Dissertations / Theses: 'Hate literature'

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Hand, R. N. "The School of Hate : a definition of public school writing, 1857-1964." Thesis, University of Exeter, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356239.

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Zgodinski, Brianna R. "I Hate It, But I Can't Stop: The Romanticization of Intimate Partner Abuse in Young Adult Retellings of Wuthering Heights." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1518101149052937.

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Gullberg, Beata. "The Hate U Give and Interpretive Communities : How Young Adult Fiction Can Strengthen a Political Movement." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-35864.

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In the wake of the guilty verdict of George Floyd’s murderer, police officer Derek Chauvin, there is hope for change in the pattern of police brutality against black people in the United States. The Hate U Give by Angie Thomas was published three years prior to George Floyd’s death, in 2017, and is a realistic fictional novel in the young adult genre that has gained attention for its relevant contribution in the debate of racism and police violence, as the fictional victim Khalil Harris, an unarmed black teenager, does not receive the same justice as George Floyd. In this essay, reader response to The Hate U Give is analysed in order to examine how it affects the opinions and worldview of the reader during and after the read. A close reading and analysis of pivotal scenes was carried out using affective stylistics, in order to interpret what the text does to the reader word-by-word, and subsequently the reader’s creation of meaning was examined and discussed. The reader’s response was then analysed with Stanley Fish’s theoretical framework of interpretive communities, groups with shared social norms and worldviews, which dictate how individuals create meaning in the first place. The analysis suggests that readers of The Hate U Give, while starting out in different, albeit to a certain extent similar, interpretive communities, will gradually align themselves with the interpretive community of Black Lives Matter through shared ideas and opinions and the increased understanding they develop when they read the novel.

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Schofield, April. "Blood At The Root." TopSCHOLAR®, 2015. http://digitalcommons.wku.edu/theses/1450.

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This is a coming of age story about two very different boys – Jason, a Northerner who ends up stuck in a small Southern town and Billy, a Southern boy with an abusive father. The boys become friends and grow up learning the dark secrets that are allowed to fester in a tiny southern town ruled by the Good Ol’ Boy System of justice. The story chronicles how their shared experiences change them in ways they never imagined and ultimately destroys their friendship and their lives. Through a history of violence and prejudice, Billy and Jason learn who they really are and just how far they’re willing to go to get what they want. They discover the true meaning of strength and weakness and how to survive in a world where they don’t fit in. The story explores the issues of violence, drug abuse, and murder that often lie hidden beneath the façade of fanatic Christianity, propriety, and status in seemingly innocent, charming Southern towns.

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Fogelström, Johnsson Matilda. "Thug Life: The hate U give little infants fucks everybody : Rasism och polisvåld i samtida afroamerikansk ungdomslitteratur." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76284.

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This study examines how racism and police brutality are illustrated in The hate U give and Dear Martin, which are two bestselling novels that emphasize the importance of resistance, and willingness to fight back against abuse of power and the oppression of African Americans in the US. Through the use of critical discourse analysis, power structures and race relations in the US are analyzed by means of postcolonial and power theory as well as by means of narrative theory. Moreover, the textual elements that are of importance to the analysis are the study of characters, motives and themes, specifically how the characters are affected by harmful stereotypes and forced into silence by the legal system in an attempt to justify police brutality. The analysis presented here indicates a colonial discourse, where the power structures in America are designed to work against African Americans. The characters’ actions and reactions to police brutality and oppression are therefore of importance in my study to depict how the novels creates a meaning for resistance and for finding a way for “the other” to be heard. My conclusion is that the characters’ voices are their weapons against police brutality, abuse of power, and oppression. To fight with one’s voice is to prove the stereotype, “thug”, wrong about African Americans, a stereotype that is often used by the police and the media to justify police brutality.

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Edvinsson, Kristin. "Using literature to educate students about conflicts concerning identity, religion and perspectives: Ten Things I Hate About Me and Does My Head Look Big In This?" Thesis, Högskolan i Halmstad, Sektionen för lärarutbildning (LUT), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-16592.

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The aim with this study is to demonstrate how the protagonists in Randa Abdel-Fattah´s novels Ten Things I Hate About Me and Does My Head Look Big In This? deal with conflicts concerning identity and religion but also to show how teachers can work with diversity and different perspectives with students. In this essay, the assumption is that most teenagers probably have many similar experiences in their lives despite differences. I attempt to show how teachers can use literature in the classroom while educating their students about multiculturalism and identities. The essay shows how Abdel-Fattah’s two books can help an ESL teacher in the classroom. My argument is that these two novels would work well as tools to educate students about multiculturalism, identity and Islam. The study argues that the conflicts in the two novels could be recognized by many students and therefore useful to work with. The Swedish school system is built on a common value-system that says that we should help the students become democratic citizens. We should also discourage all sort of discrimination. In this essay I show how using fiction can do this. Several parts from the novels are high lighted to show how I believe one can use them for education purposes. To support my arguments I use theories such as: Your teen´s search for identity by Bellows and Teaching diversity by Gonzalez-Mena and Pulido-Tobiassen. They have helped me to prove that it is positive to use fiction, and furthermore that teenagers do have similar issues as the protagonists. The essay thus argues that these books could help students to understand themselves, others and different cultures.

