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1
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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Wisel-Gilead, Yona. "The development of the traditions concerning the figure of R. Hanina b. Dosa : a sociological study." Thesis, The University of Sydney, 1990. https://hdl.handle.net/2123/26441.
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As the title suggests, this paper sets out to present and explain the development of the traditions concerning the figure of R. Hanina b. Dosa from a sociological viewpoint. Following the ‘rediscovery’ of R. Hanina b. Dosa in the early 19703 by Geza Vermes,1 a new wave of interest in this first century personality emerged among both New Testament and rabbinical studies scholars. If at first the interest shown derived from the apparent parallels between some of the Hanina traditions and several of the Gospel stories of Jesus, at a later stage scholars turned to study the Hanina traditions for their own merit, especially in relation to the development and formation of Tannaic and Amoraic Judaism.
Following the realisation that writings of late antiquity do not simply record historical data, but rather preach a socio-religious message, it is now held among most New Testament scholars, as well as many rabbinical studies scholars, that research into those fields should focus on the study of the sociology of the communities from which the texts under discussion emerged, alongside and as a completion to the study of the texts themselves. Hence by placing traditions under a literary, historical and critical analysis, current research attempts to shed light on the way in which those traditions were shaped by the communities they emerged from, in view of the communities’ own development. As well, such research attempts to explain how traditions shaped the lives of the ones who received them. In other words, attempts are made to learn the socio-religious concerns of societies in late antiquity via the information preserved in the literature such communities left behind. For as Gerd Theissen phrases it: “There is a correspondence between the social groups which handed down the tradition and the tradition itself.”
In this paper there will be an extensive use of form critical methods. Those methods which have been developed by New Testament scholars such as R. Bultmann, M. Dibelius, J. Jeremias, R.H. Fuller and G. Theissen. Such methods have been especially applied to rabbinical studies by J. Neusner, B.M. Bokser, W.S. Green, S. Freyne, and many others who do not specifically deal with our topic.
In this paper we set out to present and analyse the full data presented in the rabbinical literature: Mishnah, Tosefta, Palestinian and Babylonian Talmuds, and other midrashim. As well, an attempt shall be made to relate the information preserved in the texts to the study of the life of the communities that created and preserved those texts.
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Neidorf, Leonard. "The Origins of Beowulf: Studies in Textual Criticism and Literary History." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11366.
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Beowulf is preserved in a single manuscript written out around the year 1000, but there are many reasons to believe that the poem was composed several centuries before this particular act of manual reproduction. Most significantly, the meter of Beowulf reveals that the poet regularly observed distinctions of etymological length that became phonologically indistinct before 725 in Mercia. This dissertation gauges the explanatory power of the hypothesis that Beowulf was composed about three centuries before the production of the extant manuscript. The following studies test the hypothesis of archaic composition by determining whether it is able to accommodate independent forms of evidence drawn from the fields of linguistics, textual criticism, and literary history.
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Si, Tou Sau-ieng, and 司徒秀英. "A study of zhuanqi drama of the mid-Ming period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31239262.
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Hanna, Elizabeth H. "Arthur and the Scots : narratives, nations, and sovereignty in the later Middle Ages." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/9750.
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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 JANEIROEsta 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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Niro, Shelley. "An essential personal journey through Iroquois myths, legends, icons and history." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0006/MQ42249.pdf.
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Mitchell, Janet. "The recurrence of the Arthurian legends in the fiction of Robertson Davies /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64042.
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Slagle, Judith Bailey. "Romantic Appropriations of History: The Legends of Joanna Baillie and Margaret Holford Hodson." Digital Commons @ East Tennessee State University, 2012. http://amzn.com/1611475090.
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Introduction: The Historical Tradition of Baillie, Scott, Hodson and Southey -- William Wallace : "A Terrible Beauty" -- Exploration and conquest : Columbus, Balboa, and Pizarro -- National and Domestic Heroines : Margaret of Anjou and Lady Griseld Baillie -- Gothic Interactions : The Miscellaneous Legends of Baillie and Hodson.https://dc.etsu.edu/etsu_books/1035/thumbnail.jpg
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L'Official, Pete Thomas. "Urban Legends: The South Bronx in Representation and Ruin." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065024.
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"Urban Legends: The South Bronx in Representation and Ruin" examines the construction of the South Bronx in the American imagination during the 1970s and 1980s--a time when the South Bronx was synonymous with the failures of urbanism. The project attempts a multidisciplinary excavation of the cultural manifestations of urban ruin as articulated through the histories, literatures, and visual arts produced within and inspired by the ruins of the Bronx. The dissertation contends that Bronx ruins offered a site for visual artists, writers, and photographers to create new ways of understanding the production and perception of urban environments, while shaping the forms and styles that these creations took. The project theorizes the emergence and legacy of these forms alongside what it terms "municipal art": public works of city governmental bodies which, themselves, responded to ruin, and that might also be read as art.
