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King, Edward Carlos Richard. "Mapping the control society : science fiction tropes and digital technologies in contemporary Argentine and Brazilian narrative." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610135.
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Shishkin, Timur. "Marginalized Characters in Contemporary American Short Fiction." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.
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The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
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Chan, Wai-ying, and 陳惠英. "Chinese lyrical fiction in the period 1919-1989." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212864.
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Su, Ping, and 苏娉. "Word into image : cinematic elements in Caryl Phillips's fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197091.
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Caryl Phillips, best known as a novelist, is a versatile writer who has also written for theater, radio, television and film. His experience in writing screenplays has made a considerable impact on the texture, style, technique and structure of his novels, which display either explicitly or implicitly many visual and formal features that resemble the narrative strategies of cinema.
This study explores the many ways in which the cinematic art has influenced Phillips’s writing, focusing specifically on his four major novels: The Final Passage, The Nature of Blood, Dancing in the Dark, and In the Falling Snow. The chapters of this dissertation demonstrate that Phillips’s sustained interest and work in the area of cinema have profoundly shaped his novelistic craft, which is visibly manifested in the form, style and even themes of his fiction. He has used techniques analogous to film substantially in his novels for the purpose of formal experimentation, demonstrating a filmic sensibility that contributes considerably to his uniqueness in theme, characterization and form, enriches the meaning of his texts, and enhances his writing in a great many ways. Thus a reading of his novels in relation to the language and grammar of cinema will lead to a deeper understanding of his fictional art.
This thesis uses cinema as an analytical framework to demonstrate the filmic quality of Phillips’s fiction. Chapter One discusses the dynamic exchanges, interactions, and cross-influences between the novel and film, thus establishing a theoretical context for a cinematic reading of Phillips’s major novels. Chapter Two investigates Phillips’s visual imagination by analyzing how literary equivalents of various camera shots such as long shots, medium shots, close-ups, pan shots, dolly shots, tilt shots, and freeze frames are produced by his use of language. It shows that Phillips visualizes his scenes as if through a camera lens, with medium shots, as a mode of characterization, predominating in his novels and sequences of shots displaying a recurring rhythm created by a continuous switching between the long, medium and short camera-to-object distances. Chapter Three, focusing on the editing processes, examines Phillips’s adaptive use of the different types of montages: quick sequences of brief shots, metaphorical montages, repetitive montages, jump cuts, parallel montages and flashback montages. This chapter demonstrates that the construction of literary montages in Phillip’s works has contributed to the author’s visual, rhythmic and concise language style and the predominance of different montage types in the four novels results in their distinct structural features. Chapter Four studies Phillips’s use of the cinematic devices of lighting, color and sound to illustrate that the three elements are a significant and expressive part of the author’s themes and narrative techniques. The reading of Phillips’s novels in the light of cinematic aesthetics will uncover some of the unexplored aspects of his fictional style, draw attention to those formal patterns that are associated with his literary translation of filmic devices, place him in the tradition of literary modernism, and ensure a fuller appreciation of his artistic achievement.published_or_final_version
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Ryan, Matthew. "Self, nation and novel in contemporary Irish writing." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5421.
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Zheng, Baoxuan, and 鄭寶璇. "The theme of alienation in modern Chinese and Anglo-American fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31206803.
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DeAngelis, Angelica Maria. "History and fiction as narrative in the novels of Salman Rushdie." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22394.
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This work examines the fiction of Salman Rushdie--Grimus, Midnight's Children, Shame and The Satanic Verses, and its complex narrative structure. Fictional narrative is discussed in terms of structuralist theory using studies by Mieke Bal, Seymour Chatman and Gerald Prince. Historical narrative is analyzed through the writings of the philosophers of history, Hayden White, Louis O. Mink and Paul Ricoeur. These theories are applied to the fiction of Salman Rushdie in order to investigate his use of narrative. It is concluded that he uses a combination of historical and fictional narrative in order to explode existing 'truths' and mythologies, and to suggest alternative realities in their place.
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Ko, Trudy Hoi Yun. "The involution of print and prose fiction in early modern England." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609098.
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Beaulé, Sophie. "L'institution de la science-fiction française, 1977-1983." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65469.
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McMillan, Neil Livingstone. "Tracing masculinities in twentieth-century Scottish men's fiction." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/5190/.
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Tracing Masculinities in Twentieth-Century Scottish Men's Fiction takes account of the representation of masculinities in a selected group of novels by twentieth-century Scottish male authors. Rather than attempt a chronological survey of fictions during this period, the argument proceeds by analysing groups of texts which are axiomatic in specific ways: the Glasgow realist novels of the 1930s and post-1970s, from the works of James Barke and George Blake to those of William McIlvanney and James Kelman, which offer particular perspectives on relationships between men of different class identifications; fictions reliant upon existentialism, which intersect with the masculinist values of the Glasgow tradition in the figure of Kelman, but are also produced by Alexander Trocchi and Irvine Welsh; and novels which employ the technique of 'cross-writing', or literary transvestism, from the Renaissance fictions of Lewis Grassic Gibbon to the postmodern works of Alan Warner and Christopher Whyte. In a critical field which has always been concerned with a tradition of largely male-produced texts privileging the actions of male characters, but has neglected fully to consider the production and reception of those texts in terms of their specific articulations of gender positions, this thesis employs theories of masculinities developed in the study of American and English literatures since the 1980s in order to provide new perspectives on Scottish novels. It also draws upon the materialist theory of Louis Althusser for a model of ideological identification, as well as utilising several psychoanalytic and deconstructive approaches to gender formation in Western culture, epitomised by the work of Judith Butler and Kaja Silverman. The various perspectives on masculine gender and sexual identities thus assembled are primarily directed towards considering the novels under discussion as 'men's texts' - texts not only by or about men, but often directed towards men as readers too.
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李仕芬 and Shi-fan Lee. "Love and marriage." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31208721.
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Detre, John. "Fiction and reality in Lukács theories of the novel." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65549.
