Dissertations / Theses: 'Hares in literature'

1

Zandoná, Jair. "De Orpheu ao Hades." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91316.

Abstract:

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Literatura
Made available in DSpace on 2012-10-23T21:21:36Z (GMT). No. of bitstreams: 1 251990.pdf: 994821 bytes, checksum: 3fb82e62c3af50a7810a301e820e5e0a (MD5)
Pensar a literatura de Mário de Sá-Carneiro é enveredar por um contexto densamente elaborado. Há os arroubos dos modernistas portugueses - tão bem conectados - que ele e Fernando Pessoa exploraram com maestria, seja em seus projetos pessoais, seja na Revista Orpheu, projeto que desenvolveram em comum. Além disso, há o desenvolvimento de um eu-lírico melancólico, à beira de um abismo de sentimentos. Enquanto Pessoa estava em Lisboa e Sá-Carneiro, em Paris, os dois poetas mantiveram intensa correspondência. Dessas cartas, são conhecidas as enviadas por Sá-Carneiro, as quais extrapolam os limites do pessoal e apresentam fruição poética, uma espécie de arcabouço literário, a que se articula Dispersão - conjunto de poemas publicado em 1915. A melancolia é encontrada também nas linhas consideradas como palavras do próprio Sá-Carneiro em diálogo com o amigo. É aí que a sobreposição literário/extraliterário se evidencia; é aí que ambas as instâncias dialogam. Se as cartas têm notadamente cunho pessoal e os poemas estão no campo do ficcional, as armadilhas da escrita ali tomam corpo, levando o leitor a aproximar ficcional e biográfico, tomando-os por uma escrita confessional, corroborada pelo suicídio do poeta, dado que acaba sendo considerado o elo necessário para dar respaldo a tal leitura.

APA, Harvard, Vancouver, ISO, and other styles

2

Blazek, William. "The Norton-Harjes Ambulance Corps and American literature of World War I." Thesis, University of Aberdeen, 1986. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=228965.

Full text

Abstract:

The Norton-Harjes Ambulance Corps numbered among its members some of the most important American writers of World War I, Including E. E. Cummings and John Dos Passos. What is less well-known is that the ambulance corps had strong tIes to a pre-war generation of American expatriates, whose participation first created the elite aura of the unit known as the "gentlemen volunteers." Henry James served as chairman until his final illness, and the family of the late Charles Eliot Norton operated the organization in France and America. This study, making use of unpublished archival material, outlines the history of the Norton-Harjes during the war, from its beginnings in Paris and London, to its activities on the Western Front, and its dissolution in late 1917. Around this historical context, the foundations of the unit are traced to Harvard University and an ideal of humanitarian service and social duty drawing from the late nineteenth-century concept of the gentleman. The war writings of the Norton-Harjes authors are examined in view of this historical and cultural evidence. Affirmation of the artist's role in society and criticism of American industrial-commercialism feature in the work of the authors connected with the unit, themes which gained new impetus from the war. A discussion of Charles Eliot Norton's moral aestheticism, expatriation, teaching at Harvard, and attitudes towards war, along with an outline of the Harvard careers of Norton's sons Eliot and Richard and of the future Norton-Harjes writers Cummings, Dos Passos, and Robert Hillyer, make up the chapter following the Introduction, which establishes the background of early American involvement in the war. Henry James' work for the ambulance corps and his move from intense observer to direct participant in war-time is explored in the third chapter. The fourth chapter presents the bulk of the historical information about the unit's war activities while examining the career and writings of Richard Norton, founder and leader of the corps. The succeeding three chapters are devoted to the ambulance volunteers who studied together at Harvard. E. E. Cummings' The Enormous Room is interpreted in light of the author's whole experience with the Norton-Harjes, emphasizing his use of primitivism in support of aesthetic individualism. Robert Hillyer's traditionalism stands opposed to Cummings' Modernist experimentation, but the Harvard professor-poet was equally critical of American industrialism. John Dos Passos' war novels attack the commercial basis of American culture and present as alternatives the rural culture of Spain and the ideal of the gentlemen volunteers as represented by Richard Norton. A brief Epilogue describes the last stage of Norton's war career and the post-war attempts to organize former volunteers into an association and to produce a history of the ambulance service.

APA, Harvard, Vancouver, ISO, and other styles

3

Vincelette, Mélanie. "Nomadismes, suivi de Le sérail dans le récit de voyage en Orient." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64204.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Harfouch, Mohammad. "A critical analysis of the works of David Hare." Thesis, University of Sheffield, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262709.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Hasler, Antony J. "Allegories of authority in the poems of John Skelton, Stephen Hawes and William Dunbar." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343403.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Homden, Carol. "A war on two fronts : The plays of David Hare 1973-86." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329324.