The dissertation's first part places the building cuts of the artist Gordon Matta-Clark in dialogue with the trompe l'oeil window decals of New York's "Occupied Look" program. It argues, on one hand, that Matta-Clark's artworks employ the tactics and effects of trompe l'oeil, and, on the other, that the seemingly failed "Occupied Look" project presents, upon close examination, vastly more interesting questions about temporality, duration, stasis within the built environment. The dissertation's second part views 1980s New York City Department of Finance tax assessment photographs within and against documentary and conceptual art contexts to reveal aesthetic debts owed by photographers and artists to "administrative" or systematic modes. The dissertation argues that these tax photos, despite their empirical intention, are inevitably productive of narrative, and demand an empathetic model of viewership that gestures at historic ruin-gazing while puncturing mythological understandings of urban ruin. The dissertation's third part examines how the popular fiction of Tom Wolfe and Don DeLillo imagined the Bronx built environment. The dissertation argues that the infrastructures that animate these portions of their fiction--abhorred in one and celebrated in the other--bind the South Bronx to city, making it less an alienated nowhere than one that is intimately tied to the world around it.
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Johnston, Kelly Scott. "R. Joseph della Reina and his damnation in the fiction of I. B. Singer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31115.
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The following thesis focuses on the medieval kabbalistic legend of R. Joseph della Reina who, using traditions of esoteric magic, conjured Satan in order to slaughter him in an unsuccessful bid to force the Redemption of Israel. A translation of a version from eighteenth century Amsterdam is presented. Influenced by the heretical ideas of Sabbatianism, this version carries two opposing significations: that of a cautionary tale on one hand, that of a tragic tale of mystical heroism on the other. Based on evidence from the fiction of Isaac Bashevis Singer, the case is made that the modern author, in line with his philosophy of political passivism and historical pessimism, makes full use of the Faustian fascination of R. Joseph della Reina's fearsome story while repeatedly presenting the legend in such a way as to purge it of traditional ambiguity, undermine its tragic character, and leave behind only the aspect of caution or warning.
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Brown, Patricia. "The role and symbolism of the dragon in vernacular saints' legends, 1200-1500." Thesis, University of Birmingham, 1998. http://etheses.bham.ac.uk//id/eprint/5414/.
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This thesis looks at the role and function of the dragon in the saint's encounter with the monster in hagiographic texts, written primarily in the vernacular, between 1200 and 1500. Those connotations accrued by the dragon which are relevant to this thesis are traced from their earliest beginnings. Although by the middle ages the multi-valency of the dragon is reduced to one primary symbolic valency, that of evil and significantly, the evil of paganism, the dragon never loses completely its ancient associations and they help to colour its function within the narrative. The symbolic use of the dragon in vernacular saints' lives is generally consistent, although allowing for different didactic emphases. However, the two legends on which this thesis concentrates are those of St George from Caxton's Golden Legend and St Margaret from the Katherine Group. Each reveals tensions within the text when the dragon's role departs from the familiar hagiographic topos. Firstly, the role of the hagiographic dragon is identified by a comparison with that of the dragon in romance. Allowing for cross-fertilization, this thesis focuses on the significance of the hero's dragon-fight and the saint's dragon encounter to differentiate between the ethos of the romance and hagiographic genres respectively. Tensions are created in the hagiographic text when the romance topos of the dragon-fight is used in conjunction with the hagiographic dragon encounter, as in the legend of St George. Finally, in the legend of St Margaret, the dragon's appearance unbalances and unsettles the perspective of the narrative when its role and function are deployed in the promulgation of virginity.
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Walsh, Brian P. "The rape of Tokyo| Legends of mass sexual violence and exploitation during the occupation of Japan." Thesis, Princeton University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10120354.
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Much recent writing on the Occupation of Japan has challenged the traditional picture of a well-disciplined American army laying the groundwork for Japan’s transition to democracy by the example of its behavior. Instead it depicts the Occupation, especially its opening phase, as marred by the widespread rape of Japanese women by American servicemen. In addition, many writers claim the United States encouraged, requested or even ordered the Japanese government to establish brothels for its troops. Copious documentation of American behavior from both Japanese and American sources does not support such claims. Rather, it makes very clear that though there were a fair number of reported rapes of Japanese women by American and other Allied servicemen, stories of mass rape during any period of the Occupation, including its opening phase, are simply not credible. In addition the contemporary record suggests that American authorities regarded prostitution not as a benefit for their troops, but as an entrenched social problem which they tolerated reluctantly. This raises the question of how such stories became incorporated into the mainstream. Part of the reason for this was the psychic environment in which these stories were originally created. There is an innate and deep-seated association between rape and war in the human psyche. The Japanese understanding of war in the mid-twentieth century reinforced this association. Rape also served as a metaphor for the American conquest of Japan. GHQ robbed Japanese men of their control of women’s sexuality. Many women then used their sexual autonomy to consort with American soldiers. To many this seemed like a hypocritical seizure of Japanese women, a rape of sorts. Shortly after the Occupation ended a leftist anti-American propaganda campaign and a boom in exploitation literature coincided to produce a great number of works purporting to be true exposes of American cruelties. Though these books are wholly unreliable, and contradict contemporary evidence, many have been incorporated into mainstream history. This is an error. Stories of mass rape and organized sexual exploitation during the Occupation are better understood as metaphoric expressions of the humiliation of defeat, occupation and continuing diplomatic subordination, than as history.