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Sisson, Richard Kimberly. "To Hold as T'were the Mirror Up to Hate: Terrence McNally's Response to the Christian Right in Corpus Christi." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-08062007-155932/.

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Thesis (Ph. D.)--Georgia State University, 2007.
Title from file title page. Matthew Roudane, committee chair; George Pullman, Thomas McHaney, committee members. Electronic text (201 [i.e. 200] p.) : digital, PDF file. Description based on contents viewed 19 Oct. 2007. Includes bibliographical references (p. 193-200).

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Roxburgh, Amy. "Voices as Weapons : Incorporating The Hate U Give in the EFL classroom to discuss institutional racism, double-consciousness and the importance of minoritized voices." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95762.

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The aim of this thesis is two-fold. Firstly, the aim is to analyze the three aspects institutional racism, double-consciousness and importance of minoritized voices in Angie Thomas’ novel The Hate U Give in connection to the thesis’ theoretical framework, Critical Race Theory. Secondly, the aim is also to argue for the inclusion of The Hate U Give in the Swedish EFL classroom, by investigating potential pedagogical implications in connection to the literary analysis and the thesis’ pedagogical framework, Critical Race Pedagogy. Potentially as a way of hoping for social justice and change for a minoritized group of people, the literary analysis of the three aspects demonstrates that Thomas depicts racial inequality as natural and fixed within many layers of American society such as economic opportunities, law enforcement, education, identities and which voices are heard vs. ignored. Therefore, this thesis argues that Thomas’ counter narrative The Hate U Give, with its portrayal of the racially inequal American society and the effects on the African American characters, could serve as a point of departure for discussions of institutional racism, double-consciousness and the importance of minoritized voices in the Swedish EFL classroom, to raise awareness of the situation for a minoritized group of people in America and connect it to the students’ own experiences and knowledge of these aspects.

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Waldmann, Bergvall Carl. "What Society Feeds Us : Immersion, racism and police violence in the novel and film version of The Hate U Give in the EFL classroom." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100252.

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Angie Thomas’ The Hate U Give is a young adult novel that covers controversial topics such as racism and police violence. In this essay, the concept of immersion is used to examine how the novel and its 2018 film counterpart adaptation differ in examining these topics. I claim that the film and novel versions operate through different methods of immersion. The novel mainly operates by immersion through characterization, while the film often prioritizes immersion through setting. In both cases, references are used to create immersion by grounding the novel within real historical eventhappenings and relevant contemporary discourse. Furthermore, this essay shows that highlighting factors of immersion, history, and contemporary discourse, while working with adaptation in practice, can lead to a more productive way of working with racially aware literature in the EFL classroom.

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Genovese, Greg. "Does chaos theory have anything to do with literature? /." Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arg3352.pdf.

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Paludan, Kajsa. "Lisbeth Salander Lost In Translation - An Exploration of the English Version of The Girl With The Dragon Tattoo." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1935.

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Abstract This thesis sets out to explore the cultural differences between Sweden and the United States by examining the substantial changes made to Men Who Hate Women, including the change in the book’s title in English to The Girl With The Dragon Tattoo. My thesis focuses in particular on changes in the depiction of the female protagonist: Lisbeth Salander. Unfortunately we do not have access to translator Steven T. Murray’s original translation, though we know that the English publisher and rights holder Christopher MacLehose chose to enhance Larsson’s work in order to make the novel more interesting for English-speaking readers, which resulted in Murray translating under the pseudonym Reg Keeland as he did not agree to the translation made by MacLehose and Knopf. Furthermore, this thesis touches on the ethics of translation, and will likewise argue the importance of facilitating a dialog concerning misogyny and rape culture.

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Schofield, Clemency Mary Lovedere. ""For those who have no doorway" : Palestinian literature and national consciousness." Thesis, University of Kent, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497687.