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Blatchford, Mathew. "The old New Wave : a study of the 'New Wave' in British science fiction during the 1960s and early 1970s, with special reference to the works of Brian W. Aldiss, J.G. Ballard, Harry Harrison and Michael Moorcock." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22150.
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Bibliography: pages 174-184.This thesis examines the 'New Wave' in British science fiction in the 1960s and early 1970s. The use of the terms 'science fiction' and 'New Wave' in the thesis are defined through a use of elements of the ideological theories of Louis Althusser. The New Wave is seen as a change in the ideological framework of the science fiction establishment. For oonvenience, the progress of the New Wave is divided into three stages, each covered by a chapter. Works by the four most prominent writers in the movement are discussed.
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Proietti, Salvatore. "The cyborg, cyberspace, and North American science fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0021/NQ44558.pdf.
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Jenkins, Jennifer Lei. "Failed mothers and fallen houses: Gothic domesticity in nineteenth-century American fiction." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186122.
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This study examines the relation between gender and genre in four novels that chart the development of American domestic life from the Colonial to the Gilded Age. In these novels, the presence in the house of women--mothers, daughters, sisters, servants, slaves--often threatens the fathers' dynastic ambitions and subverts the formal intentions of the narrative. These women represent familiar but strange forces of the uncanny which lurk beneath the apparently placid surface of domestic narrative. In "house" novels by Hawthorne, Stowe, Alcott, and James, interactions of the uncanny feminine with dynastic concerns threaten not only the novel's social message of destiny and dynasty, but the traditional form of the novel itself. In The House of the Seven Gables, Hawthorne constructs a narrative in which patrician fathers and domestic daughters struggle for control of the House and its story. Slavery disrupts domestic life in Uncle Tom's Cabin, inverting and thereby perverting traditional notions of home and family and producing monstrous mothers and failed households. Alcott details the abuses and dangers of reified gender roles in family life, while depicting a young woman's attempt to reconstruct domesticity as a female community in Work. Finally, James displaces domestic concerns entirely from The Other House, portraying instead the violent nature of feminine desire unrestrained by tradition, community, or family. Story and telling work at cross-purposes in these novels, creating a tension between Romantic structures and realistic narrative strategies. These authors depart from the tropes of their times, using gothic devices to reveal monstrous mothers, uncanny children, and failed or fallen houses within the apparently conservative domestic novel. Such gothic devices transcend literary historians' distinctions of romance and sentimental fiction as respectively male and female stories and reveal the fundamentally subversive nature of domestic fiction. For these writers, the uncanny presence of the feminine produces a counternarrative of gender, class, and race, redefines the cultural boundaries of home and family, and exposes the fictive nature of social constructions of gender and domesticity.
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Mathews, Peter David 1975. "Strategies of realism : realist fiction and postmodern theory." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.
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Pelletier, Valérie. "Etude sur l'entremêlement des concepts d'histoire et de fiction dans la littérature historique et fantastique en Chine." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79969.
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The fantastic stands as an important part of Chinese culture. It is in fact through its literature that it has been made possible for us to enjoy this heritage. With the study of fantastic tales and anomaly accounts, this thesis tackles the problem of rationalism in relation with supernatural. It attempts to understand the mechanisms of the intermingling of the concepts of fiction and history, through the comparison of Chinese historical and fictional texts, as well as parallels between China and Europe. It will also deal with the concepts of nature, in both the perspectives of China and Europe, and the Enlightenment.
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Steenkamp, Elzette Lorna. "Identity, belonging and ecological crisis in South African speculative fiction." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002262.
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This study examines a range of South African speculative novels which situate their narratives in futuristic or ‘alternative’ milieus, exploring how these narratives not only address identity formation in a deeply divided and rapidly changing society, but also the ways in which human beings place themselves in relation to Nature and form notions of ‘ecological’ belonging. It offers close readings of these speculative narratives in order to investigate the ways in which they evince concerns which are rooted in the natural, social and political landscapes which inform them. Specific attention is paid to the texts’ treatment of the intertwined issues of identity, belonging and ecological crisis. This dissertation draws on the fields of Ecocriticism, Postcolonial Studies and Science Fiction Studies, and assumes a culturally specific approach to primary texts while investigating possible cross-cultural commonalities between Afrikaans and English speculative narratives, as well as the cross-fertilisation of global SF/speculative features. It is suggested that South African speculative fiction presents a socio-historically situated, rhizomatic approach to ecology – one that is attuned to the tension between humanistic- and ecological concerns.
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Payne, Christopher Neil. "Terminus intractable and the literary subject : deconstructing the endgame in Chinese avant-garde fiction." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29518.
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The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.
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Oppelt, Riaan. "The valley trilogy: a reading of C. Loius Leipoldt's English-language fiction circa 1925-1935." Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_7246_1257247882.
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C. Louis Leipoldt is known as a canonical figure in the history of Afrikaans poetry, He is customarily included in the pantheon of writers such as C.J. Langenhoven who not only established Afrikaans as a standardized national language in the early twentieth century, but also contributed to the idea of the Afrikaner Volk as a distinct nation within South Africa. The recent publication of Leipoldt's Valley Trilogy, three novels written in English in the 1930's now reveals Leipoldt in a very different light. Today, in a time of national transformation, Leipoldt's liberal ideas deserve to be given the broader scope he had intended for them.
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Nash, Andrew. "Kailyard, Scottish literary criticism, and the fiction of J.M. Barrie." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15199.