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Livermore, Christian. "Revenants from the Church to literature." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/7914.
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Factual accounts of revenants – the risen dead – seized the medieval imagination in the early eleventh century, and were recorded by serious historians and ecclesiastics as true. They then began to appear in secular imaginative literature and art, growing progressively more elaborate and frightening throughout the Middle Ages whilst retaining many of the religious overtones expressed overtly in the ecclesiastic tales. By the early modern and modern period, the tales were removed from any overt religious context and were told as purely imaginative literature. The academic half of this thesis explores the influence on the tales of the Christian doctrine of resurrection and the cult of the body of Christ and of the saints, then traces the migration of those tales into imaginative literature from the Middle Ages to the present. It identifies key motifs from the medieval chronicles and imaginative literature that continue to appear in modern stories, and explores the extent to which Christian eschatology altered perceptions of the dead and why, in an increasingly secular context, fascination with such tales continued into modern literature, what part fear of death played throughout this period, and how that fear was expressed, first in an ecclesiastical context, then in imaginative literature through horror stories. The creative half of my thesis is a literary fiction novel updating a medieval revenant tale, the Legend of the Three Living and the Three Dead, to twenty-first century New England.
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Iafrate, Allegra. "The wandering throne of Solomon: precious objects and legends of kingship in the Medieval Mediterranean." Doctoral thesis, Scuola Normale Superiore, 2013. http://hdl.handle.net/11384/85772.
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Simpson, Nigel. "Post-structuralism and history." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282616.
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Adalı, Selim F. "Ummān-manda and its significance in the first millenium B.C." Connect to full text, 2009. http://hdl.handle.net/2123/4890.
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Thesis (Ph. D.)--University of Sydney, 2009.Title from title screen (viewed June 16, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Classics and Ancient History, Faculty of Arts. Includes appendices. Includes bibliographical references. Also available in print form.
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Bork, Debora J. "History and criticism of photographically illustrated children's books /." Online version of thesis, 1988. http://hdl.handle.net/1850/11490.
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Riding, Christopher John Livsey. "The art criticism and history of Michael Fried." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272737.
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Amley, Hollis Marie. "The Evolution of Criticism on Jean-François Millet." NCSU, 2005. http://www.lib.ncsu.edu/theses/available/etd-03282005-154529/.
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AMLEY, HOLLIS MARIE. The Evolution of Criticism on Jean-François Millet. (Under the direction of Keith Luria.) The nineteenth-century French painter Jean-François Millet?s social context, compositional style, and rustic subject matter invite a wide variety of interpretations of his art. To his biographer and contemporary Alfred Sensier, the rustic canvases were the work of a stoic ?peasant painter,? removed from the political controversies of his day. To the Marxist art historian T. J. Clark, on the other hand, Millet?s paintings interacted with and challenged the dominant values and institutions of the Second Republic. To the social art historian Robert Herbert, the paintings reveal the artist?s response to urban-industrial change and his Parisian exodus. In presenting these three formative readings of Millet?s canvases, this thesis demonstrates how each particular writer?s vantage point in history affected both his methodology and vision of the artist?s identity. The criticism on Millet shows not merely a series of antithetical, isolated opinions, but a kind of evolution, one that has gradually come to include both the artist and the society in which he worked.
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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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Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.
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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.
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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
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Roos, Dorette Maria. "The Faust legend and its musical manifestations : a historical overview." Thesis, Stellenbosch : Stellenbosch University, 2010. http://hdl.handle.net/10019.1/5156.
