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Vissing, Quixada Moore. "I ain't gonna sell my soul: Beat Generation men and women caught between traditional and bohemian notions of intimacy." Thesis, Boston University, 2002. https://hdl.handle.net/2144/27726.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Schwab, Ulrike. "The poetry of the Chartist movement : a literary and historical study /." Dordrecht : Kluwer academic publ, 1993. http://catalogue.bnf.fr/ark:/12148/cb35575211s.
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Griffiths, Joanna Megan. "'A sort of suicide' : Charlotte Mew (1869-1928) and literary fashion." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326630.
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Mattar, Sinead Garrigan. "Primitivism and the writers of the Irish dramatic movement to 1910." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389562.
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Kido, Pamela S. "Becoming local : social movement and literary production in late-twentieth century Hawai'i /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2008. http://uclibs.org/PID/11984.
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Wong, Wang-Chi. "'The left league decade' : left-wing literary movement in Shanghai, 1927-1936." Thesis, SOAS, University of London, 1986. http://eprints.soas.ac.uk/29400/.
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The coup d'etat of Jiang Jieshi in 1927 brought a sudden end to the first united front between the KMT and the CCP. From then on, the Communist Party was driven underground and survived only with great difficulties, until the second united front was formed in 1937. Yet within the same period, we saw the emergence and growth of concerted left-wing activity in the literary arena. The present thesis is an attempt to look into the background, the development as well as the outcome of this movement, with special reference to the Chinese League of Left-wing Writers, an organization formed in 1930 under the direction and control of the CCP. It covers the period known as "The Left League Decade" in modern Chinese literary history. The thesis is in three parts. Part one discusses the pre-League period, the years before the formation of the League. It deals mainly with the revolutionary literary movement in 1927-28, which in fact consisted of a polemic between the ultra-left, the left and the right over the issue of revolutionary literature. The steps taken for the formation of the united front among the left after this heated debate are analyzed. Part two, which comprises four chapters, is on the League itself. The first is a general survey of the formation, membership and structure of the organization. The second and third chapters discuss the achievements of the League in the first half of its existence. The League then began to decline from 1934 onwards. The internal conflicts which finally led to the alienation of its chief leader and the "giant" of modern Chinese literature, Lu Xun, are presented in great detail in the last chapter of part two. Part three traces and gives an account of the dissolution of the organization and the subsequent Two Slogan Polemic in 1936 over the action to be taken in the new political situation. The relationship between the polemic and the developments in politics takes up a considerable portion of the discussion. Before closing the thesis, an epilogue is attached which looks at the Left League and the left wing literary movement of the thirties in their historical context. It also includes a review of their appraisal in the mainland after the establishment of the People's Republic of China in 1949.
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Merrill, Cecily P. "Embodied communication : visually representing movement /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/232.pdf.
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Hultsch, Anne. "Winner, Thomas G. The Czech Avant-Garde Literary Movement Between the World Wars." De Gruyter, 2015. https://tud.qucosa.de/id/qucosa%3A71362.
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Thomas G. Winner (1917 in Prag geboren; ab 1939 in den USA; 2004 in Cambridge, Massachusetts gestorben) zählte zu den wichtigsten Vertretern der Semiotik in Amerika, gründete er doch an der Brown University das erste Semiotik-Zentrum der Vereinigten Staaten (Research Center for Semiotic Studies).1 Sein nicht minder großes, mit zunehmendem Alter noch wachsendes Interesse galt der tschechischen Avantgarde und dem Prager Strukturalismus,2 dem er in vorliegender Arbeit nicht nur auf inhaltlicher Ebene, sondern auch von seinem methodologischen Zugang her verpflichtet ist. Davon legt bereits ein kurzer Blick in die beigegebene Bibliographie (pp. 179–193) beredtes Zeugnis ab, in der neben Karel Teige, „the Breton of Czechoslovakia“ (p. 18), Roman Jakobson – er zählte zu Winners Lehrern, Freunden (p. 9) und seit 1975 auch Untersuchungsgegenständen – und Jan Mukařovský die am prominentesten vertretenen Autoren sind.
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Nehru, Meesha. "A literary culture in common : the movement of talleres literarios in Cuba 1960s-2000s." Thesis, University of Nottingham, 2010. http://eprints.nottingham.ac.uk/11694/.
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Emerging organically in the 1960s and soon incorporated into the revolutionary leadership‟s official drive to democratise culture, the Cuban talleres literarios have expanded over the decades into a significant literary movement based on grassroots participation. In 2009, the municipio-based talleres literarios, open to mass participation, engaged over 40,000 talleristas in creating their own literature, with a smaller number involved in more specialised talleres literarios de vanguardia, including the one based within the Centro de Formación Literaria Onelio Jorge Cardoso, a national institution for young writers of narrative fiction. This thesis analyses this unique and under-researched cultural movement by placing it within its historical context and using the notion of Cuban cultural citizenship in order to assess its impact. It contends that the talleres literarios in Cuba, by acting as literary public spheres, have provided a broad range of people with the opportunity to gain and enact cultural citizenship, thus endowing the movement with a political and social significance which has largely been ignored by academic literature. The shared experience of the talleres literarios has formed Cuban cultural citizens who not only are invested in some of the core values of the revolutionary process, but who also have the tools and space with which to participate actively in the construction of meanings. In this way, Cuban cultural citizens formed within the talleres literarios benefit individually through gaining a sense of belonging to, and empowerment in, the literary world, whilst also contributing to the evolution of cubanía revolucionaria and the ongoing negotiation of revolutionary hegemony. The thesis follows the recent work on Cuban culture which rejects the liberal assumptions that the cultural and political spheres should not mix and that civil society and the state are two distinct and oppositional entities. Instead, it uses the conceptual framework of cultural citizenship, which is based on the theoretical premise that culture and politics are inseparable, in order to approach critically the talleres literarios as sites for cultural participation. It offers a detailed history of the movement, from its origins to the present day, as well as an evaluation of the shared experience of talleristas based on the voices of participants from different periods and levels of the movement. By focussing on an outcome of cultural democratisation, the thesis poses a challenge to conventional accounts of revolutionary cultural policy and literature. It argues that cultural policy should be viewed as a productive as well as regulatory force, because the talleres literarios have been instrumental in creating a broad and inclusive literary culture which emphasises dialogic communication and active, public participation. The cultural citizenship attainable in the talleres literarios has provided the initial phase in the literary education of many established writers, fostered personal relationships between them, and facilitated the circulation of diverse ideas. Finally, the notion of cultural citizenship also adds a further dimension to the already broad field of research on participation and political culture. This case study of the talleres literarios follows the approach to participation that views it not in terms of top-down control or achievement of consensus but as a process by which shared meanings are both reinforced and new ones created as society and state interact within institutional frameworks.
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Trouten, E. R. Green Richard. "A select bibliography of primary and secondary literary data on the founder of Methodism, John Wesley." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.
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Thiam, Cheikh Ahmadou Bamba. "A philosophy at the crossroads the shifting concept of negritude in Leopold Sedar Senghor's oeuvre /." Diss., Online access via UMI:, 2007.