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This thesis examines the part played by Palestinian literature in the formation of national consciousness. The importance of literature to national and anti-colonial struggles has long been recognised, but in the Palestinian situation it has taken on additional significance. Firstly, in the absence of territory it sought to unite a geographically dispersed people, many of whom had suffered severe trauma on being ejected from their homes and lands. A national imagining was vital to overcome feelings of alienation, both from the land and from other sectors of the population, and to create the idea of a national homeland, based on claims to spatial and historical belonging. Secondly, it had to counter a powerful ideology: that of the Zionist claim to the same land. The land is not just a geographical space; it is invested with memories and narratives, and it comes to embody what it means to be Palestinian. Thus the struggle is not only over the land but also over the meaning of the land. However, when a nationalist struggle is predicated largely on tropes of possession of a feminised land, a specifically gendered conception of national agency emerges, one that envisages the masculine as active and the feminine as passive. This thesis therefore investigates the implications of such an imagining. The question of how women themselves relate to the gendered discourse of nationalism - both how they attempt to insert themselves as national agents and how they contest masculinist tropes - is also considered. Additionally, Palestinian women frequently have to cross the psychologically-imposed threshold between the private and public realms, a division that is reinforced not only by patriarchy but also by fundamentalist visions of nation. In this respect, the significance of literature as an imaginary realm in which dominant paradigms can be questioned and reconfigured must not be underestimated. Finally, this thesis examines how writing helps overcome the sense of alienation associated with exile. A powerful dialectic is at work in exilic consciousness: the here-and-now of the hostile present is countered by the there-and-then of a sustaining past, but it is out of this dialectic that possibilities for the future emerge. I look at the way in which the playful appropriation of exile as the motif of our post-modern consciousness is challenged by much Palestinian exilic writing. Some writers find consolations in the condition of exile, while others reconfigure the meanings of return and journeying. The complexity and multivalent nature of Palestinian writing create a heterogeneous conception of nation that becomes the ideal of an inclusive national consciousness.

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Pentolfe-Aegerter, Lindsay Alexandra. ""You have met the woman; you have struck the rock" : Southern African women's writing as resistance /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/9526.

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Mourad, Fatima. "Anti-Systemic Departures in Lebanese-Canadian Writing: Mouawad and Hage." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/41259.

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This thesis examines the antisystemic writing of Wajdi Mouawad and Rawi Hage, two of the most compelling authors to emerge out of the Lebanese-Canadian diaspora. In their Canadian setting, the writers’ politics of unbelonging serves a countercultural purpose by rearticulating the race, class, and gender disparities eschewed in multicultural discourse. As writers of a growing Lebanese diaspora, they recall the collective injuries sustained during the Lebanese civil war (1975-1990) and which remain underexamined by Lebanese society and government. In this way, Mouawad and Hage assume a subversive position in both the Lebanese and the Canadian contexts by reinscribing histories and experiences that risk erasure. In my analysis of Mouawad’s play Scorched and Mouawad’s novels De Niro’s Game and Cockroach, the differential allocation of precarity and grievability proves the common thread that runs through all three texts. Mouawad and Hage’s representation of their character’s disproportionate exposure to harm and suffering coincides with the broader claims of antisystemic politics. My intervention brackets these texts’ thematic concerns with the critical theories that best explain some of Mouawad and Hage’s more radical depictions of immigrants under duress.

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Wurth-Grise, Rosemarie. "Voices I Have Heard." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/389.

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The poems in this thesis are an exploration of how two worlds can exist at once. The first world is the physical world as we perceive it through our senses and experience it through living. It is a cyclical world that begins with childhood, and moves toward adulthood, parenthood and death. In this world we go about the act of living. Yet it is in the second world, a more metaphysical one, that we are most alive. We often gain our knowledge of this world through observing and experiencing the natural world. It is a place in which we discover our true selves. This world exists like the mythical ethers; its boundaries are unmarked and the journey takes us into places of light and dark, of sound and silence. It is the coexistence of these two worlds that I attempt to explore in my writing. To access this metaphysical world requires a certain sense of surrender. This can be difficult since it seems to be our species' natural tendency to try to tame or control our environment. Therefore, we must not assume the attitude of a conqueror of nature. We must assume instead the role as a student of nature. That means being truly attentive, finding stillness and quiet, and being willing to listen to the world around us. Secrets can be told in bird song or in the shadows of oaks. My love for nature and writing began at an early age. As a teen I fell in love with poetry. I discovered the poetry of the Victorians, Pre-Raphaelites and Romantics in old anthologies stored away in my grandparent's attic. In these dusty bound volumes with their frayed covers, I discovered the lyrical language of Browning, Tennyson, and Keats. Delving into them instilled in me the appreciation for the beauty of words playing upon each other. In later years, teachers and mentors, like Peggy and Frank Steele, introduced me to the poetry of William Stafford, Ted Kooser, and William Carlos Williams. I was drawn to the straightforward economical use of language by Stafford. His style explored the inner and outer world in language accessible to the average reader. Kooser also used accessible language to describe the human condition. His portraits and narratives instilled validity to my own sense of narrative found in many of my poems. Finally, my poet husband, Dorsey Grice, introduced me to the poetry of Mary Oliver. Her incredible attunement to and observations of nature left me humbled. Somewhere between those early discoveries of the traditional poetic canon and my studies of the modern/contemporary poets I have found my own voice emerge. The blending of the periods has created in me the tendency to write with an economy of language, combined with what I hope are lyrical, melodic lines that are imbued with a subtle sense of rhythm. In writing this creative thesis I have divided the poems into two sections. In general they explore how we relate within physical, social and spiritual contexts. The first section is entitled "A Woman You Might Know" and deals more with the human experience of raising children, finding and losing love, grieving for the ill and dying, and searching for wholeness. The second section is called "The Sound of Trees" and deals with observations within the natural world. It includes poems dealing with the changing of the seasons, farm life, observing wildlife, and the spiritual world. Although each is divided according to a general topic, they both hopefully convey the presence of a dual world in which we live every day and are occasionally allowed a glimpse into. It's a place where the voices of our ancestors gather round us to share their stories and teach us something of value about ourselves.