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Thesis (MMus (Music))-- Stellenbosch University, 2010.ENGLISH ABSTRACT: This thesis explores the Faust legend and its musical manifestations since the 19th century. The objective is to provide a thorough background to the legend, before drawing up an account of compositions inspired by the Faust legend. Firstly, the origin of the legend is investigated, followed by a brief summary of the most important literary works on the subject of Faust. This is followed by a comprehensive outline of the story as told by Johann Wolfgang von Goethe, and then the most significant compositions inspired by the legend are discussed. A short section containing comparisons of the compositions and the conclusions of the study appears at the end. The legend tells the story of Faust, a scholar, philosopher and alchemist in search of divine knowledge, power and pleasure. Faust encounters the devil and makes a pact with him in which he agrees to surrender his immortal soul, if the devil can satisfy Faust’s thirst for knowledge and grant him the experience of true happiness. The Faust legend is a very popular theme among composers and artists. One of the reasons for the success of the Faust legend is its universal appeal. This has led to various composers using the material as the basis for their works. Goethe’s version of the legend has proven to be the most popular source for composers. To produce a composition that attempts to capture the drama in its entirety, including its psychological and spiritual elements, is not feasible. Works centred on a smaller section, scene or character from Goethe’s Faust were often more successful than the larger operatic compositions. Like all great universal ideas, the Faust legend lends itself to an abundance of interpretations. Similarities between works are rare. Each composer who made use of the Faust legend interpreted it subjectively, which has produced many unique and varied compositions.
AFRIKAANSE OPSOMMING: In hierdie studie word die Faust legende, soos wat dit in verskeie musikale komposisies van die 19de eeu uitgebeeld is, ondersoek. Die doel van die studie is om ‘n lys van werke wat deur die Faustlegende geïnspireer is, saam te stel. Die tesis ondersoek die oorsprong van die legende en gee ‘n kort opsomming van die mees prominente litirêre werke met die Faustlegende as onderwerp. Daarna volg ‘n uiteensetting van die storielyn soos vertel deur Johann Wolfgang von Goethe. ‘n Lys, bestaande uit gesaghebbende Faust komposisies, word ingesluit en laastens volg vergelykings en gevolgtrekkings uit die studie. Die legende vertel die verhaal van Faust, die professor, filosoof en alchemis op soek na kennis, mag en plesier. Faust tree in gesprek met die duiwel en gaan met hom ‘n ooreenkoms aan om sy siel prys te gee in ruil vir kennis en ware geluk. Die Faust legende is sekerlik een van die mees gewilde literêre onderwerpe vir gebruik deur komponiste en kunstenaars. Die universaliteit van die legende dra by tot die gewildheid daarvan en om gebruik te word as onderwerp in toonsettings. Goethe se weergawe word meestal ingespan as bron van inspirasie. Om die volle omvang van die drama, met al sy sielkundige en geestelike elemente in ‘n komposisie vas te vang, is feitlik onmoontlik. Soos die meeste groot universele werke, word Faust op verskillende maniere geïnterpreteer. Gevolglik is daar min ooreenkomste tussen die verskillende toonsettings. Elke komponis se interpretasie van die legende is uniek.
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Aguilar, Angie I. "Not Just a Legend: The Gendered Conquest of a Spanish American Society." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/658.
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After the Mexican War of Independence (1810-1821) ending Spanish rule, Mexico formed a republic. By the 1880s there was ‘reformation’ in the Mexican church and the growth of ‘modernization’ in a caste based society governed by dictators. Amid all these changes, there was a growth of a nationalist ideology which sought to break free of Spanish roots in search of a new “Mexican” identity. As nationalism unfolded, there was a resurgence of some histories that became legends. I’ve noted a trend among legends with female protagonists, legends tend to portray women in a negative way. Two legends that have caught my attention emerge from the lives of two women from colonial Mexico. One is based on the life of Malinalli (Malintzin), a Nahuatl woman from sixteenth-century Mexico who at a young age was sold into slavery, but eventually became a talented interpreter, advisor and negotiator for Hernán Cortés during conquest. The other legend is about María Magdalena Dávalos y Orosco, a widowed woman from eighteenth-century Mexico who was able to gain control of her husband’s estate and manage many of his properties.
More often than not, I’ve found that the legends that transpired from the retelling of an account of past events women’s lives, exclude their accomplishments and emphasize their “deviant” tendencies. Through the use of oral histories, scholarly articles and texts relevant to Malintzin and María Magdalena’s circumstances, I will explore their legends to argue that they have a lot of valuable information to offer.
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Schillinger, Stephen. "Common representations : Jack Straw and literary history as cultural history on the early modern stage /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.
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Wallis, Lesley Ann. "History, politics and tradition : a study of the history workshop 1956-1979." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369414.
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何倬榮 and Cheuk-wing Ho. "Engendering children: from folk tales to fairy tales." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227363.
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Haddad, Ziyad Salem. "The Jordanian contemporary art criticism : a methodological analysis of critical practices /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487588939088645.
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Charlesworth, J. J. "Art criticism : the mediation of art in Britain 1968-76." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1803/.