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Roberts, Rosalie. "Crafting Radical Fictions: Late-Nineteenth Century American Literary Regionalism and Arts and Crafts Ideals." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19668.
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This dissertation demonstrates that Sarah Orne Jewett’s The Country of the Pointed Firs (1896), Mary Hunter Austin’s The Land of Little Rain (1906), Kate Chopin’s The Awakening (1899), and Mary Wilkins Freemans The Portion of Labor (1903) exemplify the radical politics and aesthetics that late nineteenth-century literary regionalism shares with the Arts and Crafts Movement. Despite considerable feminist critical accomplishments, scholarship on regionalism has yet to relate its rural folkways, feminine aesthetics, and anti-urban stance to similar ideals in the Arts and Crafts Movement. Jewett, Austin, Chopin, and Freeman all depict the challenges of the regional woman artist in order to oppose the uniformity and conventionality of urban modernity. They were not alone in engaging these concerns: they shared these interests with period feminists, sexual radicals, and advocates of the Arts and Crafts Movement like John Ruskin and William Morris, all of whom deeply questioned industrial capitalism and modernization.
Jewett, Austin, Chopin, and Freeman envisioned women’s Arts and Crafts communities that appealed to readers through narratives that detailed the potential uniqueness of homemade decorative arts and other aspects of women’s material culture. For Arts and Crafts advocates and regionalists, handcrafted goods made using local folk methods and natural materials fulfilled what they saw as the aesthetic requirements for artistic self-definition: The Country of the Pointed Firs and The Land of Little Rain embrace the destabilizing effect queer and feminist characters have on a presumably heterosexual domestic environment, and they formally resist the narrative structures of industrial modernity, emphasizing the Arts and Crafts ideal union between woman artist, natural environment, and communal bonds. The Awakening and The Portion of Labor expose the suffocating impact of industrial capitalism and sexism on women artists who strive for connection with their local environments and communities and cannot achieve their creative goals. I prove that all four texts do more than simply interpret regionalism through the Arts and Crafts Movement as a means to launch their critiques of industrial modernity, they transform the meaning of regionalist Arts and Crafts aesthetics and politics in late nineteenth-century American literature.
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Painter, Ainsley. "From caramel factory to charity ward : aspects of women's fiction in the Japanese proletarian literary movement /." Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arp148.pdf.
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McArthur, Charles Marshall. ""Taiwanese literature" after the nativist movement : construction of a literary identity apart from a Chinese model /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Pilnik, Shay A. "A literary movement for the vanished world of Lithuanian Jewry : the work of the Yiddish writer Chaim Grade." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98573.
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This thesis offers new perspectives on the Yiddish poet and novelist Chaim Grade, examining his reflections on the world of historic Lithuanian Jewry from the outset of his career through his post-Holocaust novels. Chapter one explores the gap between the historical reality of interwar Vilna and its literary representation in his novel Di agune and questions the widely accepted view of this work as a credible historical source.Chapter two deals with Grade's depiction of his experience as a student in a Novaredok Musar yeshiva, contrasting the depiction of this yeshiva in the poem Musernikes (1938) and the novel Tsemakh atlas (1967). The writer's shift from a fierce condemnation of the Novaredok Yeshiva to a more moderate and affectionate view as a post-Holocaust writer is explained as the older Grade's attempt to reconcile his art and identity as a modern Jew with the religious world he had forsaken.
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Durão, Gustavo de Andrade. "A construção da negritude = a formação da identidade do intelectual através da experiência de Léopold Sédar Senghor (1920-1945)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279300.
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Orientador: Robert Wayne Andrew SlenesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-18T03:47:10Z (GMT). No. of bitstreams: 1 Durao_GustavodeAndrade_M.pdf: 1012006 bytes, checksum: b54e80dc86e928419564dd9588ba5334 (MD5) Previous issue date: 2011
Resumo: Este trabalho propõe-se analisar a trajetória do escritor senegalês Léopold Sédar Senghor (1906-2001) no que tange à criação e participação ativa no movimento artístico e literário conhecido como Negritude. As movimentações literárias dos escritores norte-americanos e a valorização das formas de arte associadas ao negro-africano serão fundamentais para a formação dos alicerces teóricos da Negritude. A escolha da obra de Senghor "Liberté I: Négritude et Humanisme? contém interpretações importantes do seu pensamento na defesa e divulgação dos valores dos povos negro-africanos. Através desta obra se pretende compreender melhor o que foi o movimento da Negritude e o que ele representou para os escritores negros perante a realidade colonial francesa. Diante disso, este trabalho propõe um recorte temático temporal que vai de 1920 até 1945, quando Senghor e os próprios criadores da Negritude direcionam o conceito e a noção de negritude como sendo algo que vai legitimar a luta política em oposição ao colonialismo francês
Resumé: L'objectif de ce travail est d'analyser la trajectoire de l'écrivain sénégalais Léopold Sédar Senghor (1906-2001) en ce qui concerne sa création et engagement au mouvement artistique et littéraire connu sous le nom de Négritude. La prise de conscience des écrivains nord-américains et la valorisation de toutes les formes d'art liées au noir-africain seront mise en étude comme la base théorique de la Négritude. L'oeuvre de Senghor "Liberté I: Négritude et Humanisme? montre des interprétations importantes de sa pensée en défense et diffusion des valeurs des peuples Noirs africains. A partir de cette oeuvre, on cherche à mieux comprendre le mouvement de la Négritude et son importance par rapport aux écrivains noirs du contexte colonial français. Ainsi, ce travail propose un extrait thématique de 1920 jusqu'à 1945, quand Senghor et les créateurs de la Négritude mènent le concept et la notion de négritude vers la légitimation de la lutte politique en opposition au colonialisme français
Abstract: This study proposes to examine the trajectory of the Senegalese writer Leopold Sedar Senghor (1906-200 I) regarding the establishment and active participation in artistic and literary movement known as Blackness. The awareness of North-American writers and appreciation of art forms associated with black African will be related to the theoretical foundations of Blackness. The choice of the masterpiece of Senghor 'Liberti 1: Negritude et Humanisme' contains important interpretations of his thought in upholding and disseminating the values of the Black African people. Through this work is intended to better understand what was the Blackness movement and what he represented for black writers before the French colonial reality. Thus, this paper proposes a temporal thematic focus that goes from 1920 until1945, when Senghor and the creators themselves drive the concept of Blackness and the notion of blackness as something that will legitimize the political struggle in opposition to French colonialism
Mestrado
Historia Social
Mestre em História
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Tribble, Keith Owen. "European symbolist theater : conventions and innovations /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6647.
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Kramer, Nicholas Michael. "Writing from the riverbank Juan José Saer and the nouveau roman /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1779835511&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Weinstein, David Nathan Swope. "Literary rhetoric in the environmental movement toward the advocacy of the 2009 Proposal of a Passenger Railway in Colorado /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457044396/viewonline.
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Nadler, Elizabeth. "Le roman symboliste : une logique de la distinction." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66264.
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Zu-Bolton, Amber E. "All Trails Lead to Sterling: How Sterling Brown Fathered the Field of Black Literary and Cultural Studies, 1936-1969." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2711.
