on the topic 'Hannah and her sisters'

This thesis examines Allen's development using Annie Hall (1977), Manhattan (1979), and Hannah and Her Sisters (1986) as landmarks. Three criteria (chapters) structure the analysis: comedy, narrative, and romance.

The purpose of the research of this thesis was to determine how and toward what goals Woody Allen shows the influence of dysfunctional parents and families on their adult children, sibling groups of those children, and those children's romantic choices in Interiors, Hannah and Her Sisters, and Alice. Methodology includes the ideas of noted psychological pioneers as well as the results of current scientific studies. Relationships in these films mirror findings which reveal that dysfunctional parents produce both well-adjusted and troubled children and that offspring are more likely than parents to overcome emotional challenges. It is useful to realize that sibling groups are often the strongest family relationships, in part, because they are typically the ones that last the longest.

The thesis is an exploratory qualitative analysis of conversations between two out of three leading characters in Woody Allen’s motion picture Hannah and Her Sisters (1986). Due to a perception of invisible power relations, it is hypothesized that what seems like a powerful position in discourse, in fact is an indication of the opposite, and that what seems like a powerless position, is an indication of power. Three features based on scholarship connected to Conversation Analysis (CA), Dyadic Power Theory (DPT) and power relations in verbal interaction are chosen to test the hypotheses: first and second positions in sequences as dicussed by Hutchby (1996), control attempts as elaborated by DPT, and mitigating strategies as argued for by Mullany (2004). Findings confirm the hypotheses, but also reveal ambiguities and contrasting results. Connecting the data to sources based on talk in the private sphere, in particular within family discourse, is mentioned as one way to further illuminate the subject in future research.

Magister Artium - MA
Rae and her sister, Alina, are young women who have travelled from Australia to visit their aunt, Trudy, in Ireland. Rae’s suspicions that something is amiss with the arrangement are confirmed when they discover that their parents have been arrested for settling in Australia without the appropriate visas. The two young women, who are half Irish, must remain in Ireland until their parents are able to join them. Rae enrols at a university to continue her studies, and Alina finds a job that requires her to move out. Rae is upset with Alina for leaving, and drops out of contact for a while, but then when she does reach out, her messages aren’t returned. Eventually she goes in search of her sister and finds that Alina has left Dublin without saying where she went. Months pass in fruitless searching. Rae settles down at Trinity College, makes friends, and also befriends Joe, a rough sleeper on the Dublin streets. When she discovers that her sister might be in Galway, Rae travels there, accompanied by two friends. Joe offers to aid them. While there, they encounter someone who claims to know Alina, but demands payment before revealing anything. Rae asks Joe – who is familiar with the backstreets – to deliver the cash. Joe is never seen again, and Rae, after some time, finally admits she has been betrayed. One of her two friends decides to explore the clubs and stumbles on Alina who is working there. When Rae approaches her sister, there is a confrontation with the possessive employer, Murphy, who strikes Alina, putting her in hospital. Alina returns to Dublin, and life resumes where it left off, but then Murphy attempts to take Alina back. Rae hurries home and finds Trudy blocking the door to the house with a shotgun which she fires at Murphy’s knee. The demonstration of protectiveness shows Rae how badly she misjudged her aunt. She then discovers that she misjudged Davin, whom she admired from the beginning but incorrectly assumed he was interested in her sister. The novella ends with a recognition of her flawed perceptions which stands in juxtaposition to her confident judgements of people in the opening chapter.

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.
Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Germanic Languages and Literatures." Discipline: Germanic Languages; Department/School: Germanic Languages.

Thesis advisor: Rodrigo Chacon
Thesis advisor: Susan Shell
In this thesis, I will explore the natural tension that exists between philosophy and politics; theory and practice, and thought and action, especially as manifest in contemporary society. In order to investigate this tension, I will use a lens presented by Hannah Arendt and her writings, in particular the Human Condition and the Jewish Writings . I will use these works to illustrate Arendt's own conflict between the role of politics and philosophy in human affairs as experienced in her transition from a political journalist to a political theorist. I will argue that a comparison of these works shows Arendt's struggle with the tension between philosophy and politics; thought and action, and theory and practice. A comparison of these works also illustrates Arendt's paradoxical conclusion of the Human Condition: that in times of unprecedented crisis, although theory and philosophy are precisely what are necessary to prevent further destruction and tragedy, they unfortunately become superfluous, and then immediate (even if groundless) action becomes necessarily the only human capacity that can "save" the world
Thesis (MA) — Boston College, 2010
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Political Science

