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Dissertations / Theses on the topic 'History of Punjabi Literature'

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Published: 4 June 2021

Last updated: 9 February 2022

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1

Gillespie, Marie. "TV talk in a London Punjabi peer culture." Thesis, Brunel University, 1992. http://bura.brunel.ac.uk/handle/2438/6962.

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This thesis examines how 16-18 year-olds in a London Punjabi peer culture talk about television. Based upon two years' ethnographic fieldwork in Southall, west London, it is argued, firstly, that shared experiences of television inform and shape the content and, in some cases, the form of everyday communicative interactions among young people; secondly, that TV is a resource which is mined selectively and used creatively to provide shared but differentiated ways of talking about self, others and their positions in the world; thirdly, that 'TV talk' involves the negotiation of relations within and between parental and peer cultures, the articulation of cultural differences and the expression of aspirations toward cultural change. The analysis is organised around four TV genres. in the peer culture studied, the ability to discuss TV news is perceived as a function of emergent adulthood. In talking about TV advertisements young people establish, critique and endorse hierarchies of taste and style, for example, in what they drink, eat and wear. TV comedy talk, examined in the wider context of the social functions of humour, brings into the realm of speech that which is seen as 'absurd', 'subversive' and 'unspeakable'. It bears, perhaps, the most impressive witness to the role of TV as an enabler of talk. Finally, in their everyday discussions of the soap opera 'Neighbours', young people draw parallels between gossip and rumour in their local neighbourhood and in the soap. The essential argument of the thesis is that TV talk, as an integral; part of everyday talk, binds people together, contributes to their; shared culture and to patterns of sociability, and generates social and collective processes of interpretation and reception beyond the domestic context of viewing. The social reception of TV through shared talk is both a creative act and a manipulated one. It can reflect what is real already; create what is as yet unknown; enable discussion of taboo subjects and make it possible to say what is absurd or unthinkable.

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2

Jhaj, Sunjum. "Interactions with Culturally Relevant Children's Literature: A Punjabi Perspective." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/40563.

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This research investigated Punjabi children’s meaning-making processes as they engaged with culturally relevant literature, and presents a critical evaluation of Punjabi and Sikh representation in children’s literature. The Punjabi community in Canada is growing rapidly, with Punjabi being the third most commonly spoken non-official language in Canada. Yet, this minority group remains underrepresented in educational research. Past research has shown the numerous benefits minority children experience when engaging with literature that authentically represents their cultural background (see Cunard, 1996; Goldblatt, 1999; Goo, 2018; Steiner, Nash & Chase, 2008; Zhang & Morrison, 2010). This study gave Punjabi children the opportunity to interact with culturally-relevant stories in multimodal ways, and express their understandings through multiple literacies. The children constructed and shared meanings through verbal discussions, multimodal artwork and the inclusion of movement and dramatizations. They drew on a variety of lived experiences to make meaning from the stories. Their meaning-making processes were further enhanced by the collaborative experience of reading, constructing and sharing meanings. This study opens the door to future research into ways of using literature to foster engagement in the classroom and support children’s meaning-making processes.

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3

Dhariwal, Parvinder. "The heroine in modern Punjabi literature and the politics of desire." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/43803.

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This thesis project focuses on the representation of the heroine in three works of contemporary modern Punjabi literature. More specifically, I address questions regarding the importance of the heroine in literature as well as the manner in which she is portrayed. Part of the work I have done is historical in scope, as each of the heroines is constructed in accordance with the needs and perspectives of the time of her creation. I argue that the preoccupation of writers centralizing their work around women was to address the rebellion that each heroine undertakes against their subordinate position in society. However, the rebellions that occurred took place within specific historical circumstances and within larger projects within which women’s roles would be defined. The first chapter begins with Sikh reformist Bhai Vir Singh’s Sundri written in 1898. Bhai Vir Singh constructs a role model Sundri, to re-energize a sleeping community. Problematically, through this process his heroine Sundri has to sacrifice her sexuality and is transformed into a goddess whose perfection is unattainable. The second chapter analyzes a literary movement that emerges alongside the nationalist movement. Gurbaksh Singh Preetlari’s novel Anviahi Maa (Unmarried Mother) was published in 1942. The heroine of this novel is a Bengali woman named Prabha who is shunned from society for being a woman who expresses and acts on her desire. The final chapter investigates the politics of desire in Shiv Kumar Batalvi’s Loona (1965). The women in this verse play are brought to the forefront to reveal the injustices that have been committed toward them by the patriarchal society that they are trapped in. Within these three works I analyze the constructed boundaries from which these heroines cannot escape. I critique the context in which each author defends or abandons his heroine. I argue in conclusion that that there is no appropriate space in Indian society or Punjabi literature for women to present themselves as sexual beings, without being chastised.