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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.

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Ventura, Priscilla de Carvalho Maia. "WE HAVE FALLEN APART: o legado colonial em Purple Hibiscus de Chimamanda Adichie e Things Fall Apart de Chinua Achebe." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/7879.

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A presente dissertação propõe o estudo das consequências da dominação colonial britânica sobre a República Federal da Nigéria no que concerne à religião, educação, língua, raça e gênero, tendo como objetos de análise Things Fall Apart (1958) de Chinua Achebe e Purple Hibiscus (2003) de Chimamanda Ngozi Adichie. A maneira de ler e produzir literatura vem se metamorfoseando ao longo dos séculos XX e XXI, abrindo espaço para que despontem as literaturas pós-coloniais, isto é, obras que possuem como atributo comum o fato de emergirem da experiência da colonização. Impulsionada por este contexto, a produção literária africana vem conquistando espaço e notoriedade no cenário mundial. Este trabalho busca relacionar literatura e situação sócio-política, trazendo para o debate vozes historicamente silenciadas e abrindo possibilidades de resistência às perspectivas impostas pelo olhar do colonizador, através da investigação da literatura nigeriana. Embora o período de dominação britânica sobre a Nigéria tenha chegado ao fim, as consequências de tal política ainda se fazem presentes no cotidiano daquele povo, seja na religião tradicional brutalmente substituída pelo cristianismo, nos idiomas autóctones que perdem lugar para a língua inglesa, no sistema de aprendizado estrangeiro que toma o lugar do ensino familiar ou na valorização da pele branca e do sistema patriarcal de poder. Tendo destacado papel no estabelecimento da estrutura colonial, busca-se aqui converter a literatura em instrumento de libertação.
The present thesis proposes the study of the consequences of British colonialism over the Federal Republic of Nigeria concerning religion, education, language, race and gender, having as objects of analyses Things Fall Apart (1958) by Chinua Achebe and Purple Hibiscus (2003) by Chimamanda Ngozi Adichie. The way in which literature is written and read has been changing throughout the 20th and 21st centuries, opening space to the postcolonial literatures, that is, literatures that have as a common background the fact that they come from the experience of colonialism. Propelled by this context, African literary production has been achieving space and renown in the global scenery. This work aims to relate literature and social-political situation, bringing to the debate historically silenced voices, opening possibilities to resist the colonial gaze while investigating the Nigerian literature. Even though the british colonial rule has come to an end, the consequences of this politics are still present in the daily lives of that people, in the fact that traditional religion was brutally substituted by Christianism, in the ancient languages replaced by English, in the educational system that took over home schooling, in the valorization of white skin and the patriarchal power system. Literature has a central role in establishing colonial structures and this work tries to convert literature into a liberation tool.

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Dhrodia, Reshma. ""Have you met Miss Jones?": Feminism and difference in the Bridget Jones diaries." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/27125.

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Helen Fielding's Bridget Jones novels are popular with countless readers all over the world. They are "ripe for feminist interpretation and investigation" because they are "contemporary women's novels" that discuss the everyday lives of women, particularly unmarried women in the West (Whelehan 2004, 38). Imelda Whelehan argues that if the Bridget Jones novels do not "offer a 'true' reflection of contemporary single life for women, they perhaps present its tensions more boldly than ever" (2004, 30). This thesis is a feminist study of the Bridget Jones novels and the film adaptation of Bridget Jones's Diary, focussing on how discourses of feminism and otherness appear in Fielding's texts and in the film, and how the major women characters use them to interpret their own lives. Chapter One investigates the ways in which Bridget, Sharon, and Pam Jones understand feminism and employ feminist language in Fielding's Bridget Jones's Diary (1996). Chapter Two explores how characters who are Other---those who are racially and ethnically different from Bridget, her friends, and her family---create barriers between the white, heterosexual couples in Bridget Jones: The Edge of Reason (1999). Finally, Chapter Three turns to the 2001 film adaptation of Bridget Jones's Diary in order to demonstrate how prevalent themes in the first novel, including feminism, go missing in the adaptation.