Ye Xian és la protagonista d'un relat escrit durant el període Tang que ha sigut definit com "La Ventafocs xinesa" i també com "la primera Ventafocs escrita". He realitzat una anàlisi del conte per demostrar que molts dels aspectes d'aquest, que han sigut associats a la cultura Tang, són de fet difícilment compatibles amb aquesta. A més, la història presenta una estructura narrativa trencada i certs elements difusos que mostren les dificultats en l'adaptació de motius estrangers.
 A fi de completar aquesta anàlisi he utilitzat tres perspectives metodològiques, els enfocaments Clasicista, Sinologista i Folclorista, d'acord amb tres classes de narrativa investigades, per estudiar aquesta història i el seu rol en el cicle de la Ventafocs.
 L'enfocament Clasicista analitza el treball d'escriptors que han investigat contes de fades i motius trobats a la literatura clàssica sense emmarcarla en un gènere literari.
 L'enfocament Sinologista, d'altra banda, pren aquest relat concret tenint en compte les circumstàncies específiques de la producció del text i el seu context, especialment la història literària xinesa i la llengua xinesa, així com el gènere, entès no únicament com el marc literari seguit per l'autor, sinó també d'acord amb les expectatives de la seva audiència.
 En darrer lloc l'enfocament Folclorista ens permet comparar aquest conte amb altres relats de la Ventafocs, tot i que el seu mètode tradicional, considerant totes les narratives com a contes populars, té el defecte de caure en una perspectiva eurocentrista i sovint massa simplista. 
Els elements que he pres per analitzar són els principals components dels relats de la Ventafocs, i al mateix temps representen el dramatis personae més important en el desenvolupament de la narrativa.
 El primer element analitzat són els protagonistes del relat xinès, Ye Xian, el fet que ella sigui una dona, així com el fet que la figura de la germanastra no es descrigui tan malvada com a les ulteriors versions de la Ventafocs.
 El segon element és l'antagonista, la madrastra: mentre les madrastres són comuns a la literatura xinesa, habitualment apareixen als relats amb característiques diferents, normalment presentant un protagonista masculí.
 El tercer element important són els ajudants. Ye Xian presenta un ajudant principal i altres dos breument esmentats; mentre el primer pot ser considerat l'adició d'un sistema cultural particular, les altres dues són relíquies de relats previs.
 El quart element és l'objecte màgic, que té un rol extremadament important en els relats; aquest objecte màgic específic, una sabata, té importants connotacions culturals i ha sigut interpretat com un senyal innegable de la presència de la cultura xinesa relacionada amb l'embenat dels peus, però aquesta investigació refuta aquestes concepcions.
 El cinquè element és la reunió social juntament amb la figura del rei; el futur marit de la protagonista no es descriu detalladament, mentre la importància de la reunió social, així com l'addició d'aquesta versió concreta del Cicle de la Ventafocs, s'examina amb detall.
 Totes les conclusions indiquen que aquest text és una combinació de narratives prèvies que contenen motius de la Ventafocs, convertint a Ye Xian en la primera versió que conté tots els elements presents en la Ventafocs moderna. Aquesta metodologia tripartita és, per tant, adaptada a aquest cas, mentre combina també enfocaments epistemològics per crear un paradigma funcional per investigacions futures en les quals els contes no puguin connectar-se fàcilment a un sistema literari precís i emmarcat en un gènere que representa una clau crucial per la interpretació.
Ye Xian es la protagonista de un relato escrito durante el periodo Tang que ha sido definido como “La Cenicienta China” y también como “la primera Cenicienta escrita”. He realizado un análisis del cuento para demostrar que muchos de los aspectos del mismo, que han sido asociados a la cultura Tang, son de hecho difícilmente compatibles con ella. Además la historia presenta una estructura narrativa rota y ciertos elementos difusos que revelan las dificultades en la adaptación de motivos extranjeros. A fin de completar este análisis he recurrido a tres perspectivas metodológicas, los enfoques Clasicista, Sinológista y Folclorista, en concordancia con las tres clases de narrativa investigadas, para estudiar esta historia y su rol en el ciclo de la Cenicienta. El enfoque Clasicista analiza el trabajo de escritores que han investigado cuentos de hadas y motivos hallados en la literatura clásica sin enmarcarla en un género literario. El enfoque Sinologista, por otra parte, toma este relato concreto teniendo en cuenta las circunstancias específicas de la producción del texto y su contexto, especialmente la historia literaria china y la lengua china, así como el género, entendido no solamente como el marco literario seguido por el autor, sino también en base a las expectativas de su audiencia. Por último, el enfoque Folclorista nos permite comparar este cuento con otros relatos de la Cenicienta, aunque su método tradicional, considerando todas las narrativas como cuentos populares tiene el defecto de una perspectiva eurocentrista y a menudo simplista. Los elementos que he tomado para analizar son los principales componentes de los relatos de Cenicienta, y al mismo tiempo representan el dramatis personae más importante en el desarrollo de la narrativa. El primer elemento analizado son los protagonistas del relato chino, Ye Xian, el hecho de que ella sea una mujer, así como el hecho de que la figura de la hermanastra no se describa tan malvada como en las ulteriores versiones de la Cenicienta. El segundo elemento es el antagonista, la madrastra: mientras las madrastras son comunes en la literatura China, usualmente aparecen en relatos con características diferentes, normalmente presentado un protagonista masculino. El tercer elemento importante son los ayudantes. Ye Xian presenta un ayudante principal y otros dos brevemente mencionados; mientras el primero puede ser considerado la adición de un sistema cultural particular, las otras dos son reliquias de relatos previos. El cuarto elemento es el objeto mágico, que tiene un rol extremadamente importante en los relatos; este objeto mágico específico, un zapato, tiene profundas connotaciones culturales y ha sido interpretado como la innegable señal de presencia de la cultura china, relacionada con el vendaje de los pies, pero esta investigación refuta esas concepciones. El quinto elemento es la reunión social junto con la figura del rey; el futuro marido de la protagonista no se describe detalladamente, mientras la importancia de la reunión social, así como la adición de esta versión concreta al Ciclo de la Cenicienta, se examina con detalle. Todas las conclusiones indican que este texto es una combinación de narrativas previas que contienen motivos de la Cenicienta, convirtiendo a Ye Xian en la primera versión que contiene todos los elementos presentes en la Cenicienta moderna. Esta metodología tripartita es, por lo tanto, adaptada a este caso, mientras combina también enfoques epistemológicos para crear un paradigma funcional para investigaciones futuras en las que los cuentos no puedan conectarse fácilmente a un sistema literario preciso y cuyo genero representa una clave crucial para la interpretación.
Ye Xian is the protagonist of a story written in the Tang period which has been defined as “the Chinese Cinderella” and “the first written Cinderella”. I have carried out an analysis of the tale to demonstrate that most motifs, which have been ascribed to Tang culture, are in fact hardly compatible with it. Moreover, the story presents a broken narrative structure and unclear elements which disclose the difficulties of adaptation of foreign motifs. In order to complete this analysis I have utilised three methodological perspectives, Classicists’, Sinologists’ and Folklorists’ approaches, according to the three different types of narratives investigated, to study this story and its role in the Cinderella cycle. The Classicist point of view investigates the work of writers who have researched fairy tales and motifs found in classical literature, without a genre-oriented framework. The Sinologist point of view, however, tackles this specific story taking into account the specific circumstances of the production of this text and its context, especially Chinese literary history, language and genre, intended not only as the literary frame the author followed, but also as the horizon of expectation of his audience. Lastly, the Folklorist approach enables us to compare this tale with other Cinderella stories, although its traditional method, considering all narratives as folk tales is challenged in that its perspectives is Eurocentric and too often oversimplifying. The elements I haves chosen to analyse are the main components of Cinderella stories, and at the same time they represent the most important dramatis personae in the development of a narrative. The first analysed element is the protagonists of the Chinese tale, Ye Xian, the fact that she is a woman, and that the figure of her stepsister is not described as wicked as in later Chinese Cinderella stories. The second is the antagonist, the stepmother: while stepmothers are common in Chinese literature, they usually appear in stories with different characteristics, usually presenting a male protagonist. The third important element is the helpers. Ye Xian presents one main helper and other two briefly mentioned; while the first can be considered the addition of a particular cultural system, the other two are relics of previous stories. The fourth is the magic object, which has an extremely important role in the stories; this specific magic object, a shoes, has profound cultural connotations and has been interpreted as the undeniable mark of the presence of Chinese culture, related to foot-binding, but this research disprove these conceptions. The fifth is the social gathering along with the figure of the king; the future husband of the protagonist is not described in detail, while the importance of the social gathering as the addition of this precise story to the Cinderella cycle is carefully examined. All the conclusions indicate that this text is a combination of previous narratives containing Cinderella motifs, thus making Ye Xian the first version containing all the elements present in the modern Cinderella. This tripartite methodology is therefore tailored to this case, while it also combines the epistemological approaches to create a paradigm functional for future research where tales are hardly connectible to a precise literary system and whose genre represents a crucial key to interpretation.