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4

Segall, Hayley Dawn. "1984 and Film: Trauma and the Evolution of the Punjabi Sikh Identity." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589802152696357.

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5

Hall, Simon W. "The history of Orkney literature." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/2365/.

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The history of Orkney literature is the first full survey of the literature of the Orkney Islands. It examines fiction, non-fiction and poetry that is uncomplicatedly Orcadian, as well as that which has been written about Orkney by authors from outside the islands. Necessarily, the work begins with the great Icelandic chronicle Orkneyinga Saga. Literary aspects of the saga are examined, as well as its place within the wider sphere of saga writing. Most significantly, this study examines how the saga imposes itself on the work of subsequent writers. The book goes on to focua on the significance of Orkney and Orkney history in the work of a number of key nineteenth- and twentieth-century figures, including Sir Walter Scott, Edwin Muir, Eric Linklater, Robert Rendall and George Mackay Brown. The Victorian folklorist and short story writer Walter Traill Dennison is re-evaluated: The History of Orkney Literature demonstrates his central significance to the Orcadian tradition and argues for the relevance of his work to the wider Scottish canon. A fixation with Orkney history is common to all the writers considered herein. This preoccupation necessitates a detailed consideration of the core historiography of J. Storer Clouston. Other non-fiction works which are significant in the creation of this distinctly Orcadian literary identity include Samuel Laing's translation of Heimskringla; the polemical writings of David Balfour; and the historical and folklore studies of Ernest Walker Marwick. The study welcomes many writers into the fold, seeking to map and define a distinctly Orcadian tradition. This tradition can be considered a cousin of Scottish Literature. Although the writing of Orkney is a significant component of Scottish Literature at various historical stages, it nevertheless follows a divergent course. Both the eighteenth century Vernacular Revival and the twentieth century Literary Renaissance facilitate literary work in the islands which nevertheless remains distinctly independent in character. Indigenous Orcadian writers consider themselves to be Orcadians first and Scots or Britons second. Regardless of what they view as their national or political identity, their sense of insular cultural belonging is uniformly and pervasively Orcadian. What emerges is a robust, distinctive and very tight-knit minor literature.

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6

Faulkner, S. "Adapting Spanish literature : cinema, form, history." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598953.

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This thesis examines literary adaptation in Spanish cinema as a site for the interaction of formal questions central to the study of film and literature and ideological concerns crucial to late twentieth-century Spain. While cinematic adaptations of literary texts have previously been neglected as they seemingly dilute 'pure' cinema, or have been subjected to analyses which seek to prove the artistic superiority of literature, this study demonstrates that the literary adaptation genre can be creatively energetic and conceptually challenging by drawing examples from Spanish cinema and television of the late dictatorship, transitional and democratic periods. Given the propaganda exercise mounted through cinema under Franco, in chapter one I argue firstly that ideological issues are particularly significant in Spanish film - even though a contradictory appeal to a historical Structuralist models is prevalent in Spanish film scholarship. I contend secondly that because literary adaptation constitutes a dialogue between two media, formal issues are also inevitably raised. In chapters two, three and four I foreground ideological questions by examining three themes of particular importance to late twentieth-century Spain - the recuperation of history, the negotiation of the rural and the urban, and the representation of gender - and consider the related stylistic issues of the supposed affinities between cinematic expression and nostalgia, the city and phallocentrism. In chapter five I place the formal question of the narrator centre stage by assessing Buñuel's previously unacknowledged stylistic debt to Galdós as manifested in his adaptations of Nazarín and Tristana, and examine the ideological implications of the two artists' shared subversion of realism. Questions of history and form are therefore inseparable, and every cinematic adaptation holds in tension its influence by, or its inflection of, the ideology and form of the literary text on which it is based.

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7

Zheng, Xiaorong. "A history of Northern Dynasties literature." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11120.