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Poet and professor Sterling A. Brown (1901-1989) played a significant role in the birth of black literary and cultural studies through his literary and academic careers. Brown helped to establish a new wave of black cultural and folklore studies during his time as the “Director of Negro Affairs” for the Federal Writers’ Project. As a professor at Howard University, Brown influenced black literary studies through his literary criticisms and seminars and his role as a mentor to literary figures of the next generations. Through letters to and from Sterling Brown and manuscripts, this thesis argues that Brown’s poetry, publications and folk studies in the nineteen twenties and thirties where the groundwork for his most prolific role of teacher-mentor.
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Macklovitch, David Nathaniel. "Modalités de lecture du nouveau roman." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79791.
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In this thesis, we examine theories of reading as they apply to three examples of the French New Novel. We begin with a detailed theoretical expose in which we compare and attempt to reconcile the reading models of Umberto Eco, Wolfgang Iser, Stanley Fish, Bertrand Gervais and Richard Saint-Gelais. The hybrid theory thus obtained is then tested on three works in order to underscore the modalities of reading that are particular to the New Novel, while insisting on these modalities' inherent variability. We focus on the reader's reconstructing of the narrative in L'Emploi du temps , on the impossibility of structuring the plot in La Maison de rendez-vous, and on the paradigmatic mode of reading La Bataille de Pharsale. In so doing, we hope to demonstrate how an analysis of the reading process allows for a heightened appreciation of the essential indeterminacy of the New Novel, of its fundamental otherness. We conclude with tentative remarks on the heuristic function of these texts.
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Nicolas, Candice. "Cataclysmes poétiques du poète maudit aux poètes déchéants. Rimbaud, Cocteau, Vian /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149017377.
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Brown, Barbara Ann. "The indissoluble bond between her and me : the symbolist poetics of Zinaida Nikolaevna Gippius and Collete Laure Lucienne Peignot /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061934.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 236-241). Also available for download via the World Wide Web; free to University of Oregon users.
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Guthrie, Neale D. "The impact of technological change on military manpower in the 21st century." Thesis, Monterey, California : Naval Postgraduate School, 1990. http://handle.dtic.mil/100.2/ADA232472.
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Thesis (M.S. in Management)--Naval Postgraduate School, June 1990.Thesis Advisor(s): Thomas, George W. Second Reader: Steiner, Kenneth W. "June 1990." Description based on title screen as viewed on March 24, 2010. DTIC Identifier(s): Military Personnel, Manpower, Theses, Military Manpower, Technology, Technological Change, Futurism, 21st Century. Author(s) subject terms: Technology, Technological Change, Future, Military Manpower. Includes bibliographical references (p. 96-110). Also available in print.
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Mercurio, Jeremiah Romano. "Fantasy as a mode in British and Irish literary decadence, 1885–1925." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1964.
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This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts.
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Saito, Midori. "Reading Jean Rhys in the context of Caribbean literature : re-positioning her texts in the Negritude movement and the Caribbean literary renaissance in London." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4804/.
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This thesis locates Jean Rhys’ texts specifically within the context of Negritude and the Caribbean literary Renaissance in London. The thesis reads the texts within the context of Caribbean literature and challenges the trend in Rhys’ criticism that segregates her from black Caribbean writers. Positioning Rhys in relation to both her Caribbean male and female contemporaries, I argue for the contexualising of her fiction in the body of Caribbean literature. I also seek to unveil links between Rhys and black Caribbean women writers through a shared critique of gender and I offer a contrapuntal reading of Rhys’ texts as Caribbean literature. Beginning with a consideration of Rhys’ texts in relation to both European modernists’ and surrealists’ texts, I emphasise her different perspective on the cultural ‘other’. I see this difference as crucial when examining her relationship with Caribbean modernism, notably with the Negritude movement. Rhys’ texts are contrasted to works of specific Negritude writers, notably Claude McKay and Aimé Césaire, who were both deeply influenced by modernist aesthetics. Rhys’ texts are compared to those of Negritude women writers such as Suzanne Lacascade and Mayotte Capécia, especially in relation to their shared challenge to patriarchy and resisting the notion of essentialist racial categories. A similar comparison is made in the context of the Caribbean Literary Renaissance specifically in relation to the BBC’s Caribbean Voices and the Caribbean Artists Movement (CAM) in London. Rhys’ ambivalence towards national identity as well as to Western feminism is compared to Una Marson’s radical feminism, analysed in view of Sylvia Wynter’s theoretical insights. Finally Wide Sargasso Sea is mapped against Rhys’ contemporary Caribbean male writers’ rewriting of The Tempest, demonstrating that Rhys’ rewriting of Jane Eyre is an articulation of Caribbean feminism.
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Pittock, Murray. "Decadence and the English tradition." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:6fa01d5c-e900-4ee8-9fb6-a8c3645e0bdd.
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The thesis sets out to do two things. It seeks first of all to describe the revival of interest in the Caroline era which defines the nature of an "English Tradition" in the Eighteen Nineties. Secondly, in doing so it seeks to reappraise three significant poets of that era, Ernest Dowson, Lionel Johnson, and Francis Thompson, in terms of their participation in this revival. The first chapter, "Craving Viaticum", deals with the general background of the Eighteen Nineties period. It suggests that the Symbolist movement equates with the Decadent one in a more direct way than has often been allowed, and deals with the era's enthusiasm for nostalgia and past ages as part of its reaction against current society. It also explores the period's allegiance to hero-figures. The second chapter, "The French Connection: Pater's Part", deals with Walter Pater, and evaluates him in terms of his art and criticism, suggesting how these develop from a nostalgic desire to re-create past ages in the image of his present ideals. The more exaggerated claims made by critics of his work for the influence of French writers on him are questioned, and Pater's relation to the "English Tradition" is discussed. In the third chapter, "The French Connection: Other Approaches", the tendentiousness of those critics who attempt to define the entire Decadent era in Britain in terms of French influences is discussed and exposed. The fourth chapter, "New Births of Decadence: The English Tradition and the Seventeenth Century", deals with the relation of the literature of the period to the Caroline era in detail, and the fifth chapter, "Of Academic Interest", is concerned with analysing this relationship through discussion of both contemporary and present-day critics, adducing statistical evidence to prove a resurgence of interest in the writers of the Caroline era in the period 1880-1910. The sixth chapter, "By the Statue of King Charles: The Jacobite Revival" deals with the political and religious aspects of the Caroline revival, and charts the growth of neo-Jacobitism in the Eighteen Nineties and its relation to literary history. The seventh chapter, "Against Nature: Defining Decadence", suggests that the root of Decadent thinking is myth, and that the counterpart of Symbolism in the world of decadent nostalgia was the iconic religious and political culture of the court of King Charles I, a convenient archetype for Decadent myths of ritual, aristocracy, and martyrdom. This discussion closes the first part of the thesis. "Francis Thompson, Faithful Decadent: Catholics and Criticism" is Chapter Eight. It discusses Francis Thompson in relation to his critics, and the manner in which views of his work have been polarised between two main schools of criticism. Chapter Nine, "Faithful in my Fashion", suggests a resolution of this historically polarised critical discussion by assessing Thompson's poetry in close relationship with the work of the seventeenth-century sacred poets. The tenth chapter, "Waif of Romance: The Poetry of Ernest Christopher Dowson", assesses Dowson in relation to Herrick and the Cavalier lyrists, discussing also how he stands as a type in relation to his age. The eleventh chapter, "Lionel Johnson: One of Those Who Fall: His Life and Ideas", is concerned with the crisis in Johnson's thought over the natures of guilt and beauty, and how this is illustrated in his poetry. The twelfth and final chapter, "The Life and Work of Lionel Johnson: A Long Blast Upon the Horn: His Work and Themes", assesses Johnson's nostalgia for the Stuart era in terms of a resolution of his present poetic crisis through past values. His intellectual and intertextual relationships with Ben Jonson and Marvell are also discussed. The thesis closes with an assessment of Johnson's achievement based on his allegiance to the Caroline revival with which the argument throughout has been concerned.