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This thesis argues that the term Kailyard is not a body of literature or cultural discourse, but a critical concept which has helped to construct controlling parameters for the discussion of literature and culture in Scotland. By offering an in-depth reading of the fiction of J.M. Barrie - the writer who is most usually and misleadingly associated with the term - and by tracing the writing career of Ian Maclaren, I argue for the need to reject the term and the critical assumptions it breeds. The introduction maps the various ways Kailyard has been employed in literary and cultural debates and shows how it promotes a critical approach to Scottish culture which focuses on the way individual writers, texts and images represent Scotland. Chapter 1 considers why this critical concern arose by showing how images of national identity and national literary distinctiveness were validated as the meaning of Scotland throughout the nineteenth century. Chapters 2-5 seek to overturn various assumptions bred by the term Kailyard. Chapter 2 discusses the early fiction of J.M. Barrie in the context of late nineteenth-century regionalism, showing how his work does not aim to depict social reality but is deliberately artificial in design. Chapter 3 discusses late Victorian debates over realism in fiction and shows how Barrie and Maclaren appealed to the reading public because of their treatment of established Victorian ideas of sympathy and the sentimental. Chapter 4 discusses Barrie's four longer novels - the works most constrained by the Kailyard term - and chapter 5 reconsiders the relationship between Maclaren's work and debates over popular culture. Chapter 6 analyses the use of the term Kailyard in twentieth-century Scottish cultural criticism. Discussing the criticism of Hugh MacDiarmid, the writing of literary histories and studies of Scottish film, history and politics, I argue for the need to reject the Kailyard term as a critical concept in the discussion of Scottish culture.
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Tagore, Proma. "The shapes of silence : contemporary women's fiction and the practices of bearing witness." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36793.
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This dissertation examines the complex and multi-faceted ways in which contemporary minority women's fictions may be thought of, both generically and individually, as practices of bearing witness to silence---practices of giving testimony to the presence of lives, experiences, events and historical realities which, otherwise, have been absented from the critical terrain of North American literary studies. For the most pact, the texts included in this study all tell tales of various, and often extreme, forms of sexual, racial, gender, colonial, national and cultural violence. Through readings of select works by Toni Morrison, Shani Mootoo, Arundhati Roy, Louise Erdrich, M. K. Indira, Mahasweta Devi and Leslie Feinberg, I argue for the ways in which these fictions may be understood as situated within the bounds of a genre---a genre that attempts to provide an account of what we might call "the half not told." I examine these fictions, both generically and specifically, as texts which have the ability to make several important critical interventions in the field of literary studies. Firstly, these texts have the potential to negotiate the impasse that feminist and postcolonial literary scholarship finds itself in around debates about the relationship between theory, activism and experience---as well as in debates about the relationship between violence, beauty, culture, subjectivity and desire. Secondly, the fictions under study help to challenge our very definitions of witnessing. Witnessing, in these works, is not simply a matter of "speaking out" against violence, but rather the issue of making space for the affective and emotive dimensions of various kinds of silences and silencings. Finally, in attempting to chart more precise vocabularies with which to assume readings of these narratives, my thesis also helps to think about the ways in which reading, writing and storytelling may, themselves, be seen as profoundly ethical undertakings that seek to give evidence
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Jordan, Linda. "German science-fiction magazines of Hugo Gernsback, 1926-1935." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65493.
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Zaharchenko, Tanya. "Where the currents meet : frontiers of memory in the post-Soviet fiction of East Ukraine." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708117.
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Wong, Wai-yi Dorothy, and 黃偉儀. "Form, force, and sociality: a study of the literary fantastic with special reference to Angela Carter and MoYan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31246114.
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Wong, Hoi-sing, and 黃海星. "A critical study of the evolution and context of the sequels of water margin =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43278668.
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齊曉楓 and Hsiao-feng Chi. "Patterns of husband selection in traditional Chinese fiction and drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.
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Schofield, Dennis, and mikewood@deakin edu au. "The second person: A point of view? The function of the second-persn pronoun in narrative prose fiction." Deakin University, 1998. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051110.150736.
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This thesis looks at the functions and effects of the second-person pronoun in narrative prose fiction, with particular focus on the fluidity and ambiguity of the mode that I will call Protean-'you.' It is a mode in which it is unclear whether the you is a character, the narrator, a reader/narratee, or no-one in particularor a combination of theseso that readers find second-person utterances at once familiar and deeply strange. I regard the second person as a special case of narrative person that, at its most fluid, can produce an experience of reading quite unlike that of reading traditional first- and third-person narrative. Essentially, this unique experience comes about because Protean-you neglects to constitute the stable modes of subjectivity that readers expect to find within narrative textuality. These stable modes of subjectivity, modelled on what I will refer to as Cartesianisms hegemonic notion of the self, have been thoroughly formalised and naturalised within the practices of first- and third-person narrative. The Protean-you form of second-person narrative, conversely, is a mode of narrative discourse that puts readers in a place of doubt and uncertainty, its unsettling equivocations forcefully disrupting accustomed, mimetic explanations of narrative and denying us access to the foundational, authorising subject of classical Cartesian thought.
Rather than founding a notion of second-person narrative and narrative person generally on Cartesianism's self-ish logic of unified, privatised identity, I turn to C.S, Peirce's notion of the semiotic self and to developments in post-structuralist thought. Essentially, the conception of subjectivity underpinning my arguments is Peirce's proposition that the self is to be conceived of not as a cogito, but as a sign by which the conscious entity knows itself. It is a sign, moreover, that is constantly being re-read, reinterpreted, so that identity is never self-complete. This reconception of subjectivity is necessary because 1 will argue that the effects of Protean-you arise in some part from a tension between Cartesianism's hegemony and what philosophical pragmatism and post-structuralism glimpse as the actual condition of the human subjectthe subject as dispersed and contingent rather than unified and authoritative.
Most discussions of second-person narrative conceive of the mode in terms of implicit communicative relations, in some measure instituting Cartesianism's notion of the intentionalist self at the centre of literary meaning. I contrast the paradigmatic address model that arises from this conception against a model that approaches the
analysis of second-person narrative modality in terms of a referential function, that is, in terms of the object or objects referred to deictically by the second-person pronoun. Two principal functions of second-person textuality are identified and discussed at length. The first is generalisation, which is rarely dissipated altogether, a situation that contributes to the ambiguities of the pronoun's reference in much second-person fiction. The second principal function is that of address, that is, the allocutionary function.