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Gill, Scott T. "The theology of Lewis' Till We Have Faces." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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Rimmasch, Meghan I. "Where Have All The Rebels Gone? Ideology and Conformity in Young Adult Dystopian Literature." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6754.

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By employing the critical studies of adolescence from Nancy Lesko, Roberta Trites, and Maria Nikolajeva and the study of positive and negative symbols of rebellion examined by Robert Lindner through Leerom Medovoi, I will interrogate the popular notion that female protagonists in dystopian Young Adult Literature (YAL) are strong, self-aware rebels who are positive role models to YA readers. Using the didactic nature of dystopian literature, I will examine how adult authors consciously (or unconsciously) set ideological standards for their YA readers through the female protagonists and how these standards are not as empowering as they initially seem. To address this disparity between what is promoted as rebellion and what is actually enacted by female protagonists, I will analyze Suzanne Collins' The Hunger Games trilogy and Ally Condie's Matched trilogy. The analysis will conclude that the female protagonists are problematic, subscribing to specific, conservative ideologies presented in the novels which prohibits them from seeing through the rebellion they are involved in and that their choices are determined by male characters instead of their own self-awareness.

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Davies, Lorraine Jocelyn. "An awkward rectitude : the evolution of William Hale White's fiction." Thesis, University of Liverpool, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282212.

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Kneen, Bonnie. "Granpa and the polyphonic teddy bear in Mr Magritte's gorilla park complexity and sophistication in children's picture books /." Diss., [Pretoria : s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-01122004-122527/.

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Smedbakken, Christina. "Raising Ladies at Longbourn : What Impact Does the Bennet Couple's Treatment of Their Daughters Have in Jane Austen's Pride and Prejudice?" Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-12111.

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This study investigates the childrearing skills of the fictional characters Mr. And Mrs. Bennet in Jane Austen's novel Pride and Prejudice, as well as their impact on the storyin general and on their children in particular. The spouses are first presented anddescribed individually, then as a married couple and finally as parents. This final andmajor part of the discussion conentrates on the oldest and the youngest of the Bennetdaughters especially, but touches briefly upon the other three as well. In performing thisanalysis, behaviouristic and psychoanalytical theories have been employed, in additionto biographic material on the author and historical accounts on childrearing, in order todetermine what aspects of the Bennet children's personalities and conduct should beascribed to their parents' handling of them. The results show that the Bennet parets failalmost completely in raising their daughters into healthy individuals, which should betheir aim according to the psychoanalytical model, and also in training them to becomethe functional, marriable ladies that they would have to be for their parents to beconsidered successful from a behaviouristic perspective. Their failure to secure a stableeconomy for their daughters adds to this. Not all the Bennet couple's efforts result infailure, however, and they both have traits to recommend them. Still, their treatment oftheir daughters affect both them and the course of events in the novel negativelly.

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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.

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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.

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Crees, Mark. "Before Mark Rutherford : the translations, journalism and essays of William Hale White." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366396.

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Woodring, Catherine. ""Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987.

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The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease. As such a transformative and ambivalent power, poison was called upon precisely as stage revengers turned to vengeance, as revenge was, at its core, concerned with the breaking and making of boundaries. As such, playwrights turned to both literal and metaphorical poisons in their plays of vengeance to stage the excesses of contagion. I contend that all of the plays under consideration in my dissertation uniquely represent the bounded alongside the boundless. In the process, they dramatize the surprising paradoxes of revenge. By staging, often uneasily, the potential for revenge to “have no bounds,” dramatists more radically explored the perverse appeal and power of their own art.
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Wilkes, Nicole. "Standing in the Center of the World: The Ethical Intentionality of Autoethnography." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1874.