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This thesis studies the changes in the nature of critical writing on contemporary art, in the context of the British art world across a period from 1968 to around 1976. It examines the major shifts in the relationship between the artistic production of the period and the forms of writing that addressed it, through those publications that sought to articulate a public discourse on art in a period where divergent accounts regarding the criteria of artistic value, and the terms of critical discourse, came increasingly into conflict. This thesis takes as its main subject a number of publication venues for art-critical writing of the time, and their responses to the rapidly changing scene of artistic production. It examines the forms of writing that attended emerging artistic practice and the theoretical and critical assumptions on which that writing depended, highlighting those moments where critical discourse was provoked to reflect self-consciously of the relation between discourse and artistic practice. By tracing the repercussions of the cultural and political revolts of the late 1960s, it examines how the orthodoxies of art criticism came to be challenged, in the first instance, by the growing influence of radical artistic practices which incorporated a discursive function, and by leftist social critiques of art. It explores how, in the first half of the 1970s, radical and political artistic practice was promoted by a number of young critics, and sanctioned by its presentation in public art venues. Examining the history of magazines such as Studio International and a number of smaller specialist and non-specialist magazines such as the feminist Spare Rib and the left-wing independent press, it attends to how debates over the cultural and social agency of art began to draw on continental theoretical influences that put into greater question the role of subjective experience and the nature of the human subject. It examines how this shift in the relation between practice and discourse manifested itself in the editorial and critical attitudes of publications both from within the field of artistic culture, and from a wider context of publications embedded in the radical political and social currents of the early 1970s. It gives particular attention to the careers of a number of prominent critics, while situating the later reaction against alternative artistic practices in the context of the politically conservative turn of the end of the decade.
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Hart, Sally. "Derrida and postmodernity : at the end(s) of history." Thesis, University of Chichester, 2007. http://eprints.chi.ac.uk/836/.
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This thesis erects and defends the proposition that Jacques Derrida's readings of 'metaphysics in deconstruction' and his raising to theoretical consciousness of the 'differential matrix', have the capacity to inaugurate a 'brave new world' in this postmodern 'age of the aporia'. Beginning with an examination of Derrida's readings of Husserl and Saussure, it is argued that the radical historicity uncovered here qua an originary synthesis of language, time and the other, opens the possibility for greatly more democratising and emancipating self-creations and human solidarities to be thought. In terms of 'self-creations', and borrowing from the work of Elizabeth Deeds Errnarth, Chapter Two follows Derrida as modernity's sovereign subject and its 'History' are dis-placed by an absolutely affirmative postmodern subjectivity whose axiom might be 'I inherit, therefore, I am ... yes, yes ... ' Construed through his deconstructive reading of Kant, Derrida shows the way in which this postmodern subjectivity without alibi, makes of us all (like it or not, know it or not) resistance fighters, so many singularities existing in constant tension with all normalising/totalising tendencies (social, economic, techno-scientific, political, legal etc ... ) which profess to know the secret. Turning to co-extensive 'human solidarities', Chapter Three subsequently demonstrates the way in which Derrida's call for a 'New International', orientated through a 'new figure of Europe', enables us to imagine new polysemic communities (local, national, international) founded on the 'aporia of the demos', a 'foundation' that construes its hyper-relativity as a positive (ethico-political) condition of decision in terms of a radical responsibility (on an individual and communal level) for the moral/aesthetic decisions we make. It is thus that I will argue that Derrida's vision for a 'new world order' is born out of an aporetic condition which is both a risk and a chance of both the best - and the worst - happening; as someone who shares Derrida's desire for a fairer, freer, more peaceful world, one respectful of difference and otherness, I believe this to be a 'poker like gamble' well worth taking. Chapter Four offers a comparative analysis between the work of Jacques Derrida and Jean Baudrillard, two theorists counter-signing differently many of the 'same' discourses/ traditions/cultures/languages, etc ... to which they are both heirs. The chapter examines their respective 'quasi-philosophies of the limit', together with their differing conceptions of the issues surrounding globalisation and universalisation, as well as Baudrillard' s elevation of America (as opposed to Europe) as the exemplary site of resistance against the dangers of totalisation in 'postmodem' societies. The central argument here, in line with my previous remarks, is that Derrida's thought arguably remains 'the best' way to navigate the postmodem condition and the challenges it produces. The originality of this thesis lies in two main areas, the first having to do with my presentation and conception of Derrida's oeuvre and the second having to do with the comparisons made in this study between Derrida and Ermarth and Derrida and Baudrillard. In terms of the former, I offer what I consider to be a unique, sustained, in-depth analysis of the 'development' (on a theoretical and practical level) of the thematics of 'radical historicity' and of 'post-historical man' - effectively the development of Derrida's quasi-philosophy of history- from his earliest works so that they can be seen to inform his later intervention(s) in what are conventionally understood as ethical and political matters; transforming this understanding in the process and, after the end of history's ends (upper case, lower case and the totalising 'history of meaning' per se), quite literally and radically changing the way we see what we call 'the world'. For while in the conventional literature Derrida's politics come late, I argue here that his indeed later political work is but an emphasis of constant political thematics acting as a leitmotif from beginning to end. Turning to the latter, in terms of the comparisons I make - first between Derrida and Ermarth in Chapter Two and more especially between Derrida and Baudrillard in Chapter Four - the claim to originality lies in the fact that there is no comparison of any note or depth in the literature between these thinkers; nothing that compares Derrida's 'affirmative postmodem subjectivity' and its 'inheritance' with Ermarth's 'rhythmic time' and 'muIti-level consciousness', and nothing comparing Derrida's corpus - specifically his optimistic emancipating and democratizing hopes for the future - with Baudrillard's more pessimistic conceptualization of 'simulation society' and the loss of our European universal values under the hegemonic, globalising movement of the 'American model'. The aim of these two comparisons is to support my claim that Derrida's historico-political position is the 'best' way of essaying the quasi-ground of an in(different) politics in such a way that it keeps the future open to what he calls a 'better world' to come, a world without ends.