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Ferres, González Juan Pedro. "El problema de la unidad en la obra de Juan José Saer." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/108285.
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En la presente tesis se procura demostrar cómo la unidad de la obra literaria de Juan José Saer solo puede ser entendida como una tendencia, una aproximación hacia uno de los polos del conflicto trágico en que consiste la escritura. De un extremo se encuentra la posibilidad de ser de la escritura que pasa por la constitución de un conjunto ordenado, por la organización estructurada de los componentes narrativos, por la formación de un cosmos provisorio; del otro extremo, se halla la posibilidad de no ser de la escritura, es decir, la apariencia de lo escrito como un conjunto anárquico, desarticulado, caótico, cuyos componentes no alcanzan a cuajar en una totalidad aglutinante. Para demostrar el carácter trágico de la escritura se trata de descender al nivel de los componentes, de indagar en la semilla o en el primordio de la escritura para explicar el origen de esa tensión problemática. Con este propósito, estudiamos las distintas categorías de la narración y su ordenación en tres unidades: unidad de tiempo, unidad de lugar y unidad de objeto (que sustituye y comprende a la de personaje).
En los apartados dedicados a las dos primeras categorías, se postula que para que la narración pueda gestarse deben darse dos condicionantes de tipo mágico: la recuperación de un tiempo y de unos lugares originales con los que poder restituir el pasado y materializar el recuerdo. La unidad narrativa del conjunto depende de ello. Sin embargo, el retorno es doloroso y difícil dada la cualidad traumática del recuerdo para el narrador. El conflicto que desencadena afecta también a la escritura que materializa un mundo imaginario con vacilaciones. Así, en la revelación o la epifanía del lugar natal, del espacio familiar a la conciencia, gracias a una serie de operaciones simbólicas, se nos presenta el lugar como un espacio materno, asolado, desértico y atroz, un lugar arrasado que es como el negativo de la imagen que se esperaba encontrar. Por ello, en cierto sentido, la epifanía del lugar coincide con su desaparición y la tentativa de reencuentro con las raíces o con las primicias, el movimiento de regresión del individuo o, también, el viaje de vuelta desde el exilio, termina en un descubrimiento decepcionante para el narrador que en lugar de la tierra que se prometía constata el vacío afectivo o el lugar vacío de los orígenes. El movimiento de regreso (en el tiempo, en el espacio) que coincide con el desarrollo de la narración se perfila entonces como una vuelta completa, como un enorme rodeo que desbarata cualquier ilusión de progreso, lo que en el plano narrativo equivale a constatar al término del relato la nada originaria desde la que parte toda narración, como si nada hubiera sucedido.
El resultado de este rodeo es que las categorías temporales y espaciales terminan por descubrir su futilidad. Se niega la progresión de la intriga y se anula el componente épico de la novela. Por una parte, la circularidad de los acontecimientos se opone al trascurso del tiempo narrativo y cuestiona la misma categoría temporal; por otra parte, el constante regreso al lugar único del recuerdo, que en realidad nunca se ha abandonado, hace irrisoria la misma idea del desplazamiento: el movimiento es una superchería, un autoengaño que termina por ser revelado. Para una sabiduría contraria a la épica, el viaje deja de ser significativo. No tiene valor. Y, así, las categorías espaciales y temporales son cuestionadas, relativizadas y finalmente negadas.
El objeto narrativo es la tercera categoría sometida a estudio. Su importancia en la obra de Saer tiene que ver con la influencia del Nouveau Roman, pero trasciende el estrecho coto del movimiento francés para marcar un camino personal que lo supera en complejidad. Se trata de la categoría reina en una novela en que las descripciones empantanan la narración, la acción y la trama, y en que los personajes son absorbidos por un entorno cosista. De modo paralelo a los apartados referentes a las unidades espaciales y temporales, se estudia la unidad de objeto, esto es: cómo se estructura, ordena y asienta el objeto en la narración, cómo pasa a formar parte de un conjunto ordenado de cosas, de un sistema totalizador.
El estudio de la categoría de objeto en la obra de Saer, viene precedido de un epígrafe en el que se historia la noción de objeto en las novelas, poemas y ensayos de algunos autores que le influyeron decisivamente. Se aportan referencias sobre Robbe-Grillet, Roland Barthes, Francis Ponge y también otras sobre el surrealismo y las novelas de la existencia en las que el objeto empieza a cobrar importancia, desplazando a la categoría de personaje. Los textos ensayísticos de Viktor Shklovski, Theodor Adorno y Roland Barthes sirven de apoyo en la investigación. Los distintos análisis de las narraciones demuestran, siguiendo a Shklovski, que un objeto resulta más visible y novedoso cuanto más extraño es respecto al conjunto en el que se halla insertado. Por el contrario, la falta de visibilidad del objeto, su particularismo, su novedad y su alcance artístico se apagan cuanto más homogéneo resulta el conjunto narrativo del que forma parte. Con esta hipótesis de alcances generales se explican en Saer aspectos aparentemente heterogéneos. Por ejemplo, la postura crítica que mantiene contra los medios de comunicación masiva, que sustituyen el objeto así como su particularismo diferenciador por un simulacro, lo transforman en imagen o en medio de comunicación masiva. Por ejemplo, también, su distancia crítica, análoga de la de Robbe-Grillet, hacia el uso del simbolismo y hacia la profundidad metafísica del objeto, porque el símbolo traiciona lo característico del objeto para convertirlo en un universal o en la cifra del mundo entero. El objeto, entonces, encuentra alterada su naturaleza cuando es transformado en una imagen o en un cliché por los medios de comunicación masiva, o bien, en un símbolo, por ciertas prácticas narrativas. Son dos casos de los cuatro contemplados pero bastan para formular la paradoja que esconden. Si el objeto desaparece cuando aspira a la totalidad (por distintos cauces, mediante el símbolo, el cliché, la imagen, el prototipo, etc.) porque pierde el particularismo que lo diferencia del resto de objetos, la unidad de objeto es un imposible o, al menos, una búsqueda continua del límite en el que pueda coexistir la integridad del objeto con su integración en un conjunto narrativo.