Clearly, although stories that continually refer to a you can seem quite baffling and unnatural, not all second-person narratives unsettle the reader. In order to make the second person's outlandish narratives knowable and stable, we bring to bear on them in our habits of reading whatever hermeneutic frames, whatever interpretive keys, come to hand, including a large number of unexceptional forms of literary and natural discourse that employ the second-person pronoun. These forms include letter writing and internal dialogue (i.e., talking to one's self), the language of the courtroom, the travelogue, the maxim, and so on. In looking at the ways in which the radicalising potentials of second-person discourse are contained or recuperated, I focus on issues of vraisemblance and mimesis. Vraisemblance can be described as the system of conventions and expectations which rests on/reinforces that more general system of mutual knowledge produced within a community for the realisation and maintenance of a whole social world. All of the forms of the vraisemblable are already instituted within social, cultural relations, so that what vraisemblance describes is the way we fit the inscriptions we read-that is, the way in which we naturalise what we read-into those given cultural and social forms. I also look at the conventionalising and naturalising work done by notions of mimesis in explaining relations between the world, our being in it, and texts, proposing that mimesis provides a principle buttress by which the good standing of the metaphor of person is preserved in traditional and pre-critical modes of analysis. Indeed, the critics recourse to person is in some measure always an engagement with mimesis. Any discussion that maintains that mimesis is in some way productive of meaning-which this thesis in fact does-must identify mimesis as a merely conventional category within practices of reading and semiosis more generally, and at the very least remove that term from its traditional position of transparent primacy and authority.
Some of the most interesting and insightful arguments about second-person narrative propose that the second persons most striking effects derive from the constitution of an intersubjective experience of reading in which the subject positions of the you-protagonist, reader-narratee and narrator are combined into a fluid and indeterminate multiple subjectivity. Notions of intersubjectivity frequently position themselves as liberating the reader from Cartesianism's fixed,
authoritative modes of subjectivity, Frequently, however, they tend implicitly to reinstate Cartesianism's notion of the self at the centre of textual practice and subjectivity. I look at Daniel Gunn's novel Almost You, at length in this context, illustrating the constant overdetermination of the you and the novel's narrating voice, and demonstrating that this overdetermination leaves the origin of the narrative discourse, the identity of the narrator, and the ontological nature of both principal protagonists utterly ambiguous. The fluidity and ambiguity of Protean-you in Almost You is discussed in terms of second-person intersubjectivity, but with a view to demonstrating the indebtedness by the notion of intersubjectivity to Cartesianism's hegemony of person. I then turn to a discussion of what might be a more old fashioned if perhaps ultimately more far-reaching approach to the second persons often startling ambiguities. This is Keats's notion of negative capability, a capacity or quality in which a person is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.
I suggest that Protean-you texts will license all of the readings of ambiguity and fluidity proposed in my discussion of Almost You, but conclude that the instances of indeterminacy illustrate no more than that: the fluidity and deep ambiguity, and thus, finally, the lack of coherence, of Protean-you discourse. This has particular implications for how we are to consider readers experiences of narrative texts. More fundamentally, it has implications for how we are to consider readers as subjects. I suggest that unstable, ambiguous instances of second-person narrative can tear the complex and systematic embroidery of ideological suture that unifies Cretinisms experience or sense of subjectivity, leaving the reader in a condition of epistemological and ontological havoc. I go on to argue that much of the deeply unsettling effect of Protean-you discourse anises because its utterances explicitly gesture towards Cretinisms notion of self. Protean-you involves a sense of address that is much more pronounced than we are accustomed to facing when reading literary narrative, alerting us to the presence of inscribed anthropomorphic subjects. At the very same time, protean-you leaves its inscribed subjects indeterminate, ambiguous. This conflict generates a tension between the anticipation of the emergence of speaking and listening selves and our inability to find them.
I go on to propose that Protean-you narrative's lack of coherence is also to be understood as the condition of narrative actuality generally, but a condition that is vigorously mediated against by dominant practices of reading and writing, hocusing my discussion in this respect on the issue of narrative person, I argue that narrative person is constituted within texts as an apparent unity, but that it is in fact, produced as unitary solely within the practice of making sense, that is,
Within our habits of reading, and so is never finally unified. I propose that this is the case for first- and third-person modes no less than for the second. Where second-person narrative at its most radical and Protean differs from conventional first- and third-person narratives is the degree to which each has been circumscribed by practices of tantalization, containment and limit, and, in particular, Cretinisms hegemony of person. It may be that the most significant insights second-person narrative has to offer are to be found within its capacity to reveal to the engaged reader the underlying condition of narrative discourse, and more generally, its capacity to reveal the actual condition of the human subject-a condition in which, exactly like its textual corollary of narrative person, the self is glimpsed as thoroughly dispersed and contingent.
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Chan, Wing-chun Julia, and 陳永晉. "Towards an aesthetics of cliché: cultural recycling and contemporary fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42182311.
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Chau, Ka-wah Anna, and 周嘉華. "Imaginary spaces in children's fantasy fiction: a psychoanalytic reading of Lewis Carroll's Alice Booksand Philip Pullman's His Dark Materials Trilogy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31364986.
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Calderón, Jorge. "Configurations aporétiques, fiction de l'histoire et historicité de la fiction : Simone de Beauvoir, Albert Camus et Jean-Paul Sartre." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85134.
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In this dissertation I explain the transition from modernism to postmodernism through the study of the French existentialist novel. I follow theories that demonstrate that the latter owes its success to historiographic metafiction. By setting off the aporias that deeply penetrate modern novels, I demonstrate the obsolescence of the prototype of the realist novel and I explain the impasses towards which the project of a committed literature lead, inscribed in the line of realism and aimed at an almost direct relation with society and history through the mediation of art between 1945 and 1955 in France.On one hand I consider literature as an object which can be described by the methodologies of history. On the other hand I suggest an analysis of the historicity of the text that is constituted by the dynamic system generated by the interaction, the interdependence, and the correlation of the poetic and aesthetic parameters and the factors of the historical context. My aim is to set off the poetic and aesthetic mecanism of stability and of transformation of literary creation according to the dynamic relation between the vector of the project associated to realism and the one of the prototype associated to the novel. I think that late modernism produces paradoxical configurations of the novel because it is the period in which the project of realism becomes lapsed and the prototype of the realist novel becomes dilapidated.