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Siviter, Clare. "Rewriting history through the performance of tragedy, 1799-1815." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87637/.
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This thesis constitutes the first extensive study of tragedy during the Napoleonic era. The new tragic productions of this period have been sidelined by French theatre history, allegedly because they were tired copies of seventeenth-century classical models, conduits for propaganda, and suffocated by censorship. I challenge this judgement by excavating this period’s theatre and by applying renewed critical approaches, notably André Lefevere’s notion of rewriting which posits that all productions are subject to poetics and ideology. This thesis is comprised of two principal axes. The first focuses on poetics to contend that new productions were not simply copies of classical plays. Although tragedy was based on the imitation of seventeenth-century models, which scholars refer to as classiques, these examples were rewritten during the eighteenth century, an activity which continued under Napoleon. Therefore, there was no stable example to imitate, rather there was a particular contemporary understanding, which I label the ‘classique’ model to underline its specificity. Using contemporary treatises to form a generic framework, I examine how new tragedies performed at the Comédie-Française depart from this inheritance, reconsidering the passage from theatrical Classicism to Romanticism. The second axis engages with Napoleonic cultural politics by rethinking the terms ‘propaganda’ and ‘censorship’. Although tragedy was used for its propagandistic properties, this policy was not always successful. Moreover, the works’ reception reveals that playwrights and the public appropriated tragedy’s rewriting of historical narratives as a means of mediating the Revolution. Finally, I examine censorship, investigating how the State’s bureaucratic and the Comédie-Française’s lateral systems combined to control and tailor tragedies in performance and print for contemporary audiences. Consequently, this thesis sheds light both on the transition from Classicism to Romanticism in the theatre, and the public and the regime’s use of tragedy as a means of reconstructing the French nation after the Revolution.
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Fairley, Ian. "Criticism in history : the work of György Lukacs, 1902-1914." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333708.
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Ancona, Alexis Faith. "King Arthur as Transcendent Rhetoric of Anxiety: Examining Arthurian Legends as Sociopolitical Paratexts." University of Dayton / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1525102970057973.
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Turner, Seth. "Revelation 11:1-13 : history of interpretation." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:57efe3b3-7c61-412f-9001-5269860a896d.
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The thesis provides a descriptive survey of the history of interpretation of Revelation 11:1-13. Prior to 1000 AD it aims to be comprehensive, but after this date concentrates on Western interpretation. Ch. 1 - Prior to 1000 AD. Rev 11:1-13 is examined in relation to the wider complex of traditions concerning Antichrist and the return of Enoch and Elijah. The commentary tradition on Revelation is examined, including an extensive reconstruction of Tyconius. The passage is applied in two ways: 1. to two eschatological figures, usually Enoch and Elijah. 2. to the Church from the time of Christ's first advent until his return. Ch. 2 -1000-1516 Exegesis similar to that of chapter 1 is found. There is new exegesis from Joachim of Fiore, who believes that the two witnesses will be two religious orders, and Alexander Minorita, who reads the entirety of the Apocalypse as a sequential narrative of Church history, arriving at the sixth century for 11:1-13. Ch. 3 -1516-1700 Protestants interpret the beast as the papacy/Roman Church, and the two witnesses as proto-Protestants prior to the Reformation, often interpreting their 1260 day ministry as 1260 years. Catholics respond by applying the passage either to the eschatological future or the distant past. Ch. 4 -1701-2004 Protestants continue to see the 1260 days as 1260 years, although this interpretation declines markedly in the nineteenth century. Both Catholics and Protestants apply the passage to the distant past of the early Church. Historical critical exegesis introduces a new exegesis, where John is regarded as having incorrectly predicted the return of two individuals shortly after his time of writing. Applications to the entirety of the time of the time of the Church increase in popularity in the twentieth century.