Se deduce de lo anterior la reproducción de un mismo conflicto en el seno de las tres categorías. La imagen de plenitud a la que se aspira con las tres unidades (tiempo, lugar, objeto) coincide con su negación. La unidad de tiempo que supone el reconocimiento de una repetición invariable o de una rutina cíclica de los acontecimientos, lleva consigo la postulación imposible de una ‘acronía’ de lo narrado. La unidad de lugar entendida como la proyección de un lugar arcádico o arquetípico, que es la esencia o la idea platónica de todos los lugares, se descubre como un ‘no lugar’ o una utopía de imposible alcance. Y la unidad de objeto, en fin, la inserción del mismo en un conjunto ordenado y sistemático, significa su desaparición o la ocultación de la singularidad que lo caracteriza. Tal componente de negatividad es constitutivo de la escritura de Saer, y queda así expuesto en tres fases o en tres negaciones sucesivas.This doctoral thesis aims to demonstrate how the unity of the literary work of Juan José Saer can only be understood as an approach to each of the poles of the tragic conflict that involves writing. On one side, there is the chance to consolidate the narrative components in a structured organization, to assemble them in a whole. On the other side, there is the appearance of the work as a chaotic and inarticulate set of narrative components. To demonstrate the tragic nature of writing, we analyze the different categories of narrative and their planning into three units (that recalls the classical unities): unity of time, unity of place and what we call ‘unity of object’. The formation of each unity repeats the same conflict. The image of wholeness to which aspires with the three unities (time, place, object) coincides with its denial. Firstly, the unity of time is a recognition, a repetition of the same or a routine of cyclical events. That repetition (or ‘acronia’) involves the futility of the category of time. Secondly, the unity of place is understood in the works as a projection of an archetypical place, an Arcady, that is discovered at the same time as a ‘non-place’ or an impossible ‘Utopia’. And, lastly, the unity of objects involves the inclusion of each object in a general view or in a panorama that neglects his peculiarities or his uniqueness and brings, as a consequence, his disappearance. Therefore, the three unities that organize the narrative of Saer are at the same time three denials and his literary work finds profound meaning as an art of litotes.
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Winterwood, Fawn Christine Phelps. "Literacy, identity, and digital youth culture understanding the cultural ecology of informal digital literacy practices /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1212410327.
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Varela, Olea M. Ángeles. "Galdós regeneracionista /." Madrid : Fund. Univ. Española, 2001. http://www.gbv.de/dms/sub-hamburg/348721897.pdf.
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O'Neil, Jennifer L. "Synthesizing Beckett and the Nouveau Roman : toward a better understanding /." [Rohnert Park, Calif.], 2003. http://hdl.handle.net/10211.1/121.
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Capelle, Bailey A. "Contextualizing Chester Himes's Trajectory of Violence Within the Harlem Detective Cycle." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1430813651.
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Coppin, Valentine. "Paul Adam. L'écrivain, la littérature, le genre." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H066.
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Ce travail porte sur l’œuvre et le parcours littéraire d’un auteur français de l’époque symboliste : Paul Adam (1862-1920).Originaire du nord de la France, Paul Adam s’installe à Paris pour tenter la carrière de romancier, suivant en cela la trajectoire de nombreux écrivains de la fin-de-siècle. Les différentes stratégies qu’il adopte pour se faire une place dans le monde des lettres dévoilent la constitution du champ littéraire, qui gagne en autonomie tout au long du XIXe siècle. En particulier, elles illustrent le parcours typique d’un jeune romancier de l’avant-garde symboliste, et témoignent de la volonté des auteurs de doter l’activité littéraire d’une autorité nouvelle qui lui soit propre. Les outils de la sociologie de la littérature, mobilisés pour décrire cette trajectoire, introduisent et enrichissent l’étude de l’œuvre en articulant celle-ci avec ses conditions de production et de réception.L’analyse littéraire proprement dite a montré que le choix de la forme romanesque chez Paul Adam est indissociable d’une conception du monde héritée des doctrines de la Cabale, selon laquelle l’univers serait divisé en pôles féminin et masculin. Le genre, au sens de représentation sociale de sexe, a servi de prisme d’analyse à la production romanesque de l’auteur et, pour cela, a dialogué tout au long de ce travail avec le genre littéraire. L’inscription de Paul Adam dans les enjeux sociaux et politiques de son siècle l’a amené à repenser les identités de genre de ses personnages et à questionner les rapports de pouvoir en résultant.Néanmoins, l’imbrication étroite et constante entre l’imaginaire masculin de la fin-de-siècle, les doctrines cabalistiques et les changements politiques du temps, aboutissent à des contradictions nombreuses dans le traitement du genre. Les revirements importants de l’écriture de l’auteur et de ses engagements politiques montrent que la forme littéraire est foncièrement liée à sa conception particulière et mouvante des représentations de genre.Finalement, l’évolution d’une pensée riche et complexe, qui s’est exprimée dans une œuvre littéraire extrêmement prolifique et variée, trouve l’un de ses points de résolution dans la volonté de distinction qui a animé l’auteur au cours de sa carrièreThis thesis analyzes the literary work and career of a French symbolist novelist : Paul Adam (1862-1920).Born in the North of France, Paul Adam goes to Paris like many other writers of the “fin-de-siècle” in order to begin a writing career. The different strategies he adopts to become a leading author reveal the organization of the literary field becoming at that time more and more autonomous from the political power. These strategies convey the typical message of the young symbolist novelists and express the authors’ will to give literature a new kind of authority. The tools of the sociology of literature, used to describe this path, introduce and throw light on the study of the literary work by articulating it with its production and reception conditions.The literary analysis shows that in Paul Adam’s work, the novelistic form is an integral part of an idea of the world inherited from kabbalistic doctrines which assert that the universe is divided into two distinct poles : masculine and feminine. Gender, meaning social representations of sex, is the basis for the analysis of the author's novels, and, in this purpose, is closely linked with literary genre. Paul Adam’s involvement in political and social issues of his time lead him to wonder about the gender identities of his characters, and the relationships with the power resulting of them.However, the constant and close link between the masculine imaginary of the “fin-de-siècle”,the kabbalistic doctrines and the political changes lead to many contradictions in gender representations in the novels.The considerable changes of mind in Paul Adam’s writings and political commitments show that the literary form is inextricably linked to his particular and changing view of gender representations.Finally, the evolution of this rich and complex thought expressed in an extremely prolific and varied literary work, can be explained by the desire of recognition that Paul Adam nourished throughout his career
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Nascimento, Érica Peçanha do. "\'Literatura marginal\': os escritores da periferia entram em cena." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-03092007-133929/.