Among the works that are exemplary of the tension between fiction and history and between project and prototype in the framework of the representation of reality and of the inscription of history in novels, I identified Albert Camus' La Peste, Simone de Beauvoir's Les Mandarins and Jean-Paul Sartre's Les Chemins de la liberte . I conclude that the enterprise of committed literature was an aporias because it was generated from the impoverishment of the project of realism and the obsolescence of the prototype of the novel. Later literature was extricated, firstly, by the radically and extremely metafictional writing of the Nouveau Roman and, secondly, it was changed by postmodern historiographic metafiction. The crisis of history and of the writing of history was solved by works in which there is the acknowledgement and the use of sophisticated mediations to evoke and inscribe history in different ways.
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Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.
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Moeketsi, Solomon Monare. "Space and characterization in Sesotho novels." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53060.
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Thesis (PhD)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: This study examines space and characterization in Sesotho novels focussing on three main categories such as the space of travelling characters; the space of migrating characters; and the space as an abstraction. CHAPTER 1 introduces the aims of study as well as the theoretical framework which forms the basis on which the study is analysed. The notions of space and character are discussed within the theoretical framework of structuralism, and the focus is placed on narratology. CHAPTER 2 studies the travelling characters, focus is on Mofolo's novels, Moeti wa botjhabe/a and Pitseng which depict two types of space where one space is presented as traditional, and the other as a westernized space. The traditional and westernized spaces are symbolized by means of bad and good characters respectively. The good characters are depicted as angels, and the bad characters as monsters. CHAPTER 3 examines the space of migrating characters that leave their rural spaces for the urban spaces. Their characters are shown by means of changes that they experience at different spaces. In most of the novels examined, characters are motivated by certain desires to act in a particular way, and the change in them is the result of a crucial situation in life, hence we say characterization and space in those novels are reconciled in an appropriate way. CHAPTER 4 deals with the space as an abstraction which shows how the characters' personalities are affected by the political, psychological and socio-economic factors. Characterization in these novels is good except in Makappa's novel, Thatohatsi. In CHAPTER 5 we look as to whether the novels are good or bad in terms of literary appreciation and conclusion is drawn to the effect that it is not heredity that makes up a character, but the social environment. This is achieved through the literary aspects such as the way conflict is handled, types of characters and the portrayal of the space in which the characters live.
AFRIKAANSE OPSOMMING: Die navorsing wat hierdie proefskrif gedoen is het die soeklig op ruimte en karakterisering in Sesotho novelles laat val. Klem is op drie hoof-kateqorie gele. uimte wat deur rondreisende karakters ingeneem word, die ruimte wat deur nomadiese of rondtrekkende karakters beslaan word, en ruimte as n bepaalde begrip. Hoofstuk 1 stel die leser voor aan die doelwitte van die navorsing, sowel as die teoretiese raamwerk wat die grondslag waarop die studie berus, vorm. Die begrippe 'ruimte' en 'karakter' word binne die teoretiese raamwerk van die strukturalisme bespreek en die fokus word in hierdie geval op die vertelkunde geplaas. Hoofstuk 2 Ie klem op rondreisende karakters en ondersoek Mofolo se novelles Moeti wa botjhabela en Pits eng waarin twee soorte ruimtes uitgebeeld word; naamlik, tradisionele ruimte en verwesterse ruimte. Tradisionele en verwesterse ruimtes word onderskeilik deur slegte en goeie karakters versinnebeeld. Die goeie karakters word as engele uitgebeeld, terwyl die slegte karakters as monsters voorgestel word. In Hoofstuk 3 word die ruimte van die nomadiese karakters wat hulle plattelandse ruimte vir 'n stedelike ruimte verruil, ondersoek. Hierdie karakters word deur middel van veranderinge wat in verskillende ruimtes plaasvind, voorgestel. In die meeste novelles wat ondersoek is, het die karakters op n sekere manier opgetree omdat hulle deur bepaalde begeertes daartoe gedryf is. Die verandering in die lewens van hierdie karakters as gevolg hiervan, kan dan beskou word as die direkte gevolg van sekere deurslaggewende gebeurtenisse. Karakteriseering en ruimte word dus in hierdie novelles op n geskikte wyse met mekaar verbind. Hoofstuk 4 neem die begrip 'ruimte' onder die loep om sodoende aan te dui hoe die karakters se persoonlikhede deur politieke, sielkundige en sosio-ekonomiese faktore beinvloed word. Karakterisering in hierdie novelles is geslaagd, behalwe in Makappa se novelle Thatohatsi. In Hoofstuk 5, word aandag geskenk aan die beoordeling van die novelles in terme van die hulle literere waarde en daar word tot die gevolgtrekking gekom dat dit nie oorerflike eienskappe is wat gestalte aan 'n bepaalde karakter gee nie, maar veel eercer sy omgewing. Oit word veral duidelik as gelet word op bepaalde literere aspekete soos die manier waarop konflik uitgebeeld word, asook die beskrywing van die ruimte waarin die karakters hulle bevind.
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Van, Huyssteen Konstant. "Populêre vs. literêre grensverhale : twee beelde van die Angolese oorlog (1966-1989)." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/19512.