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8

PINTO, MARCELLO DE OLIVEIRA. "PRESUPPOSITIONS FOR A HISTORY OF LITERATURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8380@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Os estudos da literatura, da história e da história da história atuais tendem a considerar inadequado abordar seus problemas e conceitos fundamentais isoladamente dos seus contextos e não visualizá-las como redes de interações que emergem de complicados processos psico-biosociais nos quais a figura curiosa e criativa do observador ocupa lugar central. A partir destes pressupostos, esta tese objetiva sugerir um modelo para a construção de uma história da literatura, descrevendo os fundamentos meta-teóricos que sustentam a construção dos conceitos principais a serem utilizados neste modelo, as teorias subjacentes às noções de literatura, história, história da literatura e os elementos importantes destes conceitos.
Nowadays Literary studies, history and history of history consider inadequate approaches to their basic concepts that do no take into consideration their contexts and their emergence as interactive networks derived from complex psychobiosocial processes generated by a curious and creative observer. Based on these presuppositions, this thesis aims to suggest a model to construct a history of literature. In order to reach its aims, I will describe its main concepts metatheoretical fundamentals applied to build this model, as well as theories that deal with the concepts of literature, history and history of literature and the relevant elements of these concepts.

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9

Thomas, Alun Deian. "The making and remaking of history in Shakespeare's History Plays." Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/42105/.

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History is a problem for the history plays. The weight of ‘true’ history, of fact, puts pressure on the dramatic presentation of history. Not fiction and not fact, the plays occupy the interstitial space between these opposites, the space of drama. Their position between the binary opposites of fact and fiction allows the history plays to play with history. They view history as a problem to be solved, and the different ways in which each play approaches the problem of history gives us a glimpse of how they attempt to engage and deal with the problem of creating dramatic history. Each history play rewrites the plays that preceded it; the plays present ‘history’ as fluid and shifting as competing narratives and interpretations of the past come into conflict with each other, requiring the audience to act as historians in order to construct their own narrative of events. In this way the plays dramatise the process of remaking history. This can be seen in the relationship between the two parts of Henry IV, which restage the same narrative in a different emotional key, and the way that Henry IV’s retelling of the events of Richard II from his own perspective at the conclusion of 1 Henry IV forces the audience to re-evaluate the events of the earlier play, reinterpreting the dramatic past and imaginatively rewriting the play in light of the new perspective gained on events. The history plays thus create a new, dramatic history, a history without need for historical precedent. The plays deliberately signal their departure from ‘fact’ through anachronism, deviation from chronicle history and wholesale dramatic invention. In this sense the plays deliberately frustrate audience expectations; knowledge of chronicle history does not provide foreknowledge of what will happen onstage. History in the theatre is new and unpredictable, perhaps closer in spirit to the uncertainty of the historical moment rather than the reassuring textual narrative of the chronicles.

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10

Humble, Nicola Claire. "Robert Browning and history." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316762.

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11

Veale, John Michael. "The Konigsmarck affair in history and literature." Thesis, University of Bristol, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364965.

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12

Safran, Morri. ""Unsex'd" texts : history, hypertext and romantic women writers /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3026209.

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13

Lezra, Esther Margaret. "Looking for monsters : mechanism of history, mechanisms of power /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170235.

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14

Plummer, Robert. "History in black and white : the treatment of history in the political novel of Andre Brink." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363761.

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15

Dearmont, Diane. "Automatic writing : a history from Mesmer to Breton /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/8297.

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16

Mills, Mark Spencer. "Interrogating History or Making History? Vonnegut's Slaughterhouse-Five, DeLillo's Libra, and the Shaping of Collective Memory." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1524.pdf.

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17

Weiss, Katherine. "Samuel Beckett: History, Memory, Archive." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2281.

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18

Kennedy, Seán, and Katherine Weiss. "Samuel Beckett: History, Memory, Archive." Digital Commons @ East Tennessee State University, 2010. https://www.amzn.com/0230619444.