Full text

Abstract:

This thesis, which encompasses a comprehensive survey of David Hare's published plays from the period 1973-86, examines his work as a product of a war on two fronts - with conventional/established British history and within himself about the nature of socialist ideals. The result is a challenge to the tendency to place him within a European tradition of documentary or Epic Theatre initiated by Erwin Piscator and Bertolt Brecht. Nevertheless, to resolve his own conflicts, Hare commonly uses distancing techniques. He sets his plays in the past, he mediates his (necessarily male) perspective through women protagonists and the action is frequently located at a geographical distance - either in the English provinces or beyond England altogether. His search is to accommodate the modern and to achieve a valid perspective from which to make a moral judgement within the clamour of conflicting propagandas. His use of film and television - Hare writes, edits and directs his own work - reflects this search for a single perspective. What might seem a political anger stands revealed as a form of revenge against a supposed class alienation and generational disinheritance. The war on two fronts is not - as is commonly supposed- the world war and the class war, but the nature of history and of the self. In this sense Hare's work is classical, based on the dualism of good and evil, life and death. This is evident from as early as 1975, when an extended exploration of the nature of art commences. After a period of self-conscious argument, history becomes a matter of personal memory and of catharsis rather than of political solution, and art itself the only salvation.

APA, Harvard, Vancouver, ISO, and other styles

7

Fendrich, Raphaël [Verfasser]. "Grenzland und Erinnerungsland : Die Identität des Elsass im Werk Marie Harts (1856-1924) / Raphael Fendrich." Baden-Baden : Ergon Verlag, 2018. http://d-nb.info/1212401786/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Fendrich, Raphael [Verfasser]. "Grenzland und Erinnerungsland : Die Identität des Elsass im Werk Marie Harts (1856-1924) / Raphael Fendrich." Baden-Baden : Ergon Verlag, 2018. http://d-nb.info/1212401786/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Phelps, Paul Chandler. "'Wounded Harts' : metaphor and desire in the epic-romances of Tasso, Sidney, and Spenser." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6314229f-2797-4727-91c8-64265a16f6b3.

Full text

Abstract:

If we consider the representation of the body in the epic-romances of Torquato Tasso, Philip Sidney, and Edmund Spenser, certain instances of wounding and laceration emerge as crucial turning points in the development of their respective narratives: Clorinda’s redemptive mutilation, Parthenia’s blood-drenched pallor, Amavia’s disquieting suicide, Venus’s insatiable orifice, Amoret’s “perfect hole.” This thesis affords a detailed comparative study of such passages, contending that the wound assumed a critical metaphoric dimension in sixteenth-century epic-romance literature, particularly in relation to the perceived association between body condition and erotic desire. Along with its function as a marker of martial valor and somatic sacredness, the wound, I argue, increasingly is designated in these epic-romances as an interiorizing apparatus, one liable to accrue at any instance into a surplus of unanticipated meaning. As such, the wound becomes an emblem in these texts of what I call the phenomenology of desire—the equation of consummation and loss—as well as the aesthetic and metaphoric mechanism by which these writers seek to overcome it. The four chapters of this thesis constitute individual but cumulative points of response to the problem of thinking about desire as a type of wound. For Tasso, a wound poses a challenge to physical, psychological, and spiritual integrity, but its remarkable capacity for aestheticization also allows Tasso to envision it as a synthesizer of sacred and erotic affects. For Sidney, the prospect that a wound could define a body as courageous or pathetic, as sacred or corrupt, became both politically and socially troubling, and the New Arcadia, I argue, proleptically attempts to defend Sidney against interpretations of wounds that register them as manifestations of corrupt desire. For Spenser, body fracture and erotic wounding are analogic (indeed, almost indistinguishable), and The Faerie Queene investigates the prospect that confusing these analogies can become an empowering, even revelatory experience. In each of these epic-romances, a wound serves both a literal and a figurative function and, in this way, is established as the foremost image by which these writers imagine strength and mutilation, affect and heroism, epic and romance as being inextricably bound.

APA, Harvard, Vancouver, ISO, and other styles

10

Hjelt, Pernilla. "Hopp som i hare : Om undanträngningens roll i arbetet med min diktsamling." Thesis, Växjö University, School of Humanities, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2552.

Full text

Abstract:

Abstract

The aim of this essay is to analyse what roll repression has had in the making of my unpublished collection of poems entitled Hopp som i hare. I examine how the autobiographical subject abortion has influenced the writing process and the outcome of the poems. By presenting literature that’s been important in the making of the collection I show some thoughts and ideas about Post Abortion Stress Disorder, a diagnosis without scientific grounds. In a discussion I go through the whole writing process from subject and genre choice through the revisions till the final version that were sent to be commented by the class in creative writing at Växjö University 2008. Finally I analyse my own reading before and after the workshop where the class commented the collection. It shows how repression influenced my reading before the workshop and how the class comments changed the way I red it afterwards. By hearing the class comment on my collection I also came to the conclusion that the poems was under repression and that constituted the ground of this essay.