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Bibliography: pages 198-207.In this dissertation, a study is made of two bodies of fiction documenting the South African soldier in Angola. The fiction was limited to Afrikaans short stories, as this genre is believed to best reflect the fragmentary, explosive experience of combat. This demarcation also served as a way of limiting the body of fiction for the study. A cut-off year of 1990 was taken. The rationale for this is that the late seventies and eighties was the golden age for the publication of border fiction, and that Southwest AfricaNamibia gained independence in 1990 with a SWAPO (South West Africa People's Organisation) government, thus largely defeating the purposes of South African military involvement in Namibia and Angola. The collections of short stories that were analyzed in this study, were divided into two categories. The stories published in popular family magazines such as Die Huisgenoot were considered to be popular fiction. These stories are overtly accepting of South Africa's involvement in Namibia and Angola, and are highly propagandistic. The collections Ses Wenverhale (1988) by Maretha Maartens and others, and Verby die wit brug (1978) by Johan Coetzee, were analyzed as examples of this category. In the category of literary short stories, Wie de hel het jou vertel? (1988) by Gawie Kellerman and 'n Wereld sonder grense (1984) by Alexander Strachan were analyzed. It is important to note that the texts were selected thematically i.e. the criterium was that they had to have the South African soldier in South West AfricaAngola as main theme. Analyses of the texts are based on the thesis formulated by H P van Coller in his article "Afrikaanse literatuur oor die gewapende konflik in Suider-Afrika sedert 1963 - 'n voorlopige verslag". In this report, Van Coller mentions that studies comparing the literary border fiction with the popular border fiction, have been left behind. The study aims at examining this unexplored territory and looks extensively at how these two bodies of fiction differ. It was found that two radically different images of the border war emerge from the two bodies of fiction: the popular fiction is uncritical, war is presented more as an exciting game in the popular fiction, whereas it is presented as deadly, yet addictive, in the literary fiction. The ideological backgrounds from which the stories are written, are fundamentally opposed: the popular fiction often sees the war as a continuation of the white man's struggle for survival on a violent continent, and God is assumed to be on the South African side. The literary fiction documents a loss of God and criticises the government, censorship and apartheid. The literary fiction also fulfills a function of reporting - that which has not been said in the media due to censorship by government. The scope of the popular fiction is much narrower than the literary fiction, ignoring issues such as homosexuality in the army, torture and atrocities. Finally, the conclusions differ, with a sentimental "all will be well" in the popular fiction, as opposed to the fundamental pessimism in the literary fiction.
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Moore, Richard. "Christianity and paganism in Victorian fiction." Thesis, University of Wales Trinity Saint David, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683121.
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Abu-Manneh, Bashir. "Fiction of the New statesman, 1913-1939." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:a2444f4a-ee6b-4063-afbf-26348bd22356.
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This thesis is the first systematic study of short stories published in the New Statesman [NS] weekly magazine from its foundation in 1913 to 1939. The main question it seeks to address is what type of fiction did a mainstream socialist publication like the NS publish then? By chronologically charting dominant literary figures and themes, the thesis aims to discern significant cultural tendencies and editorial principles of selection. Following Raymond Williams' 'cultural materialism', fiction is read in its relation to social history, as a 'representation of history'. Chapter 1 deals with the foundation of the journal and its first year of publication, mapping out the contradictions between Fabian collectivist ideology and ethical socialism, urban realism and literary Georgianism, country and city. A focus on urban problems of poverty unemployment, philanthropy, and machinofacture is at the heart of the NS's literary concern, in 1913. Chapter 2 focuses on stories published during World War I, and goes up to 1926. It argues that the reality of the War was falsified as a time of rest and relaxation, in line with the journal's political policy of supporting the war effort. The immediate post-war period is read as a time of disappointment and intensified social conflict and struggle. The General Strike of 1926 is a turning point in interwar history. It also ushers in a period of unprecedented cultural activity in the NS. As Chapters 4 and 5 show, the post-Strike period is characterised by the consolidation of the working-class fiction of socialist R. M. Fox; by the rise of the countryside realism of H. E. Bates; and by the rise of the colonial fiction of E. R. Morrough on Egypt (which is examined in the context of Leslie Mitchell's, E. M. Forster's, and William Plomer's responses to empire). Significant contributions by women writers (such as Faith Compton Mackenzie) about travel, duty, and oppression are also made in the late 20s, early 30s. Chapter 6 is dedicated to the magnificent place that Russian fiction occupies in the 30s through the work of Michael Zoshchenko. Though written during the free and experimental 20s, his satiric fiction is published as a sample of Soviet literature of the 30s, thus consolidating the Stalinist line dictated by the political editor, Kingsley Martin, that 'self-criticism' is a central part of Soviet politics and society. Chapter 7 is a tribute to the NS's contribution to reconstructing British realism away from both Victorian moralism and European naturalism. The stories of Bates, V. S. Pritchett, and Peter Chamberlain are dominant, conveying different ways of negotiating the pressures of documentary realism and the political developments of the 30s. Also discussed is the unique modernist contribution of neglected Stella Benson, which presents a strong challenge to the usual representationalism of NS fiction. The concluding chapter reads NS fiction in the whole period between 1913 and 1939 as the cultural expression of the new petty bourgeoisie, especially its progressive, politically and socially engaged side. With its focus on ordinariness and lived experience, and its formal experimentation and innovation, NS fiction exemplifies artistic commitment par excellence, a conscious cultural alignment with the actuality and potentiality of the new petty bourgeoisie.
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MacLeod, Alexander. "Between a rock and a soft place : postmodern-regionalism in Canadian and American fiction." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19527.