The theme of this thesis is women and violence explored in eleven plays by British contemporary women playwrights in the 1980s and 1990s. In order to explore these plays, I have made investigations into a basic knowledge of violence against women in the Introduction. Violence against women is also called sexual violence or gender-related violence. The knowledge I have gained includes how sexual violence is defined; why sexual violence occurs; what kinds of sexual violence there are; how people perceive sexual violence. My definition is that any act which limits the autonomy of women constitutes sexual violence. Based on a variety of definitions by feminist scholars, there are many forms of sexual violence in women's history around the world. As a result, I have found out the continuity, diversity, and universality of women's pain. The nature of sexual violence has been mistaken by many people from the perspective of prevailing myths about women's sexuality. Because of them, many women and female children become double victims. Having understood the true nature of sexual violence, I have selected eleven plays which explore women and violence: The Love of the Nightingale (1988) by Timberlake Wertenbaker; Crux (1991) by April de Angelis; The Taking of Liberty (1992) by Cheryl Robson; Augustine (Big Hysteria) (1991) by Anna Furse; The Gut Girls (1988) by Sarah Daniels; Ficky Stingers (1986) by Eve Lewis; Beside Herself (1990) by Sarah Daniels; Thatcher's Women (1987) by Kay Adshead; Money to Live (1984) by Jacqueline Rudet; Low Level Panic (1988) by Clare McIntyre; Masterpieces (1984) by Sarah Daniels. The thesis is divided into two parts depending on whether the plays are set in the past or present in order to identify the continuity of sexual violence. They depict the exercise of men's power through sexual violence. In the plays women experience violence committed by men and then they are silenced. However, the women demonstrate their fighting spirit and regain their voice or find ways to express themselves. Women's hope for change is expressed through theatre.