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Este trabalho busca analisar a apropriação recente da expressão \"literatura marginal\" por escritores oriundos da periferia, tomando como ponto de partida o conjunto de autores que publicaram nas três edições especiais Caros Amigos/ Literatura Marginal, nos anos de 2001, 2002 e 2004. A pista deixada por essas publicações era que, mais do que o perfil sociológico dos participantes ou um determinado tipo de literatura, a junção das categorias literatura e marginalidade por tais escritores encobria uma atuação cultural específica, que está relacionada a um conjunto de experiências e elaborações compartilhadas sobre marginalidade e periferia, assim como a um vínculo estabelecido entre criação literária e realidade social. Por isso, além de apresentar empiricamente essa nova geração de escritores marginais, esta pesquisa visou articular a formação interna do grupo e seu significado mais geral, buscando demonstrar como um conjunto de idéias e vivências compartilhadas possibilitou que moradores da periferia, tradicionalmente excluídos como sujeitos do processo simbólico, pudessem entrar em cena para produzir sua própria imagem, dando origem a uma intensa movimentação cultural em bairros da periferia paulistana.This work intends to analyze the recent appropriation of the expression \"marginal literature\" for deriving writers of the periphery, being taken as starting point the set of authors who had published in three special editions of Caros Amigos/ Literatura Marginal, in the years of 2001, 2002 and 2004. The hint left for these publications was that, more than the sociological profile of the participants or a stricted kind of literature, the junction of the categories literature and marginality for such writers hid a cultural specific performance, which is linked to a set of experiences and elaborations shared on marginality and periphery, as well as a link established between literary creation and social reality. Therefore, besides empirically to present this new generation of writers delinquents, this research aimed at to articulate the internal formation of the group and its meaning more general, searching to demonstrate as a set of ideas and shared experiences made possible that living of the periphery, traditionally excluded as citizens of the symbolic process, they could enter in scene to produce its own image, giving origin to an intense cultural movement in paulistana neighbourhoods of periphery.
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Prungnaud, Joëlle. "Gothique et décadence recherches sur la continuité d'un mythe et d'un genre au XIXe siècle en Grande-Bretagne et en France /." Paris : H. Champion, 1997. http://catalog.hathitrust.org/api/volumes/oclc/37815430.html.
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Oliveira, Lineker Henrique de 1987. "Por uma experimentação indisciplinar do artista da cena." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284618.
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Orientador: Matteo Bonfitto JúniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Pensar a experimentação como um caminho possível ao desenvolvimento técnico-poético do artista da cena e à criação. Pensar uma prática corporal e vocal integrada, sob o prisma da corporeidade. Pensar a criação artística sob um olhar inter, trans e indisciplinar. Essas são algumas questões que norteiam este estudo, que se propõe como um material a ser apropriado e experimentado por artistas da cena que buscam ampliar as fronteiras de seus saberes e fazeres. A pesquisa apresenta a sistematização de alguns exercícios que têm por objetivos experimentar e reconhecer algumas possibilidades da conexão entre corpo e voz, voz e movimento, considerando ainda os aspectos sensíveis e pulsionais presentes na criação artística. Apoiando-se ainda em outras práticas artísticas, essa sistematização foi integrada ao processo de criação do espetáculo "Depois", que teve a participação de atrizes, bailarinas e cantoras, alunas e ex-alunas do Instituto de Artes da UNICAMP, integrantes do "NUA ¿ Coletivo Artístico Indisciplinar
Abstract: The abstract is available with the full electronic document
Mestrado
Artes da Cena
Mestre em Artes da Cena
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Costa, Bianca Alves. "A poesia e o lugar: movimentos literários como possibilidades de democratização do espaço urbano." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/12298.
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Previous issue date: 2011-06-09Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research includes two literary events that occur at the periphery of the South Zone of São Paulo: Sarau of Binho and Sarau Cooperifa. Our main objective to investigate whether such events contribute to the democratization on urban space segregated for local development through the appropriation and reinterpretation of the place held by the participants. For this purpose, we survey data about the socioeconomic conditions of the places examined, as well as field research, with questionnaires, collection of testimonies and interviews. Since the systematization of the results, we investigate the hypotheses. Among the results, we conclude that such events contributed to some changes in the meaning attributed to place, as well as for expanding the cultural repertoire of the participants, and their consequent mobilization in pursuit of improvements in the neighborhoods where they live. With regard to the democratization of urban space, we find that the events contributed to a portion of respondents had access to cultural facilities located in their neighborhoods and the centrality of the city, and also contributed to the creation of spaces of intersection between the resident populations in the central city and periphery
Esta pesquisa contempla dois eventos literários que ocorrem na periferia da Zona Sul da cidade de São Paulo: O Sarau do Binho e o Sarau Cooperifa. Nosso principal objetivo foi investigar se tais eventos contribuem para a democratização do espaço urbano segregado e para o desenvolvimento local, a partir da apropriação e ressignificação do lugar realizada pelos participantes. Para tanto, fizemos levantamentos de dados acerca das condições socioeconômicas dos lugares analisados, bem como pesquisa de campo, com a aplicação de questionários, coleta de depoimentos e entrevistas. A partir da sistematização dos resultados obtidos, pudemos investigar as hipóteses levantadas. Dentre os resultados obtidos, concluímos que tais eventos contribuíram para algumas mudanças no significado atribuído ao lugar, bem como para a ampliação do repertório cultural dos participantes, e para sua consequente mobilização em busca de melhorias nos bairros onde residem. No que se refere à democratização do espaço urbano, constatamos que os eventos contribuíram para que uma parcela dos entrevistados tivesse acesso a equipamentos culturais localizados em seus bairros e na centralidade da cidade, e contribuíram, também, para a criação de espaços de intersecção entre as populações residentes na centralidade da cidade e na periferia
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He, Zheng. "A revived life in a reviving culture: the Chinese reception of Byron in the short story magazine in 1924." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2890.
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Brogniez, Laurence. "Préraphaélisme et symbolisme: discours critique et création littéraire en France et en Belgique (1880-1900)." Doctoral thesis, Universite Libre de Bruxelles, 1998. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211998.
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Papalas, Mary Laura. "A Changing of the Guard: The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211977685.
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Luppe, Kathy S. "The Effects of Movement on Literacy." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2104.
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The purpose of this study was to extend the knowledge of the relationship between movement and cognition by examining the impact of a sensory-motor program on the literacy skills of first grade learners from one elementary school in East Tennessee.
Literacy skills were evaluated using five subtests of the Dynamic Indicators of Basic Early Literacy Skills (DIBELS) assessment.
A 2 x 2 x 2 mixed factorial MANOVA was used to analyze group, gender, and test time effects on multiple dependent variables. The analysis yielded a statistically significant result (p < .05) in gains for the movement group and a significant interaction between gender and group. Post hoc analysis indicated that participation in a movement program appeared to negatively impact males and positively impact females.
Replication of this study with a longer duration is strongly recommended to substantiate these findings.
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Facun-Granadozo, Ruth. "Enhancing Literacy Through Music and Movement." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/4336.
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Teodoro, Lourdes. "Modernisme brésilien et négritude antillaise : Mário de Andrade et Aimé Césaire /." Paris ; Montréal (Québec) : l'Harmattan, 1999. http://catalogue.bnf.fr/ark:/12148/cb376738958.
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Paulini, Marcelo Mott Peccioli. "A constelação Proust-Visconti." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270294.