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Emmanuel Levinas's philosophy of ipseity and alterity has permeated Western thought for more than forty years. In the social sciences and the humanities, the recognition of the Other and focus on difference, alterity, has influenced the way we ethically approach peoples and arts from different cultures. Because focus on the ego, ipseity, limits our ethical obligations, focusing on the Other does, according to Levinas, bring us closer to an ethical life. Furthermore, the self maintains responsibility for the Other and must work within Levinas's ethical system to become truly responsible. Therefore, the interaction between self and Other is Levinas's principal concern as we move toward the New Humanism. The traditional Western autobiography has been centered in the self, the ego, which may prevent the ethical interaction on the part of the writer because the writer often portrays himself or herself as exemplary or unique rather than as an individual within a culture who is responsible for others. Nevertheless, life writing has expanded as writers strive to represent themselves and their cultures responsibly. One form that has emerged is the literary autoethnography, a memoir that considers ancestry, culture, history, and spiritual inheritance amidst personal reflection. In particular, Native American conceptions of the self within story have inspired conventions of literary autoethnography. This project explores the way Native American worldviews have influenced the autoethnography by looking at four Native American authors: Janet Campbell Hale, N. Scott Momaday, Leslie Marmon Silko, and Carter Revard. Through research, family stories, interviews, and returns to ancestral spaces, autoethnographers can bring themselves and their readers closer to cultural consciousness. By investigating standards in autoethnographic works, this project will illustrate the ethical intentionality of autoethnography.

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Hilton, Jacob G. "Have I Seen You Before?" Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1244485176.

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Aramand, Anne. "Can women have it all?| Hesitant feminism in American women's popular writing." Thesis, University of Massachusetts Boston, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1550547.

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Twilight by Stephenie Meyer and The Hunger Games by Suzanne Collins are two of the bestselling series of our generation. These series are meeting widespread popularity just as the contemporary feminist debate of: "Can women have it all?" is occurring around the country. Although Twilight and The Hunger Games are not considered overtly feminist texts, they have emerged in a time when women are reexamining the possibility of empowering themselves both in the public and the domestic sphere. Meyer and Collins have introduced female protagonists that deal with precisely this issue.

First, I will be outlining why cultural studies are important to discussions of popular literature, as argued by both Jane Tompkins and Cathy N. Davidson, especially in terms of female readers and writers. I will also be exploring the bestselling works of Louisa May Alcott's Little Women and Jacqueline Susann's Valley of the Dolls which emerged during the first and second waves of feminism and how they expressed a hesitation to give women a happy ending outside domesticity within their respective historical contexts. Next, I will review the current "lean in" culture of the third wave of feminism. I will also show how both Twilight and The Hunger Games continue the pattern of female protagonists that cannot be empowered unless they are wives and mothers. Finally, I will analyze how my own creative writing has been affected by cultural debates involving women's roles. Popular women's writing that emerges in the context of major feminist moments in American history shows ambivalence towards empowering women outside the home. This ambivalence is also reflected in my own writing through poetry. By first examining the work of best-selling women writers in the last two centuries and then analyzing my own writing in concurrence with the evolution of feminist ideals, I will show that women writers display a hesitant feminism despite emerging alongside progressive cultural moments in American history.

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Ledger, Sally. "History, politics and women : a contextual analysis of the writings of William Hale White ('Mark Rutherford')." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315008.

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Alderman, Nigel James. ""I am going to have to Hear It All Over Again": The Entrapment of Quentin Compson." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539720277.

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Woodring, Benjamin Michael. ""Oft Have I Heard of Sanctuary Men": Fictions of Refuge in Early Shakespeare." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11670.

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This study weaves together several strands of inquiry. On the level of dramatic analysis, I look to understand how "sanctuary" spaces operate in Shakespeare's early plays and the ways in which such zones relate to genre. In tragedy, there is no escape valve, no place for retreat. The aesthetic depends on the increasing pressure and the gradual winnowing of options and possibilities. I analyze Richard III (both Thomas More's and Shakespeare's) as the preeminent example of sanctuary-breaking and generic claustrophobia. In Shakespearean comedy, on the other hand, sanctuaries allow action to continue, brokering resolutions while avoiding tragic termination. In this vein I consider The Comedy of Errors and As You Like It. The second strand is historical: I attempt to situate the plays within the larger context of England’s immunity spaces in their twilight. I document the upheaval and confusion regarding refuge sites following the Reformation and the dissolution of the monasteries, contending that the conflicting swirl of concepts surrounding Elizabethan sanctuary – as something both holy and debauched – made it ripe for Shakespeare’s fascination. Finally, in the epilogue I offer a more theoretical reading of sanctuary practices over time, arguing that asylum is often a tool for young or relatively unstable governments to get subjects to present themselves. In this view, sanctuaries are not exceptional spaces outside diurnal affairs and authority, but rather the precise cohesive principle that keeps a fledgling jurisdictional structure intact. Nevertheless, I argue that alternative modes of access to the tools of the administrative culture within which one is unavoidably entrenched may ultimately be more profound than the utopian wish for escape.

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Panzeca, Andrea. "You Don't Have to Be Good." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1979.