This essay argues that literature enhances the discussions of sensitive issues in a Swedish EFL classroom. Building on reader-response theory and Judith A. Langer's envisionment building, the themes affinity, suicide and discrimination found in Sue Monk Kidd's novel The Secret Life of Bees could be discussed. The reader-response theory gives the pupils an emotional outlet that the envisionment builds on. However, the identified themes also need to be critically analysed to create rewarding discussions, and to be able to fulfil Langer's envisionment. This will hopefully make the pupils think more deeply about these social issues and question their own possible prejudices.

This study examines the major works of Judith Sargent Murray, Hannah Webster Foster, and Susanna Haswell Rowson, three major writers of the 1790s whose writing responds to the ideologies of the early American Republic. I suggest that Murray, Foster, and Rowson write conduct fiction which responds to the changing attitudes toward women and education after the American Revolution. Using fiction, these authors comment on the republican woman, the need for women's education, and the necessity for women to gather in communities for support. Despite the prevailing notion that reading too many novels would corrupt young women, Judith Sargent Murray's novella, The Story of Margaretta (1786), Hannah Webster Foster's novels, The Coquette (1797) and The Boarding School (1798), and Susanna Rowson's novels, Charlotte Temple (1794) and Reuben and Rachel; or, Tales of Old Times (1798), were some of the most popular books in the late eighteenth century. If these novels were not meant to be read by young women, who were the authors' primary audience, why were they so popular? This project situates these questions in the political environment the authors were writing in to show that a relationship exists between what women were reading and how authors of conduct fiction helped facilitate the changing roles of women in the early Republic.
ID: 030646201; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 101-108).
M.A.
Masters
English
Arts and Humanities
English; Literary, Cultural and Textual Studies Track

Thesis (Ph. D.)--University of Wisconsin--Madison, 1991.
Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves : 241-254).