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This study calls for a re-evaluation of contemporary regionalist literary theory. It argues that traditional models of the discourse have been too heavily influenced by nineteenth century realist aesthetics and political ideologies. Because most scholars continue to interpret regionalist texts according to a resolutely empirical reading of geography, literary regionalism has fallen out of touch with the new kinds of "unrealistic," generic landscapes that now dominate North American culture in the postindustrial era. Drawing heavily on recent work by postmodern geographers such as Edward Soja, David Harvey, Michael Dear and Derek Gregory, this project updates regionalist theory by "re-placing" the artificially stabilized reading of geography that dominated the nineteenth century with a more self-consciously spatialized reading of what Soja calls our contemporary "real-and-imagined" places. By grafting together traditional regionalism and postmodern spatial theory we improve on both contributing discourses. In a "postmodern-regionalist" literary criticism, traditional regionalism sheds its reputation for theoretical naivete, while the elusive abstractions of postmodern theory gain a real-world referent, and a specific geographical index. When we "read postmodernism regionally" - - when we aggressively interrogate where this kind of fiction comes from and the places it represents - - we realize that the canons of postmodern fiction in Canada and the United States have been influenced by two very different spatial epistemologies. Rather than being "determined" by their real geographies, Canadian and American postmodernism have been more directly influenced by two different readings of geography. Works by Thomas Pynchon, Toni Morrison, and Don DeLillo demonstrate that American postmodernism often interprets social space according to what Henri Lefebvre calls the idealistic "the illusion of transparency," while texts by Canadian postmodernists such as Robert Kroetsch, Wayne Johnston and Guy Vanderhaeghe tend to fall under Lefebvre's more materialistic "illusion of opacity." The ambiguous figure of Douglas Coupland - - a Canadian writer most critics treat as an American - - puts the spatial conventions of postmodernism in both countries in sharp relief. In an American postmodernism, dominated by generic suburban settings, regions will almost always be seen as imaginary projections, while in a Canadian postmodernism, dominated by the Prairies, regions will almost always retain some sense of their material reality.
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Niemeyer, Lisa. "Writing German historical fiction in an age of change, 1848-1871." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609458.
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Masters, Benjamin Scott. "The ethics of excess : style and morality in British fiction since the 1960s." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648740.
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Lin, Qingxin, and 林慶新. "Brushing history against the grain: constructing the Chinese new historical fiction as an oppositionaldiscourse." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B3124337X.
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Kerr, Matthew P. M. "With many voices : the sea in Victorian fiction." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:873709c4-cc2e-4679-a7c3-12ddcca7c02e.
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This thesis considers some of the ways in which the sea was written about and written with in English nineteenth-century prose fiction. It has become a commonplace of literary criticism that, in the century preceding modernism, prose fiction about the sea was unthinking and uninteresting: indentured to outworn generic codes, tied to certain clichés of national identity, Empire, or slipshod sublimity, and vaguely evoking some or all of them. This thesis does not attempt a general contradiction of this view. What this thesis does suggest is that Victorian fiction is not always naïve about its subject and, at times, displays an awareness of the generic and stylistic hazards attendant upon writing about the sea. To write about the sea was to risk writing vaguely. However, to Victorian novelists who wished to draw on vagueness, the sea offered a subject and a style that could be put to use. The introduction sets out the terms of my discussion both of vagueness, and of the attitudes of Victorian writers and readers to the sea as a setting and theme for fiction. The terms of philosophical vagueness are compared with the nineteenth century’s most influential aesthetics of obscurity: the sublime. The purchase of these theories is then tested, first in relation to Ruskin’s lifelong interest in representing the sea in painting and prose, and second with reference to novels by George Eliot, Thackeray, and Gaskell. Prior critical approaches are also considered, as is the topic of empire, which I explain is not my primary focus. The body of the thesis is devoted primarily to three author studies: Frederick Marryat, Charles Dickens, and Joseph Conrad. Each author wrote vaguely about the sea, though vagueness is shown to be, in all three cases, a resource that can be drawn upon with degrees of self-consciousness; if, by the beginning of the nineteenth century, vague language was considered appropriate to the sea, the linguistic resources that the sea in turn offered began to seem increasingly applicable to experiences characterised by uncertainty. I suggest that the sea establishes conditions that invite a rereading of the many repetitions in Marryat’s novels. These repetitions can be viewed, I argue, as traces of Marryat’s struggle to find a language appropriate to the ocean. In Dickens’s writing, the sea is often present as a source both of metaphor and of experience. I suggest that the slippery doubleness of the literary sea is a means by which both Dickens’s characters, and the individuals he encounters as a journalist, can be made to coexist with their ideal or literary doubles. In my chapter on Conrad, I argue that the sea forms a crucial element of the kind of literary impressionism Conrad recommends in his preface to The Nigger of the ‘Narcissus’ (1897) and elsewhere. Vagueness arises when the border between linguistic concepts becomes blurred. Two short interludes, on the subject of shores and depths respectively, consider such permeable thresholds. These interludes also provide a means of charting changes that occurred across the period, a counterpoint to the more temporally specific focus of the author studies. I conclude with a brief discussion of Virginia Woolf’s The Waves (1931). Critics have distinguished the high modernist sea from what came before; this coda insists that the sort of vagueness valued by Woolf has an earlier origin.
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Leperlier, Henry. "Canadian science fiction, a reluctant genre." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0033/NQ61856.pdf.
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許子東 and Zidong Xu. "Narratives of the "Cultural Revolution" in contemporary Chinese fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31237915.
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Friedman, Sorel Thompson. "'If on a thousand and one nights ...' : ideological transformations in narrative fiction." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73976.
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Clifford, Dafna. "Unifying elements in European Jewish fiction, 1890-1945 : between disillusion and destruction." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:9701edaa-38b6-4816-942b-6071418ba395.