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You Don't Have to be Good, is a nonfiction collection of prose, poetry and graphic memoir set in New Orleans, central Florida, and points in between. In this coming-of-age memoir, I recall the abrupt end of my dad's life, the 24 years of my life in which he was alive, and the years after his death—remembering him while living without him in his hometown of New Orleans. Along the way there are meditations on language, race, gender, dreams, addiction, and ecology. My family and I encounter Hurricane Katrina and Mardi Gras, and at least one shuttle launch. These are the stories I find myself telling at parties, and also those I've never voiced until now.

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Khastgir, Aparna. "'O make an end of what I have begun' : the sense of closure in Shakespeare's classical tragedies." Thesis, King's College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286723.

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Wallis, Judith M. "Children's favorite novels an analysis of books that have won multiple state popularity awards /." [Houston, Tex.] : University of Houston, 1997. http://catalog.hathitrust.org/api/volumes/oclc/41264379.html.

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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.

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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.

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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.

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Weeks, Birgit. "Does Trummerliteratur have a Feminine Side?" University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491558452845952.

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Rettová, Alena. "Lidství utu? Ubinadamu baina ya tamaduni." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97671.

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Taking its depature point in a translation of a play by a Czech playwright and philosopher, Václav Havel, into Swahili, the article strives at a cross-cultural comparison of a pivotal concept of Havel`s thought, lidství (`humanity´), and an equally central concept of Swahili moral and philosophical thought, utu. The basis of this copmparison is, on the Czech side, an explanation of Havel`s concept and its grounding in existentialist philosophy. The Swahili side is presented in a two-step procedure. First, the semantic field of `humanity´in the Swahili language, comprising utu and several concepts related to it (especially ubinadamu), is analyzed. Second, the concepts belonging to the semantic field of utu are traced in the development of Swahili literature, as a prominent representative of intellecual discourses in the Swahili culture.

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Parry, Simon Halsall. "Why should the Devil have all the best tunes? : 20th century popular- and folk-style church music in England." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369112.

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Sainio, Hanna-Kaisa Maaria. "A voz (in)visível da tradutora no livro Trollkarlens Hatt / Finn Family Moomintroll / A Família dos Mumins : Oito ocorrências da tradução para o português através do inglês do texto original em sueco." Thesis, Stockholms universitet, Romanska och klassiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-148223.

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Este trabalho é o resultado de uma pesquisa qualitativa sobre a tradução do livro Trollkarlens Hatt, Finn Family Moomintroll, A Família dos Muminsda autora finlandesa Tove Jansson. A partir de oito ocorrências de tradução foi avaliada a (in)visibilidade das tradutoras Elizabeth Portch na versão inglesa e Mafalda Eliseu na versão portuguesa. Através de uma análise dos métodos de tradução está confirmada a teoria da literatura para crianças: os fenômenos de domesticação e estrangeirizaçãoaparecem na tradução num compromisso equilibrado, porém, com o foco na cultura e na língua alvo, num diálogo com o leitor. Para além disso, pode-se perceber que entram outras considerações nas decisões do tradutor: as preferências estilísticas e pessoais. Também poderia ter sido discutida uma certa dominância da língua inglesa, mas pela dificuldade com uma terceira língua na análise, deve ser preservada para futuros estudos.
This paper is the result of a qualitative research of the translation of the book Trollkarlens Hatt, Finn Family Moomintroll, A Família dos Mumins written by the Finnish author Tove Jansson. The (in)visibility of the translators Elizabeth Portch of the English version and Mafalda Eliseu of the Portuguese version is evaluated through eight excerpts of translation. The analysis of the methods used in these translations confirms the theory of children ́s literature: the phenomena of domestication and foreignization appear as a balanced compromise, however, with the focus on the target culture and language, in a dialogue with the reader. In addition, there are other considerations that intervene in the decision-making of the translator: stylistic and personal preferences. Also a certain dominance of the English language could have been discussed, but for the difficulty that a third language causes in the analysis, that must be preserved for future studies

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Thompson-Gillis, Heather J. "Venturing More Than Others Have Dared: Representations of Class Mobility, Gender, and Alternative Communities in American Literature, 1840-1940." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337711986.

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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.

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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.

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Wardrop, Stephanie Eileen. ""What They have Instead of God": The Relationship between Jake Barnes and Brett Ashley in Hemingway's "The Sun Also Rises"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625597.

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Donatello, Aryn E. "THE IMPACT SHORT TERM MEDICAL MiSSIONS HAVE ON FOREIGN COMMUNITIES." Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1525719084229235.

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Aldred, Natalie C. J. "A critical edition of William Haughton's Englishmen for My Money, or, A Woman will have her will." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1638/.