碩士
國立臺灣師範大學
教育研究所
90
Because of the vast and rapid advancement of technology and physical sciences in recent years, the importance of spiritual lives of man has been overwhelmingly neglected. The need to reexaminate the faculty of human mind has also emerged, specifically, how to start with the inner dialogue of human spirit then end up with the harmony between the contemplative and active lives in the world of appearance. The judgment theory of Hannah Arendt is not only the reexamination of the important faculty of mind but also the fundamental speculation of humanity. The theory might serve as a key to the studies on the emerging issues in contemporary societies. In the current study, we presented the thread as well as the basis and related background of the thoughts of Hannah Arendt. We then tried to extract the core concepts and characters of her judgment theory and also analyze her thoughts and viewpoints on education. The implication for education of her judgment theory and educational viewpoints was investigated as well. Finally the conclusions drawn form our study could provide not only reflections between the educational theory and nowadays situation in our society but also suggestions to the educational system in our country. Hannah Arendt considered that judgment plays a pivotal part in human spiritual faculty; one can share his perspective with others’ through enlarged mentality and continuous representative thinking at the standpoint of the spectator. The ability to judge could not be passed by instruction but could be cultivated by practice. Because she thought that crisis of judgment comes from the loss of authority, she preferred a conservative educational viewpoint and put a great emphases on educational authority. The purpose of education in her idea is to help the young renew this common world. Based on the above conclusions, we proposed the following suggestions: A good education system must provide an environment for the young to develop an enlarged mentality through representative thinking and also cultivate the ability to judge through practicing. The decision-maker and the instructor must always remain at the standpoint of speculators during the learning processes. The importance of maintaining authority of instructors in education should also be considered. Finally, a good education system must provide the opportunities for the young to practice judgment and help them prepare the abilities to renew this world.

博士
淡江大學
英文學系博士班
104
The thesis examines the representation of Mary Magdalene in saint’s legends, devotional writings, and plays in the area of East Anglia from mid fourteenth century to the early sixteenth century. Three major texts will be discussed in the thesis including Julian of Norwich’s Revelations of Divine Love, Margery Kempe’s Book of Margery Kempe, and the Digby Mary Magdalene. The thesis attempts to re-capsulate a moment in time in which via Mary Magdalene as cultural symbol, religious women could be empowered with a voice, writers and playwrights could explore the boundary of gender roles for women and the ecclesiastics and laity could respond to socio-political issues concerning practices of lay piety at the time. Most important of all, through the representations of Mary Magdalene embedded in the associated community of female saints in East Anglia, we are enabled to observe how St. Mary Magdalene is interrelated with images of other saints worshipped in East Anglia. It is also through the veneration of Mary Magdalene and the community of female saints in East Anglia, we get a glimpse of how saints as the intercessors between heaven and earth are conceived as religious and cultural symbols and how these symbols in the surveyed texts are perceived, appropriated and interpreted by writers, playwrights, readers, and audiences so as to respond to socio-political religious issues in East Anglian communities The thesis is divided into four chapters. Chapter One provides a concise survey of the development of the images of Mary Magdalene from the earliest biblical accounts to a wide dissemination of the legends and literary texts in Europe and in England. Chapter Two explores the representation of the three female saints, Mary Magdalene, Virgin Mary and St. Cecilia, in relation to Julian of Norwich’s positive theology and social milieu of East Anglia during Julian’s lifetime. Chapter Three examines the making of St. Margery Kempe in the Book of Margery Kempe in relation to various kinds of imitatio and the images of female saints. Chapter Four investigates the ways the playwright weaves the biblical image of Mary Magdalene, her life in post-ascension legend and the elements from morality plays to represent a version of Mary Magdalene, who is not only a lady, a hero but also the apostle to the apostles. Lastly, with the survey of the representation of Mary Magdalene and the community of female saints, the thesis argues that parallel with the Chaucerian tradition that emulates the ancient Greco-Romano tradition, there exists a marked trend of literary and religious movement in East Anglian communities, which is attentive to the worship of female saints and from the representations of female saints, they find a ground that enables their voices to participate in discourses on religiosity, society and politics in late medieval England.