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Chapin, Charles Nicholas. "The turn to reading in twentieth-century literary criticism." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609859.
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Orth, Michael D. "Mirages Solidified: Myth, Beautification, and Tourism In The Creation of Santa Barbara’s El Pueblo Viejo Landmark District." DigitalCommons@CalPoly, 2011. https://digitalcommons.calpoly.edu/theses/615.
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A number of books and articles have been written on the social movement to reimagine Southern California’s past in the nineteenth and early twentieth centuries. While many of the pageants, parades, and public displays that defined this regional movement now reside in the pages of history, some architectural examples from this period are still visible today. In many cities, these examples are scattered throughout the community; while in others like Santa Barbara, they represent the centerpiece of the city’s architectural distinctiveness.
Santa Barbara’s architecture challenges urban scholars to successfully garner an accurate sense of the past. More importantly, such historic spaces divert attention away from the social efforts that led to their inception. This thesis charts the history of Santa Barbara’s architectural reinvention and how the stylistic proliferation influenced the way various generations would think about the city’s past. The renaissance in a uniform Spanish style not only inspired local beautification efforts but also historic preservation, which ultimately resulted in the creation of the El Pueblo Viejo Landmark District in 1960. Additionally, this narrative critically examines the area’s history prior to the district’s establishment to show how economic profitability guided city planning, beautification, tourism, and preservation toward the ultimate solidification of the town’s Spanish image.
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Rockhill, Paul Hunter. "The Reception Theory of Hans Robert Jauss: Theory and Application." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5153.
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Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.
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Ohm, Andrew Taehang. "Two faces of Manasseh : a comparative reading of 2 Kings 21:1-18 and 2 Chronicles 33:1-20." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources. Online version available for University member only until Dec 1, 2013, 2008. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=25472.
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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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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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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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Osinkina, Lyubov. "The textual history of Ecclesiastes in Church Slavonic." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:105639ae-dbd0-49bb-a7aa-f36bac2ee221.
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So far only a limited number of biblical books in Church Slavonic has been studied and edited, and the book of Ecclesiastes does not feature among these. Ecclesiastes is not a mainstream book such as the Gospels and the Psalter but rather a peripheral biblical text never used in Eastern Orthodox liturgical services. Its late date and small number of witnesses, which also reflect its marginal status, are additional reasons why this particular book has not attracted much scholarly attention in the past. This thesis is intended to contribute to studies in the history of the Church Slavonic Bible by editing the unpublished text of Ecclesiastes including its catenary versions and discussing its textual tradition. Ecclesiastes surfaces as a complete text relatively late: the earliest extant Cyrillic manuscripts are from the 15th century. Such a late date may be an indication that there was no pressing need for translating the non-liturgical book of Ecclesiastes. Two Church Slavonic translations of Ecclesiastes are extant: one, attested in Cyrillic manuscripts, survives in three distinct types: a continuous version of the text (32 manuscripts of the 15th-17th centuries), a fragmentary commentated version (1 manuscript of the 16th century), a fragmentary commentated insertion (8 manuscripts of the 15th-16th centuries). The other translation is a Croatian Church Slavonic version in Glagolitic breviaries (17 manuscripts of the 13th-16th centuries). The structure of the thesis is determined by the nature of the subject, which deals with textual criticism. The chapters are organised into a series of sections which all have headings. This somewhat 'atomistic' approach is necessitated by the fact that we are faced with fragmentary and incomplete evidence of manuscript sources, and therefore only detailed examination and comparison of various manuscripts and versions of the text will enable us to solve, at least in part, the textual history of the book in question. The limitations of the present study are the scarcity of manuscripts and the lateness of the tradition. These, however, are familiar 'obstacles' recognised by Slavists working on similar subjects. The thesis consists of an introduction, which presents a brief historical outline of the Church Slavonic biblical translations, 4 chapters, conclusion, bibliography and 2 appendices: the first of these contains a variorum edition of the continuous text of Ecclesiastes; the second, the parallel texts from continuous, commentated and interpolated versions. Chapter 1 gives a list of all the extant manuscripts of Ecclesiastes with short descriptions including dating (on palaeographical grounds), and investigates the textual relationships between various groups of manuscripts using the classical method of textual criticism and stemmatics. This leads on to a discussion of the type of edition to be used. At the end of the chapter a stemma codicum is constructed. Analysis of the language is carried out in an attempt to date the translation on linguistic grounds. Chapter 2 provides an overview of the Greek and Slavonic catena and explores some of the key issues arising out of the existence of several versions and early fragments of Ecclesiastes. It deals with problems concerning the date and place of the