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William Haughton’s Englishmen for My Money, published in three extant early modern editions in 1616, 1626 and 1631, began to receive the literary attention it deserves in the 1990s. Fuller contextual and bibliographical enquiries have yet to be offered, which this edition seeks to redress. The Introduction begins by identifying Haughton’s biographical details, before moving on to issues in dating Englishmen’s composition. It then offers a survey of the play’s generic, historical, and cultural contexts. A reconstruction of theatrical practices is provided. Provisional studies of the underlying manuscript, a hypothetical Q0, and Q1 are offered. Editorial methods are discussed, together with brief descriptions of Q2, Q3 and later editions. The modern-spelling edited Text that follows conforms, with noted exceptions, to the guidelines of Arden Shakespeare Third Series. The Commentary provides glossing, discusses readings and textual cruces, and highlights Haughton’s use of sources, proverbs, and literary, cultural and biblical allusions. Two appendices present information on Q1’s running title descriptions and a census of extant copies for Q1–3. A DVD at the back of the second volume contains a digital facsimile of the base text.

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Sutton, Mathew D. "Review of Florence Dore, Novel Sounds; Randall J. Stephens, The Devil’s Music; Daniel Kane, “Do You Have a Band?" Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/7830.

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Reviews: Novel Sounds: Southern Fiction in the Age of Rock and Roll. By Dore, Florence. New York: Columbia Univ. Press. 2018. xiii, 178 pp. Cloth, $85.00; paper, $28.00; e-book, $27.99.The Devil’s Music: How Christians Inspired, Condemned, and Embraced Rock ’n’ Roll. By Stephens, Randall J.. Cambridge, MA: Harvard Univ. Press. 2018. 337 pp. Cloth, $29.95.“Do You Have A Band?”: Poetry and Punk Rock in New York City. By Kane, Daniel. New York: Columbia Univ. Press. 2017. xii, 276 pp. Cloth, $90.00; paper, $30.00; e-book, $29.99.

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Beyer, Carola. "‘The man I could have been’: masculinity and uncanny doubles in selected novels of Damon Galgut." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97100.

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Thesis (MA)--Stellenbosch University, 2015
ENGLISH ABSTRACT: In this thesis I examine the portrayal of masculinity in selected works of Damon Galgut. Masculinities are read through the lens of the double and the uncanny as conceived by Freud and other scholars. The selected novels include The Beautiful Screaming of Pigs (1991), The Quarry (1995), The Good Doctor (2004), The Impostor (2008) and In a Strange Room (2010). In the introduction theoretical issues relating to masculinities, the double and the uncanny are discussed and a broad framework for the thesis is outlined. Subsequently each chapter discusses the representation of men and masculinities in the selected novels. Issues such as masculinity in the military, friendship amongst men, relationships with women, masculinity and apartheid, masculinity and whiteness and heterosexuality and homosexuality are discussed and explored through the lens of the double and the uncanny. Questions that emerge from this study are: What perspectives does Galgut offer of masculinities before and after apartheid? How do the men experience their political and social environment? How do the male characters in the novels interact with the female characters? What obligations do men and women have towards each other?:
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die uitbeelding van manlikheid in geselekteerde werke van Damon Galgut. Manlikhede word gelees deur die lens van die dubbelganger en die Unheimliche soos deur Freud en ander teoretici gekonsipieer. Die geselekteerde romans sluit in The Beautiful Screaming of Pigs (1991), The Quarry (1995), The Good Doctor (2004), The Impostor (2008) en In a Strange Room (2010). In die inleiding word teoretiese kwessies met betrekking tot manlikhede, die dubbelganger en die Unheimliche bespreek en ŉ breë raamwerk vir die tesis word uiteengesit. Daarna bespreek elke hoofstuk die voorstelling van mans en manlikhede in die geselekteerde romans. Kwessies soos manlikheid in die weermag, vriendskap tussen mans, verhoudings met vroue, manlikheid en apartheid, manlikheid en witheid, en heteroseksualiteit en homoseksualiteit word deur die lens van die dubbelganger en die Umheimliche bespreek en verken. Die volgende vrae word in die studie aangepak: Watter perspektiewe bied Galgut op manlikhede voor en ná apartheid? Hoe ondervind die mans hulle politieke en sosiale omgewing? Hoe gaan die manlike karakters in die romans met die vroulike karakters om? Watter verpligtinge het mans en vroue teenoor mekaar?

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Vaccaro, Jacob. "Mythical, historical and allegorical narratives in Till we have faces." Diss., Connect to the thesis, 1998. http://hdl.handle.net/10066/1477.

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Aiken, Alicia Denai. "We'd love to have you on our show." Master's thesis, Mississippi State : Mississippi State University, 2006. http://library.msstate.edu/etd/show.asp?etd=etd-02132008-133119.

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Dissertations / Theses on the topic 'Hate literature'

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