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This volume comprises ten essays challenging the dominant account of Samuel Beckett’s engagement with history. As the first full-length volume to address the historical debate in Beckett studies, Samuel Beckett: History, Memory, Archive provides both ground-breaking analysis of the major works as well as a sustained interrogation of the critical assumptions that underpin Beckett studies more generally. Drawing on a range of archival materials, and situating Beckett in historical context, these essays pose a strong challenge to the prevailing critical consensus that he was a deracinated modernist who cannot be read historically.
https://dc.etsu.edu/etsu_books/1185/thumbnail.jpg

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19

Davall, Nicole Elizabeth. "Shakespeare and concepts of history : the English history play and Shakespeare's first tetralogy." Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/65797/.

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Divided into three large chapters, this thesis explores sixteenth-century concepts of history, considers how those concepts appear in Elizabethan history plays on English history, and finally looks at Shakespeare’s first tetralogy of history plays. The aim of the thesis is to consider in some detail the wider context of historical and dramatic traditions in Tudor England to gain a better appreciation of how they influenced possible readings of Shakespeare’s early history plays. Chapter One looks at how medieval approaches were modified in the fifteenth century. St. Augustine’s allegorical method of biblical exegesis made it possible to interpret history from inside the historical moment by allowing historically specific incidents to stand for trans-historical truths. However, the sixteenth-century chronicle tradition shows an increasing awareness of the difficulties of interpreting history. Chapter Two looks at early English history plays outside of the Shakespearean canon. History plays borrowed the conventions of comedy, tragedy and the morality play to provide frameworks for interpretation. Nevertheless, early histories such as Kynge Johan, Edmund Ironside, Famous Victories, Edward III, The True Tragedy, and The Troublesome Reign did not fit comfortably within established dramatic modes, leading to history’s gradual recognition as a separate genre. Chapter Three looks at the contribution Shakespeare’s plays made to the developing genre. The un-unified dramatic structure of the Henry VI plays denies the audience a stable framework within which to interpret events. In Richard III, a clear tragic framework appears, but is undermined by a strong thread of irony that runs through the play. History appears in the tetralogy as a repetitive cycle of violence perpetuated by characters’ attempts to memorialise the past while failing to learn from it. The crisis presented by history is the necessity of acting on partial information, while the promise of fuller understanding is projected into an unknowable future.

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20

Geider, Thomas. "A bibliography of Swahili literature, culture and history." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91490.

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The present alphabetical Bibliography ranging from `Abdalla` to `Zhukov` includes old and new titles on Swahili Literature, Linguistics, Culture and History. Swahili Studies or \'Swahilistics\' have grown strong since the mid-1980s when scholars started to increasingly engage in international networking, first by communicating through the newsletter Swahili Language and Society: Notes and News from Vienna (Nos. 1.1984-9.1992) and Antwerp (No. 10.1993) and then through the journal Swahili Forum published at the University of Cologne (Nos. I. 1994 - IX. 2002), not to mention the numerous conferences held in Dar es Salaam, Nairobi, London, Bayreuth and other places, and not to forget the achievements of the journal Kiswahili from Dar es Salaam as another steady medium of Swahili scholarship. Of course, this Bibliography is not the only one: other useful and specialized bibliographical information appeared in articles, surveys, reference books and larger studies, which are indicated in the following. Part of the titles have been extracted from these sources and integrated into the present Bibliography after having had a physical look at them. As this was not always possible, it seems still to be advisable and necessary to consult the indicated sources themselves when it comes to selecting one\'s base of research literature.

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21

Wydenbach, Joanna Susan. "Irish women's fiction 1900-1924 : literature and history." Thesis, Queen's University Belfast, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437734.

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22

Jayasuriya, Shihan Malkanthi Devika de Silva. "Indo-Portuguese of Ceylon : history, linguistics and literature." Thesis, University of Westminster, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434365.

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23

Blustein, Rebecca Danielle. "Kingship, history and mythmaking in medieval Irish literature." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1432770931&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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24

Verhagen, Pieter Cornelis. "A history of Sanskrit grammatical literature in Tibet." Leiden : E. J. Brill, 1994. http://catalogue.bnf.fr/ark:/12148/cb356106379.

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Texte remanié de: Proefschrift--Rijksuniversiteit te Leiden, 1991. Titre de soutenance : Sanskrit grammatical literature in Tibet : a study of the Indo-Tibetan canonical literature on Sanskrit grammar and the development of Sanskrit studies in Tibet.