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This study seeks to identify and describe the characteristic elements of European Jewish fiction during the period 1890-1945. Writings that deal with overtly religious themes or which have Zionist publicistic tendencies have been excluded and emphasis is placed on works with settings that are sim- ilar to those to be found in contemporary European fiction by non-Jewish writers. In order to provide a broad comparison, the study incorporates representative literary material by Jews from both Western and Eastern intellectual traditions, and includes texts in the three major languages of artistic expression in these communities: German, Yiddish, and Hebrew. On the basis of this material, it is argued that, in three respects at least, there is an identifiable unity in secular Jewish writing. Firstly, there is a thematic preoccupation with thwarted idealism, which is elaborated in a complex interaction among such themes as social alienation, ambivalence in interpersonal relationships, political altruism and impotence. Secondly, there is a consistent treatment of the characterisation of women, the devel- opment of their relationships to men, and the role of the family. Finally, there is a special reliance on the literary device of irony, in both its verbal and situational forms. The introductory chapter provides historical background and gives a general outline of the thesis. Subsequent chapters are organised as a sequence of thematic and stylistic comparisons; firstly between represen- tative texts from Eastern and Western Jewish communities and finally between the writings of a Jewish and a non-Jewish author, in an analysis of the use of irony in the works of Siegfried Kracauer and Thomas Mann. The German texts studied are Der Weg ins Freie by Arthur Schnitzler, Junge Frau von 1914 by Arnold Zweig, Kafka's Das Schlofl, Georg and Ginster by Siegfried Kracauer and Die Flucht ohne Ende by Joseph Roth. The Yid- dish writings are Di mishpokhe Karnovski and Khaver Nakhmen by I.J. Singer, Tsvishn emigrantn, Nokh Alemen and Mides-hadin by Dovid Bergelson and Di gas by Yisroel Rabon and the Hebrew texts are Nokhah hayam and Hayey nisu'im by David Vogel.
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阮慧娟 and Wai-kuen Jeannie Yuen. "Crisis and negotiation: a study of modern chinese fiction in the eighties." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212050.
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胡從經 and Cong-jing Hu. "A criticism of the studies of Chinese fiction during the period 1900 to 1950." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234173.
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程雲峰 and Wan-fung Ching. "The images of peasants in modern Chinese fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31209166.
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Shezi, B. K. "Vernuwing van maatskaplike norme as tema in afrikaanse jeuliteratuur vanaf 1985 tot 1995." Thesis, University of Zululand, 1999. http://hdl.handle.net/10530/1189.
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Dissertasie ingehandig by die Faculty of Arts ter vervulling van die vereistes vir die graad Magister Artium in Afrikaans aan die Universiteit van Zululand, South Africa, 1999.Hierdie studie behels ‘n ondersoek na jeugliteratuur, wat gesien word as verhale met eiesoortige kenmerke wat moet voldoen aan die sielkundige behoeftes van die tiener. Die doelwit is 'n ondersoek na die vernuwing van maatskaplike norme in Afrikaanse jeugliteratuur vanaf 1985 tot 1995. Hoewel maatskaplike norme ‘n sisteem vorm wat as gehee! deur die lede van die samelewing beheer moet word, kan die verhouding tussen verskillende rassegroepe uitgesonder word as die maatskaplike norm wat vir dekades ln groot bron van probleme in die Suid-Afrikaanse samelewing was, en nog steeds nie volkome opgelos is nie. Daar word dan in hierdie studie gekyk na die uitbeelding van die verhouding tussen verskillende rassegroepe in Afrikaanse jeugliteratuur, en die hipotese wat getoets word, is dat die veranderde norme in die samelewing gereflekteer sal word in literatuur vir jongmense ten einde hulle te help om as volwaardige volwassenes op te tree. Daar word tot die gevolgtrekking gekom dat daar nie in enigeen van die verhale wat ontleed is, enige negatiewe rassistiese voorstellings van swart of ander karakters op grand van rasseverskille voorkom nie. Die Suid-Afrikaanse samelewing word uitgebeeld as ongemtegreerd en daar word ook erkenning gegee aan die feit dat daar grense en ongelykhede bestaan tussen mense op grand van politieke en sosiale faktore. Daar word egter ook aan die ander kant erkenning gegee aan die nadelige gevolge van hierdie politieke stelsel, en dit is vera! belangrik dat karakters uit verskillende rasse- en sosiale groepe as innerlik gelykwaardig uitgebeeld word. Daar word klem gele op die sielsgenootskap tussen mense en die feit dat ons almal op die psigiese vlak dieselfde probleme en behoeftes het, en dat mense, ongeag hulle velkleur, mekaar kan help in die groeiproses tot groter lewenskennis en selfinsig.
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Johnson, Alfred B. "Net work : social networks, disruptive agency, and innovation in Howells, Fitzgerald, Heller, Pynchon, and Gibson." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343471.
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This study uses concepts from network science to analyze the agency of outsider characters who cause change or disruption without necessarily securing economic or political power for themselves. Network science as theorized by thinkers like Duncan Watts (Six Degrees, 2003) and Albert-Laszlo Barabasi (Linked, 2002) explains social networks in terms of social structures: clusters of people, bridges between them, pathways through them. Michel Foucault (The Archaeology of Knowledge, 1971) suggests that new notions must enter public or personal awareness on "surfaces of emergence"—institutions like families and social groups. Michel de Certeau (The Practice of Everyday Life, 1974) looks at inventive ways that users repurpose products, both industrial and cultural, and so become "secondary producers." To analyze the influential-outsider agency of the fictional characters featured in this study, I theorize the clusters, bridges, and pathways of network science as surfaces of emergence on which "secondary productions" can appear and then spread through a social network.The introductory chapter explores and explains the general application of network science to literary criticism. In subsequent chapters, I use a networks-based approach to examine the agency of William Dean Howells's Tom Corey (The Rise of Silas Lapham, 1884), F. Scott Fitzgerald's Jay Gatsby (The Great Gatsby, 1925), Joseph Heller's Milo Minderbinder (Catch-22, 1961), Thomas Pynchon's Pierce Inverarity (The Crying of Lot 49, 1965), and William Gibson's Cayce Pollard (Pattern Recognition, 2003). These characters do unusual things with and from the subject positions in which they find themselves, and—whether or not they are or remain marginalized characters in their social systems—they are innovative and influential in ways that other characters do not understand or anticipate. All five novels depict the diffusion of innovative ideas and practices as a process of unplanned, non-coercive social negotiation, where innovation can originate with any person or group of people in the social network and is dependent on the complex interaction of liminal notions and mainstream thinking. The networking approach to these novels clarifies the ways that their authors have imagined social networks to function and the particular interactions they have imagined to lead to change or disruption.Department of English