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Orientador: Maria Betânia AmorosoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: No final dos anos 60 e início dos 70, o cineasta italiano Luchino Visconti preparava-se para realizar o seu mais ambicioso projeto: a adaptação cinematográfica de À la Recherche Du Temps Perdu, de Marcel Proust. Escreveu, com sua parceira de muitos trabalhos, Suso Cecchi D'Amico, o roteiro; os intérpretes foram escolhidos, as locações definidas. Por motivos vários, o filme não foi rodado. Desde jovem Visconti fora um leitor atento e fiel de Proust. Tal conhecimento e intimidade com o universo do escritor francês deixou marcas profundas no imaginário do cineasta italiano. Um dos criadores do neorrealismo, na década de 40, orientado então por uma visão marxista, Visconti começa, notadamente a partir de O Leopardo (1963), a filmar sob uma nova perspectiva, centrada em temas ligados à decadência de uma classe - a aristocracia - representada por uma família ou uma personagem nos seus momentos de agonia. A crítica acusou-o de decadente, a que ele respondeu assumindo sua concepção de decadência, reafirmando-a e intensificando-a até seu último filme, O Inocente, em 1976. A influência proustiana, assimilada ao longo dos anos, ficou mais evidente a partir da adaptação do romance de Lampedusa. Deleuze afirmou que Visconti era o cineasta do Tempo, e propôs elementos convergentes entre sua obra e a Recherche de Proust. Um desses elementos responde pela constatação de que a revelação e a consciência do que as personagens poderiam e deveriam ter feito de suas vidas, para dar um sentido a elas, chega sempre tarde demais, quando não há mais tempo para recuperar o que ficou perdido. Importante também são as reflexões sobre o estilo tardio, formuladas e ilustradas por Edward Said. Um estilo fruto de desilusão, desencantamento e impossibilidade de reconciliação e harmonia com a vida, principalmente quando ela chega ao fim. Proust, Visconti, Lampedusa, Thomas Mann, entre inúmeros outros, compõem uma constelação cujo desenho e relações pretendi mostrar nesse trabalho
Abstract: In the late 1960's and early 1970's, Italian movie director Luchino Visconti was preparing to carry out his most ambitious project: the film adaptation of Marcel Proust's À la Recherche du Temps Perdu. He co-wrote the screenplay with longtime partner Suso Cecchi D'Amico; the actors were chosen, the locations defined. Visconti had been an attentive and loyal reader of Proust from an early age. Such knowledge and familiarity with the French author's universe had left a deep mark in the Italian filmmaker's imaginary. One of the creators of neo-realism in the 1940s, and guided by a Marxist view, Visconti begins, notably with The Leopard (1963), to film from a new perspective, centering on themes related to the decadence of a social class - the aristocracy - represented by a family or a character in their moments of agony. The critics called him decadent, to which he responded by assuming his conception of decadence, to be reaffirmed and intensified until his very last film, The Innocent (1976). The influence of Proust, assimilated throughout the years, became more evident as from his adaptation of Lampedusa's novel. Deleuze affirmed that Visconti was the director of Time, and pointed out converging elements between his films and Proust's Recherche. One of those elements corresponds to the realization that the revelation and the awareness of what the characters might or should have done with their lives, so as to give them meaning, always comes too late, when there is no time left to recover what has been lost. Central are also his reflections on late style, as formulated and illustrated by Edward Said - a style that stems from disillusionment, disenchantment and the impossibility of reconciliation and harmony with life, mainly when it comes to an end. Proust, Visconti, Lampedusa, Thomas Mann, among many others, form a constellation whose design and relations this work aims at demonstrating
Doutorado
Literatura e Outras Produções Culturais
Doutor em Teoria e História Literária
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Biscaro, Roberto Rillo. "O choque dos mundos ou uma leitura materialista da peça \'And things that go bump in the night\', de Terrence McNally." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09112007-140328/.
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Este trabalho é um estudo da peça And Things that Go Bump in the Night, escrita pelo norte-americano Terrence McNally na primeira metade da década de sessenta. À luz do materialismo cultural, estabeleço as relações entre a forma e o tema da obra com as condições de possibilidade históricas existentes na época de sua escrita. A conclusão geral a que chega este trabalho é a de que o choque de coisas aludido no título é o choque entre um estágio do modo de produção capitalista que chegava ao fim e outro que se iniciava então. Em nível mais específico, demonstro que na peça de McNally já podemos detectar os rumos que os movimentos sociais tomaram - mormente o Movimento Gay - a partir da década de sessenta, como conseqüência da própria necessidade de expansão do capital.This is a study of the play And Things that Go Bump in the Night, by American playwright Terrence McNally, written in the first half of the 1960\'s. Using cultural materialism as my theoretical basis, I try to establish the connection between forms and themes found in the play to the historical conditions by the time the play was written. My conclusion is that the \"bump\" alluded to in the title of the play is the result of the turmoil produced by the shift from a stage of capitalism to a new stage of this mode of production. More specifically, I will show that in McNally\'s work one can already detect the directions followed by the social movements of the 1960\'s - especially the Gay Movement - as a consequence of the very need for the expansion of capital.
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Bogoiavlenskaia, Anna. "Suggestioni dantesche nel sistema poetico, teologico e politico di Vladimir Soloviov." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33875.
Full textAbstract:
The main scope of this study consists in analyzing how the poetic and ideologic universe of Dante is implanted and transformed in the Russian culture of the late XIXth---early XXth century. Particular emphasis is made on the role of Dante's heritage in the philosophy and poetry of the first Russian philosopher and symbolist poet---Vladimir Soloviov, as well as on the further impact of dantesche images on some major representatives of the Russian Symbolist movement.This analysis will be done through a demonstration of major point of interference between Soloviov and Dante: these can be examples of direct influence (as is the case with Theocracy) of appearance of the same archetypes (as is the case with Sofiology and theory of love).
Despite the clear and definite presence of dantesque motifs in Soloviov's heritage, no systematic analysis of the parallels between the two has been made up to date.
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Moga, Eduardo. "La poesía de Basilio Fernández: El esplendor y la amargura." Doctoral thesis, Universitat de Barcelona, 2011. http://hdl.handle.net/10803/109215.
Full textAbstract:
El trabajo analiza la obra poética de Basilio Fernández, un autor creacionista, discípulo de Gerardo Diego, que, tras publicar algunos poemas en revistas de vanguardia de los años 20 y 30 en España e Italia, se sume, hasta su muerte, en un ejercicio secreto de la poesía. Basilio Fernández aunó el vanguardismo de su juventud y el existencialismo de su madurez, y alumbró una poesía en la que la metáfora, la aliteración y la fantasía se conciertan para expresar su dolor por haber renunciado a su destino –a su condición de escritor– y, por ende, a los ideales de juventud: la libertad, el amor y la literatura.
La tesis incorpora una biografía del poeta, cuya principal fuente de información son los trabajos publicados por su sobrino Emiliano Fernández. Atiende, en particular, a los hechos de su juventud y primera madurez, hasta principios de los años 40, esenciales para configurar su fibra moral, su sensibilidad estética y su proyecto literario, como su relación con Gerardo Diego, profesor suyo en el Instituto Jovellanos de Gijón, y con Luis Álvarez Piñer, compañero de estudios y alumno, asimismo, de Diego.
La tesis fija, asimismo, el corpus poético de Basilio Fernández, integrado por unos 140 poemas. Ni las dos ediciones de su poesía completa, de 1991 y 1992, ni las dos antologías de su obra, de 2007 y 2009, incluyen todos los poemas que escribió, algunos de los cuales permanecen inéditos en el archivo personal de Gerardo Diego.