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25

CAMPOS, CARLOS ROBERTO PIRES. "LITERATURE, HISTORY AND ALEXANDRE HERCULANOS LEGENDS E NARRATIVES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=3743@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Esta tese tem como objetivo principal a análise das Lendas e Narrativas, para, do ponto de vista histórico e ficcional, demonstrar a tentativa de Herculano de transformar, atento ao projeto romântico, o medievo português em patrimônio cultural. Captar o olhar romântico do autor, voltado para o passado medieval na construção da identidade cultural portuguesa, foi o segundo objetivo que se nos impôs. Para tanto, dividimos o estudo em seis capítulos, enfatizando em cada um o papel que o discurso da História desempenha nessa ficção. As sete narrativas são analisadas através da discussão dos enredos, à luz de correntes teóricas contemporâneas, para detectar as peculiaridades de cada uma, com ênfase no diálogo que se estabeleceu entre o discurso da literatura e o da História, no ato da criação ficcional. Grosso modo, concluímos que, em Lendas e Narrativas, o autor pretendeu conservar a memória de intensas experiências, compreendendo tanto a tradição ibérica quanto a transformação dessa mesma tradição, que assume o papel de produtora de elementos novos. Em seus textos, representa-se a construção da própria identidade, das marcas basilares da literatura do século XIX e até de algumas do século posterior. Pensar a questão da memória literária em Lendas e Narrativas obriga, assim, a reconhecer a produção literária como um sistema de diálogos, de trocas e de apropriações, impulsionado por um jogo de forças interativas. A diversidade de personagens presentes na obra a constitui um tecido intrincado e exemplar do gênero ficção histórica, na esteira de Walter Scott. A leitura aqui feita, norteou-a o propósito principal de contribuir para o (re)conhecimento desta obra fundamental do Romantismo português, acrescido de outro, talvez pretensioso, de abrir perspectivas para novas abordagens. Este contínuo interpretar a história, renovando seu significado, dando-lhe diferentes interpretações, assemelha- se a percorrer uma trilha que, sempre renovada, leva à descoberta de novas e fascinantes leituras.
The main objective of this thesis is to analyse the historical short stories in Lendas e Narrativas, so as to demonstrate, from both historical and fictional points of view, Herculanos attempt to change the Portuguese medieval period into a cultural inheritance, following the romantic artistic project. The second objective is to capture the romantic view of the author, who looked back to medieval times, in order to build a Portuguese cultural identity. The investigation is divided into six chapters, each one emphasizing the function that historical discourse represents in Herculanos fiction. In the light of contemporary theories, the seven narratives are analysed through the discussion of the plots (intrigues), to detect the peculiarities of each one. The emphasis is on the dialogue established between the discourses of Literature and History, within the texts, at the moment of creation. In broad terms, the research concludes that in Lendas e Narrativas the author intended to keep the memory of intense experiences, involving both the Iberian traditions and the transformation of these traditions, which assume the role of producer of new elements. This experience constructs the identity of the basic characteristics of nineteenth century Portuguese literature and even some characteristics of literature in the following century. Reflecting on the question of literary memory in Lendas e Narrativas thus demands the recognition that literary production is a system of dialogues, exchanges and appropriations that are activated by a play of interactive forces. The diversity of characters in the book makes it an intricate weave of historical fiction in the tradition of Walter Scott. The present study intends to contribute to the recognition of this essential work in Portuguese Romanticism and, perhaps ambitiously, to open up perspectives for new research. This continuous movement of interpreting history, renewing its significance, and providing it with different interpretations is a pathway to the discovery of fascinating new readings.

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26

Trott, Vincent Andrew. "The First World War : history, literature and myth." Thesis, Open University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664476.

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This thesis explores the role literature played in the creation and subsequent development of the mythology of the First World War in Britain. In this thesis, the term 'mythology' is used to denote a set of dominant symbols and narratives which characterise how the past is represented and understood. Many historians consider literature to be the source of the British mythology of the First World War, but it is argued here that previous historical approaches have paid insufficient attention to the processes by which books were published, promoted and received. Drawing on Book History methodologies, this thesis therefore also examines these processes with reference to a range of literary works, whilst employing theoretical models advanced in the field of memory studies to interrogate further the relationship between literature and evolving popular attitudes to the First World War. Through a series of case studies this thesis demonstrates that publishers, hitherto overlooked by scholars in this context, played a crucial role in constructing the mythology of the First World War between 1918 and 2014. Their identification of texts, and promotional strategies, were key processes by which this mythology was developed across the twentieth century and beyond. By examining critical and popular responses to literature this thesis also problematizes the linear narrative by which the mythology of the war is often taken to have evolved. It demonstrates that myths of the war have been constructed and contested by various groups at different times, and that the evolving memories of veterans were not always in alignment with those of the wider public. In doing so it provides a powerful counterargument to the assumption that a mythology of the First World War has become hegemonic in recent decades.

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27

Lee, Shantell. "The Unheard New Negro Woman: History through Literature." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2046.

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Many of the Harlem Renaissance anthologies and histories of the movement marginalize and omit women writers who played a significant role in it. They neglect to include them because these women worked outside of socially determined domestic roles and wrote texts that portrayed women as main characters rather than as muses for men or supporting characters. The distorted representation of women of the Renaissance will become clearer through the exploration of the following texts: Jessie Fauset’s Plum Bun, Caroline Bond Day’s “Pink Hat,” Dorothy West’s “Mammy,” Angelina Grimke’s Rachel and “Goldie,” and Georgia Douglas Johnson’s A Sunday Morning in the South. In these texts, the themes of passing, motherhood, and lynching are narrated from the consciousness of women, a consciousness that was largely neglected by male writers.

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28

Monteverde, Margaret Pyne. "The patterning of history in Old English literature." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1241188005.

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29

Maxson, Brian. "The Crusades and the Lost Literature of the Italian Renaissance." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/6225.

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30

Nagy, Ellen Manning. "A history of women in Germanics, 1850-1950 /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487841975359105.

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31

Vollaro, Daniel R. "Origins and orthodoxy anthologies of American literature and American history /." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-08272008-210438/.

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Thesis (Ph. D.)--Georgia State University, 2008.
Title from file title page. Janet Gabler-Hover, committee chair; Robert Sattelmeyer, Calvin Thomas, committee members. Electronic text (205 p.) : digital, PDF file. Description based on contents viewed Sept. 18, 2008. Includes bibliographical references (p. 192-205).

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32

Forsberg, Laura. "The Miniature and Victorian Literature." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845467.

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The Victorian period is famously characterized by its massiveness, with the vast extent of the British Empire, the enormous size of the nineteenth-century city and the massive scale of the three-volume novel. Yet the Victorians were fascinated with miniature objects, which seemed in their small scale to belong to another world. Each miniature object prompted a unique imaginative fantasy of intimacy (the miniature painting), control (the toy), wonder (the microscope and the fairy) or knowledge (the miniature book). In each case, the miniature posited the possibility of reality with a difference, posing the implicit question: What if? This dissertation traces the miniature across a range of disciplines, from aesthetics and art history to science and technology, and from children’s culture to book history. In so doing, it shows how the miniature points beyond the limits of scientific knowledge and technical capabilities to the outer limits of the visual and speculative imagination. In novels, the miniature introduces elements of fantasy into the framework of realism, puncturing the fabric of the narrative with the internal reveries and longings of often-silent women and children. Miniature objects thus function less as realist details than as challenges to realism. In charting the effect of the miniature, both as a portal into the Victorian imagination and as a challenge to narrative realism, this dissertation puts the techniques of material history to new use. It aims not to describe the world of the Victorians but to show how the Victorians imagined other worlds.
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Holton, Robert. ""Jarring witnesses"; : modern fiction and the representation of history." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74577.

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This thesis begins by surveying briefly the discussion in philosophy of history of the function of point of view as a formal, a cognitive, and a cultural determinant in narrative historiography in relation to Bourdieu's theory of doxa and heterodoxy and Bakhtin's concept of heteroglossia. With this theoretical framework established, a number of modern novels concerned with history are then explored. Chapters devoted to Conrad's Nostromo, Ford's Parade's End and Faulkner's Absalom, Absalom! examine the ultimately orthodox historiographical points of view of these novels, while a chapter on the fiction of black American women engages the problem of historiography from the margins of the dominant culture. In the final chapter, Pynchon's V. is the focus of a discussion of postmodernism in relation to historiographic discourse.

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Bredthauer, Bredt Bond Bruce. "Tinder for the bathhouses." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/ark:/67531/metadc12088.

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Dandridge, Ross. "Anti-quack literature in early Stuart England." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/3112.

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During the thirty years preceding the Civil War, learned physicians such as John Cotta, James Hart, James Primerose and Edward Poeton produced a stream of works attacking those who practised medicine without what they regarded as the proper training and qualifications. Recent scholarship has tended to view these as exercises in economic protectionism within the context of the ‘medical marketplace’. However, increasing attention has latterly been drawn to the Calvinist religious preferences of these authors, and how these are reflected in their arguments, the suggestion being that these can be read as oblique critiques of contemporary church reform. My argument is that professional and religious motivations were in fact ultimately inseparable within these works. Their authors saw order and orthodoxy in all fields - medical, social, political and ecclesiastical - as thoroughly intertwined, and identified all threats to these as elements within a common tide of disorder. This is clearest in their obsession with witchcraft, that epitome of rebellion, and with priest-physicians; practitioners who tended to combine medical heterodoxy, anti-Calvinist sympathies and a taste for the occult, and whose practices were innately offensive to puritan social thought while carrying heavy Catholic overtones. These works therefore reflected an intensely conservative worldview, but my research suggests that they should not necessarily be taken as wholly characteristic of early Stuart puritan attitudes. All of these authors can be associated with the moderate wing of English Calvinism, and Cotta and Hart developed their arguments within the context of the Jacobean diocese of Peterborough, where an entrenched godly elite was confronted by an unusually rigourous conformist church court regime. They sought to promote a particular vision of puritan orthodoxy against conformist heterodoxy; in light of the events of the interregnum, it seems likely that this concealed more diverse attitudes towards medical reform amongst the godly.

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Kildea, Paul Francis. "Selling Britten : a social and economic history." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243275.

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Musty, Emma. "A short history of lines." Thesis, Aberystwyth University, 2016. http://hdl.handle.net/2160/c4aa2292-b43a-4d1f-bb59-b3cea766cb02.

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Kopec, Andrew. "Economic Crisis and American Literature, 1819-1857." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365760287.

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Orford, Peter Robert. "Rewriting history : exploring the individuality of Shakespeare's history plays." Thesis, University of Birmingham, 2006. http://etheses.bham.ac.uk//id/eprint/1779/.

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‘Rewriting History’ is a reappraisal of Shakespeare’s history cycle, exploring its origins, its popularity and its effects before challenging its dominance on critical and theatrical perceptions of the history plays. A critical history of the cycle shows how external factors such as patriotism, bardolatory, character-focused criticism and the editorial decision of the First Folio are responsible for the cycle, more so than any inherent aspects of the plays. The performance history of the cycle charts the initial innovations made in the twentieth century which have affected our perception of characters and key scenes in the texts. I then argue how the cycle has become increasingly restrictive, lacking innovation and consequently undervaluing the potential of the histories. Having accounted for the history of the cycle to date, the second part of my thesis looks at the consequent effects upon each history play, and details how each play can be performed and analysed individually. I close my thesis with the suggestion that a compromise between individual and serial perceptions is warranted, where both ideas are acknowledged equally for their effects and defects. By broadening our ideas about these plays we can appreciate the dramatic potential locked within them.

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Dawkins, Sabrina Y. "Postmodernity and the history of African American religious representations a Foucauldian approach /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1505Dawkins/umi-uncg-1505.pdf.

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Thesis (M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Mar. 11, 2008). Directed by Steven R. Cureton; submitted to the Dept. of Sociology. Includes bibliographical references (p. 103-115).

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Geiter, Steffan James. "The Church, State, and Literature of Carolingian France." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3076.

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This thesis examines the eighth century rise in power of the Carolingian Church and the Carolingian dynasty through an early promise of religious revival, monarchial revival, and increased Papal power. Such aims gained the Carolingians a powerful in the Church. Aided by Boniface (672-754 AD) and the Church, the Carolingians replaced the Merovingians in Francia. In conjunction with this revival, Church scholars dictated a reformation of kingship in treatises called the Speculum Principum. A king’s position became tremulous when they strayed from these rules, as it betrayed their alliance. Ultimately, Louis the Pious (778-840 AD) faced deposition after they disagreed on his appointments and adherence to the ideologies of the Speculum Principum.

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Slater, Graeme Paul. "Authorship and authority in Hume's History of England." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314546.

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Jones, Richard Douglas. "The history and text of Bach's Clavieruebung I." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253830.

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Bond, D. G. "German history and German identity : Uwe Johnson's Jahrestage." Thesis, University of Nottingham, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304881.

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Davies, Sian Martin. "The language of Hardy's fiction : realism and history." Thesis, Cardiff University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359236.

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Darwish, Hala S. "Disessemi(nation) and history : poststructuralism at postcolonial borders." Thesis, Cardiff University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319209.

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Crone-Romanovski, Mary Jo. "A Spatial History of English Novels 1680-1770." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274451914.

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Barlow, Richard. "Scotographic joys : Joyce and Scottish literature, history and philosophy." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580301.

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This thesis examines how the work of James Joyce deals with the literature, history and philosophy of Scotland. My first chapter discusses the Scottish character Crotthers of the , 'Oxen of the Sun' and 'Circe' chapters of Ulysses and demonstrates how this character, especially his name, is the beginning of Joyce' s treatment of the connections of Scottish and Irish histories. Chapter Two examines a motif from Finnegans Wake based on words related to the names of two tribes from ancient Scottish and Irish history, the Picts and the Scots. Here I discuss how this motif relates to the divided consciousness of the Wake's dreamer and also how Joyce bases this representation on 19th century Scottish literature, especially the works of James Hogg and Robert Louis Stevenson. Chapter Three is a look at the function of allusions to the work of the Scottish poet James Macpherson in Finnegans Wake. I claim that references to Macpherson and his work operate as signifiers of the cyclical and repetitive nature of life and art in the text. Chapter Four studies connections between the works of Joyce and Robert Burns, studying passages from Finnegans Wake, Ulysses and Joyce's poetry. The chapter covers the use of song in Finnegans Wake, connections in Irish and Scottish literature and provides close readings of a number of passages from the Wake. The final chapter looks at Joyce and the Scottish Enlightenment, particularly allusions to the philosopher David Hume in Finnegans Wake. The chapter considers connections between the scepticism and idealism of Hume's thought with the internal world of the dreamer of Finnegans Wake. As a whole this thesis seeks to show Joyce's indebtedness to Scottish literature, examine the ways in which Joyce uses Scottish writing and describe Joyce's representation of the Scottish nation.

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O'Meara, Patrick Carleton University Dissertation English. "Invisibility and interpretation; history and hope in African literature." Ottawa, 1987.

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Milne-Walasek, Nicholas. "The History/Literature Problem in First World War Studies." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35162.

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In a cultural context, the First World War has come to occupy an unusual existential point half-way between history and art. Modris Eksteins has described it as being “more a matter of art than of history;” Samuel Hynes calls it “a gap in history;” Paul Fussell has exclaimed “Oh what a literary war!” and placed it outside of the bounds of conventional history. The primary artistic mode through which the war continues to be encountered and remembered is that of literature—and yet the war is also a fact of history, an event, a happening. Because of this complex and often confounding mixture of history and literature, the joint roles of historiography and literary scholarship in understanding both the war and the literature it occasioned demand to be acknowledged. Novels, poems, and memoirs may be understood as engagements with and accounts of history as much as they may be understood as literary artifacts; the war and its culture have in turn generated an idiosyncratic poetics. It has conventionally been argued that the dawn of the war's modern literary scholarship and historiography can be traced back to the late 1960s and early 1970s—a period which the cultural historian Jay Winter has described as the “Vietnam Generation” of scholarship. This period was marked by an emphatic turn away from the records of cultural elites and towards an oral history preserved and delivered by those who fought the war “on the ground,” so to speak. Adrian Gregory has affirmed this period's status as the originating point for the war's modern historiography, while James Campbell similarly has placed the origins of the war's literary scholarship around the same time. I argue instead that this “turn” to the oral and the subaltern is in fact somewhat overstated, and that the fully recognizable origins of what we would consider a “modern” approach to the war can be found being developed both during the war and in its aftermath. Authors writing on the home front developed an effective language of “war writing” that then inspired the reaction of the “War Books Boom” of 1922-1939, and this boom in turn provided the tropes and concerns that have so animated modern scholarship. Through it all, from 1914 to the current era, there has been a consistent recognition of both the literariness of the war's history and the historiographical quality of its literature; this has helped shape an unbroken line of scholarship—and of literary production—from the war's earliest days to the present day.

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