translation of Ecclesiastes. Detailed analysis sheds some light on the textual peculiarities of the three versions: commentated, interpolated and continuous. The complex interrelationship between these three versions is investigated further and a comparison with the earlier extant fragments of the catena is also carried out. Chapter 3 deals with the quotations from Ecclesiastes in early translated texts and in original Old Russian literature. Quotations found in medieval Slavonic texts, both translated and original, appear to be independent of the translation of continuous Ecclesiastes known from manuscripts of around the 15th century. However, the quotations prove that parts of Ecclesiastes were known in some form of exegetical compilations. Chapter 4 investigates the translation of Ecclesiastes in the Croatian Church Slavonic breviary tradition. It examines claims made by scholars in the past and present with regards to its authorship and to the language of the source from which this text was translated. The conclusion is drawn that the text was translated purely from Latin. This conclusion is based on a number of findings: errors of translation, divergences in wording and grammatical forms between the Croat Glagolitic and Cyrillic Church Slavonic texts, and certain syntactical constructions such as periphrastic expressions for the future, which point unambiguously to a Latin original. In addition the date of the translation is placed roughly between the 12th and the 13th centuries. The conclusions summarize the findings of the study: textual analysis of the continuous text of Ecclesiastes indicates that all the extant Cyrillic manuscripts come from a single translation; this translation was made at some time between the 10th century and the beginning of the 15th century. Commmentated and interpolated versions should be treated as redactions deriving from a fuller catena. This fuller catena may have given rise to the continuous text through the removal of the commentary. Alternatively, the orginal plain text may have been added to the newly translated commentary to produce a commentated version. Bearing in mind that it is hard to decide conclusively between these possibilities, the difficulties of reconstructing archetypes of the plain text and the commentary are shown. The investigation of the text in the Croatian tradition demonstrates that the translation in the breviaries was made from Latin, and thereby eliminates the hypothesis that Methodius was the translator of this version. GB is chosen as a base text for the edition in Appendix 1. The main reason for doing so is pragmatic, for it offers as complete a text as is available to us. Besides, the availability of information on the cultural and historical circumstances surrounding the production of GB, in addition to its importance for the history of the East Slavonic biblical tradition makes it more worthwhile. By publishing the text from manuscript Sinodal'nyj 915 (GB) with a critical apparatus, supplying variants from other manuscripts, the editorial 'control' which the compilers of GB exercised while working with the text translated from Greek is illustrated. They appear to have compared their exemplar with another Slavonic witness to fill a lacuna in the middle of the text, and they shortened the interpolation by removing the commentary. It seems that they deliberately left the biblical verses in the interpolation intact. The textual evidence does not support the supposition that the compilers of GB collated their text of Ecclesiastes with any Greek or Latin sources. The choice of GB for the edition constitutes a significant step towards wider research into and eventual publication of the Gennadian Bible, which has received little attention hitherto, despite its significance as the first complete Church Slavonic Bible. In appendix 2 three versions of Ecclesiastes are presented in a tabular form: the continuous version is taken from the manuscript Sinodal'nyj 915 (GB), the commentated version from the manuscript Undol'skij 13, and the interpolated version from the manuscript Pogodinskij 1 with variant readings from the manuscripts of group 1. In the thesis several new findings are presented. These are: the absence of any link between the versions of Ecclesiastes in the Cyrillic and in the Glagolitic manuscripts, and the implausibility of a Methodian origin for the Croatian Church Slavonic text.
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Albert, Laura Naomi. "Oberlin Local Legend." Oberlin College Honors Theses / OhioLINK, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1544625548227102.
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zur, Loye Tobias Percival 1985. "History of a Natural History: Max Ernst's Histoire Naturelle, Frottage, and Surrealist Automatism." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10700.
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x, 144 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.When André Breton released his Manifesto of Surrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection of thirty-four frottages was published under the title Histoire Naturelle. This thesis provides a comprehensive analysis of Histoire Naturelle by situating it in the theoretical context of Surrealist automatism and addresses the means by which Ernst incorporated found objects from the natural world into the semi-automatic production of his frottages. All previous scholarship on the subject is consolidated and critically examined, and the development of frottage is traced from its earliest manifestations to its long-lasting influences.
Committee in Charge: Dr. Sherwin Simmons, Chair; Dr. Joyce Cheng; Dr. Charles Lachman
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Seymour, G. S. "History and aesthetics and in the development of English literary criticism." Thesis, University of Essex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381257.
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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Wylde, Nanette. "A brief history... interactive multimedia art installation: discussion of process, media, content, and response." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384359452.
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周業珍 and Yip-chun Rita Chau. "A study of Zhu Ziqing's (1898-1948) poetry and prose." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212153.
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