La tesis analiza la obra de Basilio Fernández, creacionista, existencial, órfica y biográfica. En tanto que poesía creacionista, esgrime el poder alumbrador de la metáfora y de la imaginación errabunda. La libertad asociativa del surrealismo, que le acompañará indeclinablemente, es objeto de un examen pormenorizado.
El carácter existencial de su obra, de inspiración barroca y romántica, pero exacerbado por el nihilismo contemporáneo, se refleja en la evocación del pasado, la preocupación por el paso del tiempo, el canto a lo perdido, el tedio de los días y el sinsentido de la vida, plasmados en algunos motivos recurrentes: el ubi sunt, el agua estancada, el río que pasa, y la caída, desdoblada, a su vez, en la hoja seca y la torre inclinada. El sentido existencial se proyecta también en la sociedad, que el poeta considera corrompida y fútil. Frente a los oprobios de la vida, sus únicos consuelos son el amor y Dios, aunque el primero es solo un recuerdo que se diluye en el caminar inexorable hacia la muerte. Únicamente el amor a Dios le ofrece la esperanza de una existencia sin sufrimiento.
La poesía de Basilio Fernández es órfica, porque cree en la naturaleza vivificadora de la palabra y canaliza el descenso a los infiernos de su intimidad, que revela su insatisfacción y su dolor.
Finalmente, es también biográfica, por cuanto los hechos y decisiones de la vida del poeta determinan el tono y el propósito de su obra, y porque sus circunstancias personales se transparentan en un amplio abanico de símbolos, analogías y opciones léxicas.
El trabajo analiza el aparato simbólico, los mecanismos constructivos, los recursos estilísticos –anáfora, similicadencia, paradoja, aliteración, personificación y metáfora– y el cuerpo de pensamiento que integran la poesía de Basilio Fernández. También, algunas claves de su formación, visibles en el recurso a la métrica y la en intertextualidad. Se presta una atención singular a todos aquellos motivos o expresiones que den cuenta del conflicto existencial, y se subraya su dimensión vitalista, que opone al sentido de la declinación y la muerte una palabra sensorial y luminosa, una permanente celebración de la materia.ABSTRACT OF THE DOCTORAL THESIS "BASILIO FERNÁNDEZ’S POETRY: SPLENDOR AND BITTERNESS", BY EDUARDO MOGA The thesis analyzes Basilio Fernández’s poetic work. As a disciple of Gerardo Diego, he was a creationist author, who, after publishing several poems in avantgarde magazines in the 1920’s and early 30’s in Spain and Italy, went into silence for the rest of his life, although he never quitted writing poetry, secretly. Basilio Fernández combined the avantgarde spirit of his youth and the existentialism of his adulthood, and brought about a poetry in which metaphor, alliteration and fantasy joined in order to express his pain for having given up his destiny –becoming a writer– and, hence, having forsaken his purest ideals and wishes: freedom, love and literature. The thesis includes a biography of the poet, which focuses on his youth, until the early 1940’s, which is essential to understand his moral attitudes, his aesthetic sensitivity and his literary project: mainly, his relationship with Gerardo Diego, who was his teacher and mentor in Gijón, and with Luis Álvarez Piñer, his classmate and friend, and also a Diego’s disciple. The thesis also determines Basilio Fernández’s poetic corpus, with around 140 poems, some of which have never been published yet. Basilio Fernández’s poetry is creationist, existential, orphic and biographic. He believes in the creative power of image. The freedom of association, inspired by surrealism, has a significant presence in it. As a existentialist writer, he is overwhelmed by the passage of time, the memory of the past, the lost world of his youth and the spleen of his current life. Some motives reflect all these concerns: the ubi sunt, the stagnant waters, the flowing river and the notion of falling –i. e., the dry leaf and the leaning tower. Human society is also corrupt. His only reliefs are love and God, although love is just a vanishing memory. God alone offers hope and consolation. Basilio Fernández’s work is orphic, since it believes in the power of language to bring what is dead back to life and to carry out a true descensus ad inferos, which reveals the poet’s unsatisfaction and suffering. It is also biographic, for the facts of the poet’s life determine the substance and purpose of his poetry.
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Ortéga, Julien. "Libérer l'écriture : le projet de la Beat Generation." Thesis, Perpignan, 2018. http://www.theses.fr/2018PERP0020/document.
Full textAbstract:
La littérature américaine est en mouvement constant. Elle cherche des pistes, des issues et des histoires évoquant ou transgressant la réalité. Depuis l’arrivée des premiers colons, l’influence des auteurs européens ne s’est jamais démentie sur les futurs natifs d’une terre en pleine expansion. Progressivement voué à l’exploration et à la découverte de l’intériorité de l’homme, l’auteur décrit les multiples évolutions métamorphosant la terre et les consciences. S’affranchir des lieux communs afin de s’approcher au plus près du mythe ultime – à savoir le « Grand Roman américain » – est une manière pour les écrivains du Nouveau Monde d’entrer dans la légende en s’appropriant le langage. Grâce à Jack London et la Beat Generation, écrire est synonyme de témoignage, la langue étant perpétuellement à réinventer. Libérer l’écriture de ses entraves est bien plus qu’un simple projet, c’est en quelque sorte un moyen d’émanciper la page. Du voyage clandestin dans les wagons de marchandises à la glorification du verbe neuf, la route tient toute ses promessesAmerican literature is a constant flux. It is looking for new paths, exits and stories evoking or transgressing reality. Since the arrival of the first settlers, the influence of European authors on the future natives of this always-expanding country has never waned. As he progressively devoted himself to the discovery and exploration of the interiority of Man, the author has described the multiple evolutions which transformed both the land and the minds. Freeing oneself from commonplace ideas in order to get closer to the ultimate myth – that is, the “Great American Novel” – is a way for the writers of the New World to go down in history by taking full ownership of the language itself. Thanks to Jack London and the Beat Generation, writing has become a byword for testimony, as the language has continuously been reinvented. Freeing writing from its shackles is much more than a simple project, it is a way to liberate the novel. From illegal trips in freight cars to the glorification of a new Word, the road has kept all its promises
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Colvin, Randall A. "Alexander Campbell and the Power of Education." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707277/.
Full textAbstract:
This educational biography is a study of Alexander Campbell's (1788-1866) educational activities and educational thinking. These activities included the following: his creation of Buffalo Seminary; advocacy for common schools at the Virginia State Constitutional Convention of 1829-1830; participation in the Western Literary Institute and College of Professional Teachers of Cincinnati, Ohio (an organization for educators); speeches on education and common schools; founding Bethany College in present-day Bethany, West Virginia; and his discussion of educational issues in his journal, the Millennial Harbinger. The study explores how Campbell's unique early-life affected his future educational life. His early-life included intensive study under his highly educated father, home-training in Christian piety, and studying for a time at the University of Glasgow. The study focuses especially upon Campbell's involvement in the College of Teachers, his founding of Bethany College, and his major educational ideas. Some of Campbell's major educational emphases include: the need for public education; human knowledge as a national resource; moral education; lifelong learning; female education; student interest; a broad and holistic conception of education; a focus on early childhood education; utilitarian education; and the power of education. This study concludes that the overarching theme of education as power pervades Campbell's educational thinking.