APA, Harvard, Vancouver, ISO, and other styles

11

Andersen, Hans Christian Ib. "The playwright and his theatre : Howard Brenton, David Hare and Snoo Wilson." Thesis, University of Hull, 1987. http://hydra.hull.ac.uk/resources/hull:5336.

Full text

Abstract:

In the context of changes in British theatre theory and practice, in particular in the post-1968 Fringe, is it possible to consider playscripts as literary works,expressing the views of individual writers? The emphasis within the early Fringe was on collectively organized workshops and group creativity, and on the exploration of non-verbal expression on stage, something which had been anticipated by the pre-1968 avant-garde and which amounted to a challenge to the playwright's traditionally dominant position in the theatre. However, the playscript, as an example of written fictional narrative, dependent on the theatre for its realization but not its creation, still commands an independent status as a work, and the fiction enables the playwright to explore and evaluate reality in his own terms. Snoo Wilson's works illustrate his clear awareness on the power of fiction to posit the equal reality of the rational and the irrational in dramatic terms, as a metaphor for our way of understanding reality outside the theatre, where reality and fiction seem difficult to distinguish. David Hare focusses on the discrepancy between fiction and reality in the way we experience our lives and interpret history, and he seeks, as a conscious story-teller, to reveal, in imaginative terms, how that discrepancy leads to actual suffering. Howard Brenton's declared preference for content and fact, rather than form and fiction, and for the theatre as a democratic medium, cannot conceal his consistent endeavour to use fictional narrative as fantastic as Wilson's to oppose bourgeois versions of reality. In spite of their having learned to work with theatre companies and, hence, come to see themselves as parts of a larger, complex art, these playwrights, like their predecessors, continue to write fictions which express their personal vision in a form, print, that is accessible and analysable in isolation from actual performance.

APA, Harvard, Vancouver, ISO, and other styles

12

Peacock, Martin Henry. "Five approaches to political theatre : Howard Brenton, David Hare, David Edgar, Roger Howard, Caryl Churchill and Howard Barker." Thesis, Loughborough University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.291727.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Jones, Ffion Mair. "Pedair anterliwt hanes : Y rhyfel cartrefol (?Huw Morys), Cronicl y Cymry (?Mathew Owen), Cyndrigolion y deyrnas hon (Richard Parry) and Llur (author anonymous); with introduction, notes and vocabulary." Thesis, Bangor University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340494.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Squibb, Catherine. "Tobacco and Tar Babies: The Trickster as a Cultural Hero in Winnebago and African American Myth." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/313.

Full text

Abstract:

This thesis explores the trickster character through the lens of his role as a cultural hero. The two characters that I chose to examine are from North American myth, specifically Winnebago Hare and Brer Rabbit. These two characters represent the duality of the trickster while simultaneously embodying the lauded abilities of the hero. Through their actions these two characters shape culture through the very action of disrupting societal norms.

APA, Harvard, Vancouver, ISO, and other styles

15

Kratz, Cornelia [Verfasser], Günter [Gutachter] Blamberger, Ursula [Gutachter] Frohne, and Hayes Christa-Maria [Gutachter] Lerm. "Kunst nach W.G. Sebald. Die Aneignung von Literatur in der zeitgenössischen Kunst am Beispiel von Tacita Dean, Christel Dillbohner sowie der Ausstellung Waterlog (2007) / Cornelia Kratz ; Gutachter: Günter Blamberger, Ursula Frohne, Christa-Maria Lerm Hayes." Köln : Universitäts- und Stadtbibliothek Köln, 2015. http://d-nb.info/1154929469/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Staebler, Marie-Anne. "Analyse des strategies d'emancipation ou d'adaptation des personnages de romans beurs a la realite des marches sociaux de l'echange." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1847.

Full text

Abstract:

Thesis (MA (Modern Foreign Languages))--University of Stellenbosch, 2009.
ENGLISH ABSTRACT: The publication in 1983 of Medhi Charef’s novel Le thé au harem d’Archi Ahmed marked the beginning of Beur literature, a collection of narratives concerning the lives of individuals of North African origin in the French suburbs. The term “beur”, derived from the double inversion of the word “arabe”, would become synonymous with “Maghrebians” and be used to define a cultural movement claiming its uniqueness. Beur writers or those who make use of Beur heroes in their novels reveal, often in autobiographical form, the daily experiences of a marginalized minority living in identical socio-economic conditions, which are sources of conflicts, whether latent or manifest, with the dominant culture. The sensitivity of Beur writers as manifested in their writings enables us to obtain images of the lives of people living in shantytowns or the large conglomerations on the outskirts of French cities. However, this literature provides more than just a simple description of context or situation, since it also contains the verdict of young Beurs on the legitimacy of the established social order and their strategies to transform or to adapt to this order. Work, home, school, politics or affective relations are concrete examples of areas where the individual is faced with an established system of values and norms, inequality of resources and convergent or divergent interests that need to be taken into account during the process of exchange in order to satisfy his/her needs. In this interdisciplinary research we apply the sociological concepts of exchange and conflict theory in order to disclose the strategies used by characters in Beur novels to adapt or free themselves from given conditions of exchange and power configurations on different social markets of exchange.

APA, Harvard, Vancouver, ISO, and other styles

17

Syme, Neil. "Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21768.

Full text

Abstract:

This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches.

APA, Harvard, Vancouver, ISO, and other styles

18

Hunt, William Radler. ""Suffragettes of the Harem": The Evolution of Sympathy and the Afterlives of Sentimentality in American Feminist Orientalism, 1865-1920." Diss., 2016. http://hdl.handle.net/10161/12117.

Full text

Abstract:

This project examines narrative encounters in space identified as “harem,” produced by authors with biographical ties to the vanguard of the American Suffrage Movement. I regard these feminists’ circulations East, to the domestic space of the Other, as a hitherto unstudied, yet critical component of transnationalism in the history of U.S. Suffrage. This literary record also crucially reveals the extent to which sentimentality was plotted as a potential force for the reform of other cultures. An urge to sympathize denied in the space of the harem illustrates the colonial anxieties that subtended sentimentality’s prospective deployment beyond national borders. In five chapters on the work of Anna Leonowens, Susan Elston Wallace, Demetra Vaka Brown, Charlotte Perkins Gilman, and Edith Wharton, I examine how Suffrage-minded authors writing the harem strategically abandon an activist praxis of fellow feeling. Such a reluctance to transform sentimental literature into a colonial literature consequently informs that genre’s postbellum decline. The sentiments that run dry for American feminists in the harem additionally foreground the costly failures of Wilsonian Idealism, a doctrine that appropriated a discourse of sentimentality in order to script the United States’ expanded involvement in global affairs.

Dissertation

APA, Harvard, Vancouver, ISO, and other styles

19

Simpson, Dallas Fullerton. "An annotated critical bibliography for five of the 15th-century English Chaucerians : Thomas Hoccleve, John Lydgate, George Ashby, Thomas Norton, and Stephen Hawes." Phd thesis, 2001. http://hdl.handle.net/1885/110185.

Full text

Abstract:

This dissertation offers a comprehensive annotated bibliography of the main Englishlanguage critical references, from the earliest times to about 1999, regarding five 15th-century poets. Annotations are drawn almost exclusively from articles and books. A Note on the Annotations (x-xiii) details the selection criteria. My intention is to give informed readers enough detail, albeit in the form of concise notes, to know whether the original critical material is likely to be of use to them. I have included an index to the critics. For the published version, I will also prepare a general index (my work is intended to be the basis of a volume in the series of critical bibliographies published by D.S. Brewer under the general editorship of Dr T.L. Burton). The five poets of the bibliography are the most significant of that group often referred to as the 15th-century English Chaucerians. In the past, '15th-century English Chaucerian' has frequently meant little more than 'bad poet' and it has, just as frequently, introduced discussions that have paid scant attention to the diversity of the poets concerned. I note in my introduction, however, that criticism is now investing this old label with a new and positive meaning. Each of my poets worked in a tradition of which Chaucer was a part, and, with the exception of Ashby, produced works that had a considerable readership in the late Middle Ages. All of these poets, except Norton, have a notable place in the current discussion of English cultural and political life in the 15th century. In this discussion, Hoccleve and Lydgate attract by far the most attention. I have included criticism for Norton's Ordinal of Alchemy for several reasons, even though the Ordinal attracts little critical interest. It is the principal English alchemical text of its period, and so reminds us of the existence of a tradition that is outside the courtly or middle-class concerns of the other poets of the bibliography; the extent of its printing history shows it to be a prominent 15th-century poem that warrants attention; it has flashes of wit that genuinely recall Chaucer; and it shows an engagement with European culture that is characteristic of the English Chaucerian tradition. Bokenham is probably the most significant of my omitted authors, but he is to be included in another volume of the Brewer series edited by Laurel Means. My introduction offers an overview of the significant features of the critical record: I discuss Hoccleve and Lydgate in parallel as their history has many points in common; then I consider Ashby, Norton, and Hawes. Nearly 1400 annotations, arranged chronologically by poet, and an index to the critics, complete the dissertation.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Hares in literature'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles