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Rowan, Jamin Creed. "Urban sympathy : reconstructing an American literary tradition." Thesis, Boston College, 2008. http://hdl.handle.net/2345/353.
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Thesis advisor: Carlo RotellaAddressing a gathering of social scientists at Boston’s Lowell Institute in 1870, Frederic Law Olmsted worried that the "restraining and confining conditions" of the American city compelled its inhabitants to "walk circumspectly, watchfully, jealously" and to "look closely upon others without sympathy." Olmsted was telling his audience what many had already been saying, and would continue to say, about urban life: sympathy was hard to come by in the city. The urban intellectuals that I examine in this study view with greater optimism the affective possibilities of the city’s social landscape. Rather than describe the city as a place that necessarily precludes or interferes with the sympathetic process, late-nineteenth- and twentieth-century urban intellectuals such as Stephen Crane, Jane Addams, W. E. B. Du Bois, Joseph Mitchell, A. J. Liebling and Jane Jacobs attempt to redefine the nature of that process. Their descriptions of urban relationships reconfigure the affective patterns that lay at the heart of a sentimental culture of sympathy—patterns that had remained, in many ways, deeply connected to those described by Adam Smith and other eighteenth-century moral philosophers. This study traces the development of what I call "urban sympathy" by demonstrating how observers of city life translate received literary and nonliterary idioms into cultural forms that capture the everyday emotions and obligations arising in the city’s small-scale contact zones—its streets, sidewalks, front stoops, theaters, cafes and corner stores. Urban Sympathy calls attention to the ways in which urban intellectuals with different religious, racial, economic, scientific and professional commitments urbanize the social project of a nineteenth-century sentimental culture. Rather than view the sympathetic exchange as dependent upon access to another’s private feelings, these writers describe an affective process that deals in publicly traded emotions. Where many see the act of identification as sympathy’s inevitable product, these observers of city life tend to characterize an awareness and preservation of differences as urban sympathy’s outcome. While scholars traditionally criticize the sympathetic process for ignoring the larger social structures in which its participants are entangled, several of these writers cultivate a sympathetic style that attempts to account for individuals and the larger social, economic and political forces that shape them
Thesis (PhD) — Boston College, 2008
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Cater, Amanda Jane. "Theocritus and the reversal of literary tradition." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25362.
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My purpose is to demonstrate Theocritus' treatment of traditional literary genres. I show the specialized character of the bucolic genre by concentrating on the combination of epic, tragic and bucolic elements in selected poems of Theocritus. My concern is the portrayal of characters and character-types from myth and literary tradition and how the traditional literary portrayal has been changed. My discussion of Theocritus' poetic technique is divided into two parts. The first section deals with Theocritus' method of "reducing" or down-grading figures who have previously been presented and accepted as heroes. This section is introduced by a brief survey of the changing attitudes towards heroes in Greek literature from Homer to Theocritus. This is followed by a discussion of four poems which illustrate Theocritus' inversion of the standard portrait. This treatment ranges from a humorous recasting of the status of Polyphemos (Idyll 11) and Herakles (Idylls 13 and 24) to a critical portrayal of the Dioscuri (Idyll 22). The second part deals with the technique operating in reverse. In this section, I show how Theocritus juxtaposes epic themes with 'low-life' scenes and how the characters involved are consequently upgraded or 'elevated1. The four poems I select endow their insignificant protagonists with heroic amplitude. In Idyl 1 1, epic and tragic elements are infused into the portrayal of Daphnis the cowherd. Simaetha in Idyll 2 envisages herself as a Medea in a context of bourgeois reality. The mythological material in Idyll 3 achieves humour from the disparity of the goatherd's rustic simplicicy and his awareness of mythological precedents. Idyll 7 expands the anti-heroic material of the Odyssey and describes a goatherd with a difference. In my conclusion I demonstrate the coherence of Theocritus' treatment of epic and dramatic narrative with his programmatic statements. The passages referred to are the epilogue of Idyll 22 (212-23), the characters cited in Idyll 16 (36-57), Simichidas' speech in Idyll 7 (45-48) and the description of the herdman's cup in Idyll 1. (29-61). In the light of this, I link Theocritus' poetic method to his attitude to the function of literature and its relation to society.Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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Gress, Priti Chitnis. "Tar Baby and the Black Feminist Literary Tradition." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626111.
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Adams, Dana W. (Dana Wills). "Female Inheritors of Hawthorne's New England Literary Tradition." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.
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Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.
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Mournet, Terence C. "Oral tradition and literary dependency : variability and stability in the synoptic tradition and Q." Thesis, Durham University, 2003. http://etheses.dur.ac.uk/3688/.
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Despite the almost universal recognition that the Jesus tradition was, from its very beginning, oral tradition, scholars have continued to approach the question of Synoptic interrelationships from a strictly literary perspective. This study is an attempt to take seriously the Sitz im Leben within which the Synoptic Gospels were written, and to examine the possible role that oral tradition might have in determining, not only the scope of a Q text, but the way in which we envision the development of the Synoptic tradition. Previous attempts to take seriously the role of oral tradition in the formation of the Synoptic Gospels are examined, exposing the need for a much more careful analysis of the relationship between oral communication and written texts. Following such an analysis, it is suggested that solutions to the Synoptic Problem which do not take into serious account the possible influence of oral tradition in the process of Gospel composition must be deemed less than adequate. Seeking a way forward in the debate, we determined that a more thoroughly thought-through model of how oral communication functions is needed. It is proposed that the genre of folklore, while not replacing traditional literary designations, provides us with another interpretive framework through which we may gain new insight into the development of the Synoptic tradition. The folkloristic characteristics of variability and stability are discussed, followed by the presentation of recent work suggesting that these characteristics are prevalent in the Synoptic tradition. We suggest that recent studies on Q and the Synoptic Problem have not given adequate attention to the internal variability present within double tradition pericopes. A methodology is developed which will allow us to examine how the internal variability within selected double tradition pericopes might, to some extent, reflect the process of tradition transmission which preceded the tradition’s inclusion in a Gospel text. A selection of double tradition pericopes are examined, and the model of tradition transmission proposed by K. E. Bailey and J. D. G. Dunn is evaluated. The study concludes that there is a sufficient convergence of evidence to suggest that such a model is feasible for at least portions of the double tradition.
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Albu-Mohammed, Raheem Rashid Mnayit. "Making the past : the concepts of literary history and literary tradition in the works of Thomas Gray." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3362.
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This study explores Thomas Gray’s concepts of literary history, tradition, and the past. It proffers critical examinations of Gray’s literary and historical thoughts, illustrating the extent of the complexity of the mid‐century cultural and intellectual climate in which Gray and his contemporaries were writing. It shows the aesthetic, cultural, and political dimensions of canonicity in the course of examining the ideological motivation behind Gray’s literary history. Though much of Gray’s poetry is private and written for a narrow literary circle, his literary history seems engaged with issues of public concerns. Gray’s literary history must not be understood as a mere objective scholarly study, but as an ideological narrative invented to promote specific national and cultural agendas. Though Gray’s plan for his History of English Poetry was inspired directly by Pope’s scheme of writing a history of English poetry, Gray’s historiography represents a challenge to Pope’s most fundamental “neo‐classical” premises of canonicity in that it aligns English literary poetry back to the literary tradition of ancient Britain and resituates the English literary canon in an entirely different theoretical framework. Gray reworked Pope’s historical scheme to suits the need of the political and intellectual agendas of his own time: the national need for a distinctive cultural identity, which was promoted by and led to the emergence of a more national and less partisan atmosphere. Gray’s comprehensive project of literary history charts the birth and development of what he views as an English “high‐cultural” tradition, whose origins he attributes to the classical and Celtic antiquity. In Gray’s view, this tradition reaches its peak with the rise of Elizabethan literary culture; a culture which was later challenged by the “French” model which dominated British literary culture from the Restoration to Gray’s time. Gray’s literary history is to be examined in this study in relation to the concept of canonformation. Gray’s historiographical study of literary culture of ancient Britain, his historicization of Chaucerian and medieval texts, his celebration of Elizabethan literary culture, and his polemical attack on “neo‐classical” literary ideals intend to relocate the process of canon‐formation within a “pure” source of national literary heritage, something which provides cultural momentum for the emergence of a historiography and an aesthetics promoting Gray’s idea of the continuity of tradition. As is the case in his poetry, the concept of cultural continuity is also central to Gray’s literary history, and permeates through his periodization, historicism, criticism, and his concept of the transformation of tradition.
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Oliphant, Charles Jamyang. "Extracting the essence : 'bcud len' in the Tibetan literary tradition." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:72121806-b3f5-4e87-8a9a-02b8b24ad12d.
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The Tibetan practice of bcud len, or 'extracting the essence', has been for long a neglected aspect of Tibetan medical and spiritual knowledge with scattered evidence and little certainty regarding its origins or the extent of its effective presence, either in the past or at currently. In this study, seventy-three texts have been identified and tabulated. Of these, sixty-seven have been summarised and commented on, and five of these, each representative of one type of the practice, have been translated in full. All but a handful of these texts have not been translated previously. The research findings suggest that, whatever its influences from Indian, Chinese or other medical cultures, bcud len soon evolved into a distinctively Tibetan method of life enhancement, with teachings that emphasise both spiritual and medical aims and the use of indigenous Tibetan remedies, accompanied in some cases by particular rituals. The content of the texts indicates that the term bcud len can be applied legitimately to practices involving ritually empowered pills and elixirs which are ingested, respiratory and yogic exercises, dietary restrictions and rituals involving mantra recitation, visualisation and yab yum union with a consort, in that all these are considered to be means of obtaining 'the essence'. The teachings offer extensive material for those interested in the evolution and contemporary practice of Tibetan medicine, especially its botanical aspects, and for historians of ritual. In particular, the texts provide ample evidence of the lineage tradition in Tibetan religious culture, citing examples of transmissions through gter ma, whereby teachings are preserved in secret to be recovered at a future date by a gter ton or treasure revealer. The final section contains conversations with Tibetan doctors, lamas and contemporary practitioners of bcud len in Asia and the West that complement recent ethnographic studies in the field testifying to the continuing vitality of the tradition.
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Stamps, Dennis Lee. "A literary-rhetorical reading of the opening and closing of 1 Corinthians." Thesis, Durham University, 1994. http://etheses.dur.ac.uk/960/.
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Bozeman, Terry Sinclair. "The Good Cut: The Barbershop in the African American Literary Tradition." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/49.
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Few African American males do not have at least one memory of a barbershop. The barbershop is a space that finds a home in virtually every community in which you find Black males. To some degree, virtually all genres and periods of African American literary expression have situated the barbershop as a mediating space in the formulation of a Black masculine identity. The barbershop as mediating space allows Black males the opportunity to view themselves and also critique the ways in which they are gazed upon by the literary imagination. African American authors, through the use of the barbershop, bring to the center the construction of this space in Black masculinity identity formation. ¬ Although a common presence in African American literature, the barbershop has not received any serious, i.e. book length examinations in literary analysis. I argue that the historical portrayal of the barbershop as mediating space problematizes the intersections of ancestor, culture, history, memory and literary imagination to reveal the intricate relationship between Black males and the space. I seek to address the gap in coverage of the literary treatment of the African American barbershop as mediating structure in the formulation of a black masculine identity. My research will show that we cannot fully understand the literary formation of Black masculine identity unless we attend to the barbershop as a formative mediating space.
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Bozeman, Terry. "The good cut the barbershop in the African American literary tradition /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04242007-132217/.
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Thesis (Ph. D.)--Georgia State University, 2007.Title from file title page. Thomas McHaney, committee chair; Carolyn Denard, Mary Zeigler, committee members. Electronic text (192 p.) : digital, PDF file. Description based on contents viewed Nov. 5, 2007. Includes bibliographical references (p. 180-192).
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Atanassova, Rossitza I. "Doctrine, polemic and literary tradition in some hexameter poems of Prudentius." Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:f74b5c1a-7b1d-42ae-afe7-bebd9aa7caf7.
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The thesis, the topic of which is restricted to the polemical didactic poems, Apotheosis, Hamartigenia and Contra Symmachum 1-2, aims to establish the attitudes of Prudentius to the literary tradition and argues for his relationship with the Latin classical poets. Its main argument is that the hexameter poems as a group can be profitably studied from a stylistic angle, since they show how Prudentius combined, and used with innovation, the styles of several poets, namely Lucretius, Virgil and Juvenal, and in many cases engaged with the literary tradition as a whole. Chapter I surveys, as reflected in the poems, Prudentius' awareness of the political, religious and literary milieu in the Christian Empire of the West in his day. Chapter II examines how Prudentius employed the style of argument and imagery in the D.R.N. to present Christian doctrines on the body and the soul, and to reject pagan superstition. Chapter III shows how with much imagination and respect Prudentius adapted Virgil's phraseology and techniques to give new Christian interpretations of some mythical and historical themes in the Aen., such as the 'Golden Age' and the battle of Actium, and of topics on agriculture from the Georg. Chapter IV argues that, like other fourth century Christian writers, the poet entered into the spirit of Satire and alluded to Juvenal's themes and language in his treatment of the topics of sin and sexuality. Finally, in Chapter V Prudentius' adaptations of the biblical accounts in Gen. 19 and of Ps. 136 are used to demonstrate how allegory, which is a main feature of his poetry, was combined successfully with different classical techniques. In conclusion, the hexameter poems demonstrate that Prudentius did not reject classical poetry on the basis of its content, but used both its themes and poetic techniques in order to merge the ancient with the Christian literary tradition.
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Esther, Ana. "The uniqueness of Mary Shelley's Frankenstein in the gothic literary tradition." reponame:Repositório Institucional da UFSC, 1993. https://repositorio.ufsc.br/xmlui/handle/123456789/157797.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e ExpressãoMade available in DSpace on 2016-01-08T18:11:08Z (GMT). No. of bitstreams: 1 93096.pdf: 2551839 bytes, checksum: 9d2d6281051816234ba33c54cd28bd76 (MD5) Previous issue date: 1993
A literatura gótica inglesa, cujo florescer abrangeu as últimas décadas do Século XVIII até a primeira metade do Século XIX, é geralmente alvo de um evidente menosprezo embora a grande aceitação por parte do público leitor da época. Provavelmente, algumas das razões para tal preconceito estejam relacionadas com as características um tanto quanto formulísticas do gênero bem como com os exageros ali contidos. Estes fatores, entre outros, talvez tenham ocasionado o descaso do público moderno para com a maioria das traduções góticas. Porém, o romance Frankenstein: ou o Moderno Prometeu (1818) da escritora inglesa Mary Shelley parece ter desafiado todo e qualquer preconceito quanto ao seu gênero literário e não apenas sobrevive ainda mas é, inclusive, considerado por muitos atualmente como um mito moderno. A longevidade desta obra sui generis poderia ter sido investigada sob vários ângulos diferentes e decidiu-se examiná-la sob a perspectiva do fato de Frankenstein pertencer ao gênero gótico. Para tanto fez-se imperativa a leitura de outras obras representantes do goticismo como forma de possibilitar uma análise contrastiva que pudesse apresentar as razões para a singularidade de Frankenstein dentro da literatura gótica. Em seguida realiza-se uma análise contrastiva entre Frankenstein e esses romances.
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Driscoll, Sean Donovan. "Linguistic Correctness in the Cratylus: From the Literary Tradition to Philosophy." Thesis, Boston College, 2020. http://hdl.handle.net/2345/bc-ir:108838.
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Thesis advisor: John SallisToday, professional philosophy is dominated by the assumption that literary language is either merely ornamental or that it even detracts from the purposes of philosophical discourse. Ancient philosophers, however, did not share this assumption. Thinkers like Heraclitus, Parmenides, Empedocles, and Plato all recognized that their manner of expression contributes to the philosophical purposes of a text in a way that does not merely confirm or illustrate what is said. This is why Plato couches his account of linguistic correctness (his only sustained treatment of linguistic meaning) in a thoroughly poetic dialogue—the Cratylus. Many scholars have recognized Plato’s debt to the literary tradition by trying to identify the provenance of his literary practices (such as etymologizing) in the Cratylus. And on the other hand, many have developed sophisticated interpretations of the dialogue’s arguments. However, no research adequately represents the expressly philosophical contribution made by Plato’s appropriation of the literary tradition in the Cratylus. My dissertation engages Plato’s appropriation of the literary tradition by looking at both his adoption of literary concepts and his enactment of literary practice. It does so with a focus on two philosophical questions that are fundamental to the Cratylus and yet have been neglected in the scholarship: (1) what exactly does Plato mean by “correctness,” and (2) why does he have Socrates demonstrate this correctness by etymologizing? The first chapter tackles the first of these questions by replacing the nearly universal understanding of “correctness,” as a correspondence between the semantic content of a name with a true description of the name’s referent, with an understanding based on the concept’s provenance in the literary tradition, a broader appropriateness of language to what is spoken about that I call “resonance.” Each subsequent chapter address a key instance where the standard understanding of correctness (and of etymology’s role in exhibiting correctness) is inadequate—and where an understanding of correctness as resonance makes more sense. The second chapter demonstrates that Cratylus makes positive philosophical contributions to an understanding of correctness as resonance through his own stylized use of language. Therein, I argue that Plato uses Cratylus’ style to express the idea that language’s correctness increases as it is made increasingly conspicuous in its insufficiency, thus precluding closure or reification of what is what is spoken about. The third chapter demonstrates that a crucial argument early in the dialogue is analogical in the strongest sense—that a correct understanding of the argument requires an understanding of the correctness (as resonance) of the argument’s analogues. Like Chapter 2, this demonstrates how language can be made meaningful, paradoxically, through a sort of destructive manipulation. The fourth chapter shows how the standard understanding of correctness cannot be true of Socrates’ paradigm instance of correctness, the Homeric god-given names, and how these names are more correct because they require us to seek their varied and unapparent resonances. And the final chapter shows how the entire dialogue is unified by a brief and previously overlooked allusion to a scene in the Iliad. This recognition provides the interpretive key to understanding the philosophical contributions made by the dramatic structure of the dialogue. Hence, this dissertation provides a renewed understanding of the dialogue’s central concern, correctness, and its central practice, etymologizing. Its interpretation is interesting for what it says about the relation of meaning to such diverse things as phonetics, context, language’s mode of expression, etc. And by demonstrating how this sophisticated account of meaning results from attention to Plato’s appropriation of his predecessors, my dissertation contributes to the growing scholarship that recognizes the philosophical import of Plato’s “literary” engagement
Thesis (PhD) — Boston College, 2020
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy
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Neufeldt, Bradley. "Cultural confusions, oral/literary narrative negotiations in Tracks and Ravensong." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22548.pdf.
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Muller, Adam Patrick Dooley. "The importance of being elsewhere : modernist expatriation and the American literary tradition." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35022.
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My dissertation concentrates on Americans writing at home and abroad in the inter-war period and contextualizes their expatriation with reference to debates between modernist critics over the nature and substance of the American literary tradition. I clarify the definitions of terms like "exile," "emigrant," and "expatriate" central to my analysis but muddied by years of misuse. I do so with reference to coercion, a concept which I develop in accordance with recent work in the philosophy of action. At the same time I make the case for a realist, causalist hermeneutics. Next I explore the aesthetic corollary to my argument with reference to the fiction, autobiography, and literary criticism of Gertrude Stein. I argue that Stein's decision to leave America must be viewed as uncoerced, and as therefore indicative of her emigration to France. Viewed as an emigrant, and not as an exile or expatriate, Stein can be shown to manifest tendencies in her work (towards subjectivity, abstraction, and retrospection) which reflect her dissociation from, rather than ongoing connection to, America. Lastly, I look closely at the work of Van Wyck Brooks and Harold Stearns, two modernist literary and culture critics whose writings on expatriation demonstrably influenced generations of subsequent biographers and intellectual historians. Steams and Brooks can be counted among the most articulate and vociferous proponents of literary change in America, and can be situated at the poles of a vigorous debate within the literary community of their day over whether American letters were better served from within or without the United States. I contrast Brooks' civic humanism with Steams' rugged individualism and identify in the debate over expatriation a powerful analogue to ongoing debates in literary and cultural critical circles referred to as "the culture wars."
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Muller, Adam Patrick Dooley. "The importance of being elsewhere, modernist expatriation and the American literary tradition." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/NQ44525.pdf.
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Chacón, Gloria E. "Contemporary Maya writers : Kabawil and the making of a millenarian literary tradition /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2006. http://uclibs.org/PID/11984.
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Fay, Sarah. "The American tradition of the literary interview, 1840-1956 : a cultural history." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1596.
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"The American Tradition of the Literary Interview 1840 - 1956: A Cultural History" is the first study to document the development of the literary interview in the United States. A handful of critics have discussed the literary interview and traced it back to various European cultural traditions; however, I argue that, like the interview, which the British journalist William Stead wrote "was a distinctly American invention," the literary interview was a particularly American form. Drawing on archival research and new readings of primary sources, this project examines the literary interview's systemic growth and formal characteristics between 1842 and 1956. I trace connections among the American press, culture, and literary marketplace to offer an as-yet unwritten history of the literary interview. During Charles Dickens's 1842 North American tour, the first literary interviews were published in written-up, or paragraph form and resembled written snapshots or sketches. As a result of the cult of domesticity and the popular scandals of the mid-to-late nineteenth century, the literary interview developed into a slightly longer and more narrative form that focused on an author's surroundings and living quarters. With the rise of yellow journalism and muckraking reporting during the first decades of the twentieth century, the literary interview became a more investigative and intrusive form; yet at the same time, the first in-depth, literary conversations with American authors were published. During the interwar period, the second wave of "girl reporters" and lady interviews transformed the written-up literary interview into a more nuanced form that exhibited rhetorical and literary flourishes. With the development of the New Yorker profile and the Paris Review interview in the mid-twentieth century, the literary interview branched off into two distinct modes: the profile and the author Q & A. This history of the literary interview offers a model of reading mass media communications in terms of both content and form. In doing so, this project chges the critical frameworks that dismiss the literary interview as ancillary to literature and articulate the importance of interviews, communication, and conversation in American culture.
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Kokkinidi, Evangelia. "The Modern Greek literary tradition in the major novels of Nikos Kazantzakis." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/the-modern-greek-literary-tradition-in-the-major-novels-of-nikos-kazantzakis(0abb6a70-ff32-4e79-b28c-3c9ce6d74a2a).html.
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This doctoral thesis presents a comprehensive analysis of the novels of Kazantzakis‟ maturity in relation to Modern Greek literature. The extent of Kazantzakis‟ reading is explored as well as the views that he expressed in letters, essays and interviews on texts from the epic of Γηγελήο Αθξίηεο up to works of the Generation of the Thirties. When Kazantzakis wrote his major novels, he had a wide knowledge of the Modern Greek literary tradition and contemporary literature. The fruits of his engagement with Modern Greek literature are found in his own literary production. The novels that are studied are Βίνο θαη Πνιηηεία ηνπ Αιέμε Ενξκπά, Ο Υξηζηόο Ξαλαζηαπξώλεηαη, Ο Καπεηάλ Μηράιεο (Διεπηεξία ή Θάλαηνο) and Ο Σειεπηαίνο Πεηξαζκόο. The analysis detects the intertextual markers and illustrates the methods that are employed linking the novels‟ characters, themes, settings and stories with previous Modern Greek texts. A wide range of literary works is evoked or organically incorporated into the plot of the novels: folk poetry of the Akritic cycle, Cretan folk songs, the literature of the Cretan Renaissance, the poetry of Solomos, Palamas and Sikelianos, the ethographic novellas and short stories of Kondylakis and Vizyinos, fiction by Myrivilis, Prevelakis and Kosmas Politis. Kazantzakis‟ novels hold a pivotal place in the history of Modern Greek literature and, as this thesis proposes, it is also the Modern Greek literary tradition that constitutes an essential component of his fiction.
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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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Ramirez, Rojas Marco. "León de Greiff y la tradición literaria." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/23811.
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Dans ma thèse “León de Greiff y la tradición literaria” je fais une étude du concept de « Tradition » dans l’œuvre poétique de l’un des plus importants écrivains colombiens du XXème siècle. Je propose que l’appropriation greiffienne de différents éléments provenant de diverses sources littéraires – comprenant la littérature orientale, la poésie médiévale européenne, la poésie française symboliste –, défie la notion classique du concept de «tradition». Pour De Greiff, celle-ci constitue un espace individuel d’autocréation construit à partir d’affinités esthétiques et philosophiques, et non sur la base d’une continuité chronologique ou une appartenance géographique. L’approche théorique de notre étude se concentre sur les idées de Harold Bloom, T.S. Eliot et Octavio Paz. Sur la base de leurs théories j’ai essayé d’élaborer une définition alternative du concept de la Tradition.
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“León de Greiff y la tradición literaria” examines the particular concept of “tradition” underlying the work of this major XXth century Colombian poet. I contend that the appropriation of several literary and historical sources – ranging from medieval European literature, oriental sources, to the most symbolists French poets – undertaken by De Greiff challenges the classical notion of this idea. I have proposed a reading of this author’s poetry as an attempt to observe tradition as an unrestricted space of individual creation operating through aesthetic and philosophical affinities rather than strict chronological continuity. The theorical approach of my dissertation focuses on the works of Harold Bloom, T.S. Eliot and Octavio Paz. Based on their ideas I have tried to elaborate an alternative definition of the concept of Tradition.
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Shea, Colleen Erin. "Early modern women's dream visions, male literary tradition and the female authorial voice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0023/MQ50096.pdf.
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Sams, Laura L. "Tina McElroy Ansa, Gloria Naylor, Ntozake Shange and the christio-conjure literary tradition." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1995. http://digitalcommons.auctr.edu/dissertations/2213.
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The Christio-Conjure paradigm, a product of both Christianity and Conjuring, historically has provided an alternate set of ideologies for African Americans. As an ontological archetype, the Christio-Conjure paradigm is centered around a set of metaphysical phenomenon featuring various conventions such as religious/moral guidance, natural healing, and contact with spirits. To a large extent, the Christio-Conjure paradigm functions within a matriarchal network designed to extol the African American woman as the life force and mother of humanity.
A corpus of African American women writers have exhibited a critical interest in the Christio-Conjure paradigm because of its cultural link with the past and because of the Afrofemcentric allure associated with this ancient, yet ever-active, African American tradition. Tina McElroy Ansa, Gloria Naylor, and Ntozake Shanqe are three authors who contribute to the matrix of African American women’s writing via their novels, Baby of the Family (1988), Mama Day (1989), and Sassafrass, Cypress & Indigo (1982) respectively; each author functions as a literary Christio-Conjure woman, fashioning worlds of women richly impacted by the power of conjure.
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Baillie, Justine Jenny. "'The changing same' : language and politics and literary tradition in Toni Morrison's fiction." Thesis, Goldsmiths College (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250193.
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This thesis examines the progression of Toni Morrison's literary aesthetic within a historical, political and cultural framework, and considers how Morrison's linguistic strategies have evolved as a result of her engagement with intellectual, philosophical and literary developments in African-American and American writing and politics. I first analyse Harlem Renaissance literature to explore the historical context and traditions from which Morrison's aesthetic arises, and to show how Morrison's work is informed by tensions within the Harlem movement. In subsequent chapters, I examine The Bluest Eye (1970) in relation to the Black Aesthetic of the late 1960s, and discuss Sula (1973) and Song of Solomon (1977) in terms of their importance as historical novels as well as the ways in which they reflect contemporary debates surrounding feminism and masculinity. I approach Tar Baby (1981) as a text which problematises female identification with black cultural heritage and my final chapter is concerned with Morrison's genealogical recovery and exploration of African-American history in her trilogy Beloved (1987), Jazz (1992) and Paradise (1998). I trace the evolution of Morrison's aesthetic from the contestatory language of The Bluest Eye through an emphasis on the cultural forms of the black community in Sula and Song of Solomon, and finally to her latest attempt to extend the limits of her own aesthetic through the construction of de-raced language in Paradise. I establish a theoretical framework for the examination of Toni Morrison's novels, which includes Mikhail Bakhtin's theories on language and ideology, and Gilles Deleuze and Felix Guattari's concept of a 'minor literature' and their study of political theory, psychoanalysis and linguistics. The thesis incorporates an analysis of African-American philosophy, theory and literature, including the work of W.E.B. Du Bois, Zora Neale Hurston, and Ralph Ellison. The development of a variety of perspectives from which to examine Morrison's novels illuminates the importance of her project as radical critique of the dominant culture and aesthetic and makes possible an examination of the ways in which her linguistic strategies are not only informed by African-American experiences in white American culture, but also contribute to the deconstruction and reconstruction of those experiences.
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Evershed, Elizabeth. "Sons and brothers : literary community in the English poetic tradition, c.1377-1547." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/1353/.
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This study examines the importance of literary communities in the works of a number of key English poets: Geoffrey Chaucer (c. 1340-1400), Thomas Hoccleve (c. 13671426), John Lydgate (c. 1370-1449), John Skelton (c. 1460-1529), Sir Thomas Wyatt (1503-1542) and Henry Howard, Earl of Surrey (1517-1547). It focuses on 'horizontal' peer-based literary communities and the support and literary friendships that such groups might provide, rather than 'vertical' patronage networks, and discusses ways in which these poets envisaged themselves as part of a community or communities of writers and/or literati, both actual and ideal, and what this contributed to their imagined identity as writers and the kind of poetry they produced. The Introduction analyses some of the critical terms and frameworks from within which a discussion of literary communities may take place. Chapter One provides a survey of some of the forms, functions and practices of literary communities in Europe from antiquity to the early modern period. The remaining chapters examine English literary communities chronologically, focussing on the above poets as individuals and their identification of particular receptive audiences for their work from within their own social milieu. Chapter Two discusses the extent to which the group of men Paul Strohm identifies as Chaucer's circle may be viewed as a literary community, and the difference such communal contexts make to our reading of Chaucer's poetry. Chapter Three looks at Hoccleve and Lydgate as Chaucer's immediate successors in the fifteenth century. It concludes that a significant proportion of Hoccleve' s poetic output is shaped by his place within the community of the Privy Seal Office and that this community offered him opportunities to write on its behalf. It also considers Lydgate's interaction with a wide range of receptive communities, and examines his success in inspiring idealised authorial communities (Chaucerian and Parnassian) as a governing ideal for his readers, and the authors who followed him. Chapter Four focuses on Skelton's negotiation between different literary communities (academic, courtly and urban) and re-examines his agonistic and antagonistic attitudes to contemporary writers, focussing particularly on The Garlande ofLaurel!. Chapter Five offers a brief analysis of Wyatt and Surrey and the 'new' company of gentlemen poets they represented by way of conclusion, looking particularly at Wyatt's epistolary satires to friends. Although England may not have developed formal literary societies equivalent to those on the continent in the late medieval to early renaissance periods, in the case of each of the poets examined in this study the informal literary communities they did associate with, both actual and imagined, were influential in shaping their poetry and offering them encouragement to write.
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Harrison, E. A. "The development of the image of Catholicism in Russian literary tradition, 1820-1949." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1417075/.
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This thesis examines the development of the image of Catholicism in Russian literary tradition between the end of the Napoleonic War and the end of the Second World War. It analyses Catholicism as represented in texts from several different genres – poetry, drama, essays, letters, travel writing and novels. The texts are taken from the work of Chaadaev, Pushkin, the Slavophiles, Gogol´, Tiutchev, the Russian Jesuits, Dostoevskii, Solov´ev, Rozanov, Merezhkovskii, Ellis and Dmitrieva, and Viacheslav Ivanov. The thesis argues that although aspects of the negative image of Catholicism in Russian literary culture remained fairly constant through this period of Russian history, the literary development of this image differed substantially from its development in polemics and essays. The literary sphere allowed Catholicism to be seen in a more open way. The treatment of Catholicism in poetry, novels and travel writing suggested that it be seen as a faith, just like Russian Orthodoxy. Writers depicting Catholicism in a positive light were striving for a universalism that they saw as the essence of being Russian. The thesis therefore reveals that while for some writers, ‘Russian’ and ‘Catholic’ were antithetical concepts, others had a receptive attitude to Catholicism, sometimes culminating in the act of conversion could be seen as a step towards the Universal and unity with the rest of humankind that all Russians should strive towards.
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Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
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This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.
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Saville, Martyn Thomas. "'Das geliebte, genauso gehaβte Österreich' : the theme of Austria in the plays of Thomas Bernhard." Thesis, University of Nottingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313227.
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Sychrava, J. "Redescribing the naive : A critique of the 'sentimental' tradition in literary theory and criticism." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376021.
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Su, Jui-lung. "Versatility within tradition : a study of the literary works of Bao Zhao (414?-466) /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11071.
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Jackson, Alicia R. "Ezekiel's two stick and eschatological violence in the Pentecostal tradition : an intertextual literary analysis." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8243/.
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This thesis explores the topic of eschatological violence in the Pentecostal tradition through an intertextual literary analysis of Ezekiel 36:16—39:29 and Revelation 19:11—21 and 20:7—10 by investigating primarily how the intentional literary placement of the ‘Two Sticks’ oracle (Ezek 37:15—28) between the ‘Dry Bones’ vision (Ezek 37:1—14) and the ‘Gog of Magog’ war (Ezek 38:1—39:29) informs the reader’s theological understanding of the message of Ezekiel 36:16—39:29 as a whole. Secondarily, this thesis considers how the allusion to Ezek 38—39 in Rev 19:11—21 and 20:7—10 enhances the reader’s theological understanding of Ezek 36:16—39:29, yielding an intertextual reading that challenges the way these texts have long been understood in popular Pentecostal contexts. By reviewing historical Pentecostal interpretations of these texts, specifically considering how dispensationalism has influenced Pentecostal eschatology and ensuing textual interpretations, this thesis offers a fresh perspective that aligns with the eschatology of early Pentecostals and contemporary Pentecostal scholars—both of whom generally depart from dispensationalism. This intertextual literary analysis builds a case for envisioning a hopeful and proleptic eschatology that promotes peace and reconciliation, potentially transforming Pentecostal ethics, politics and mission.
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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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Neel, Travis E. "Fortune’s Friends: Forms and Figures of Friendship in the Chaucer Tradition." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492705588117003.
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Kennedy, Alison Margaret. "Dissidence and the Spanish literary tradition in the later novels of Juan Goytisolo, 1970-1988." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338988.
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Ford, Alison. "Klaus Mann and the Weimar Republic : literary tradition and experimentation in his prose, 1924-1933." Thesis, University of Nottingham, 1999. http://eprints.nottingham.ac.uk/11719/.
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This study developed from an initial interest in the literature of the German exiles in which canon Klaus Mann's work between 1933 and 1945 figured prominently. This in turn evoked a curiosity toward this still relatively unknown son of Thomas Mann, intensified not least by the pathos of a life characterised by early promise, fame and prominence that ended in obscurity, despair and suicide. Yet these aspects of Klaus Mann's life appeared to have been overlooked by British scholars and with them the early and later years of Mann's career. The years of Mann's exile have been well documented and researched and place Mann's fiction of this time within the canon of Exilliteratur. Those texts which went before, however, have received only scant attention. Yet it is precisely in the novels and essays from the Weimar Republic that Mann developed and refined the techniques and themes that would define his later works. To overlook them is to suggest that the decisive moment of exile represented a caesura in Mann's career, thus masking the underlying continuity within Mann's oeuvre. For this reason, this study concentrates primarily on the early years of Mann's career, on the period from 1924 to 1933, to illustrate the progression and development within his work that would culminate in the novels of his exile. While Mann's prose dictates the approach I have taken, this is not exclusively 'literary' to the exclusion of all other concerns and potential external influences on his work. It assesses the complementary characteristics of Mann's fiction and his essayistic prose, much of which has only become readily available in the last five years, against the context of their creation during the Weimar Republic. In consequence, this work embraces the cultural, political and social context of this age, embracing its contradictory nature where progression and experimentation battled against the endemic regression and reaction of the Republic's institutions. However, it does not intend to provide a detailed discussion of the complexities that underlie this period of German history. For this I refer the reader to the body of research which deals specifically with this topic.
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Derico, T. M. "Oral tradition or literary dependence? : verbal agreement in the Synoptic Gospels and the Whitman narratives." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530024.
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Parker, Louise Jane. "Shadows, struggles and poetic guilt : Glyn Jones, his literary doubles and the Welsh-language tradition." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42983.
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An 'Anglo Welsh' writer who emerged in the 1930s to considerable acclaim in Wales and London, Glyn Jones was a contemporary and friend of Dylan Thomas. An innovative Welsh Modernist, he found the genres of poetry and the short story best suited to the exhibition of his concise, imagist and often grotesque experimentalism. Unlike Thomas, he wrote two novels, was a 'gentle' satirist of Welsh culture, and was deeply embroiled in the 'post-colonial' cultural conflicts of his nation. Jones struggled to find expression between two languages and worked insistently (often antagonistically) in the Welsh literary scene throughout its most controversial century, when it fought to save the Welsh language and resolve its conflicting cultural factions into a consolidated national identity. Jones was, to adopt the rubric of Bhabha, stranded in the cultural margins at the intersection of the English and Welsh languages, and this thesis situates itself accordingly. The first of six chapters examines the ways in which the Welshlanguage culture of Wales engaged Glyn Jones, and explores how a liminal voice can establish its cultural validity via rewriting autobiography into a 'mythical' history. The second chapter adopts Harold Bloom, the concept of intertext and psychological notions of the 'other', to address Jones's conflicted relationship with Dylan Thomas. The third attempts to analyse his twentieth-century dialogue with Dafydd ap Gwilym as he seeks affirmation from his fourteenth-century double. The fourth continues this 'othering' of Welsh ancients and considers how Wales is refracted in some of his work through the literary excavation of Llywarch Hen, tenth-century defender of his princedom, but willing forfeiter of his sons. The fifth chapter considers how Jones inherited but re-invented the role of the cyfarwydd (storyteller), and the sixth explores how Hen Benillion (Welsh folk poetry) fostered his peculiarly Welsh Modernism.
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Hewitt, Natalie A. ""Something old and dark has got its way": Shakespeare's Influence in the Gothic Literary Tradition." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cgu_etd/77.
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This dissertation examines Shakespeare’s role as the most significant precursor to the Gothic author in Britain, suggesting that Shakespeare used the same literary conventions that Gothic writers embraced as they struggled to create a new subgenre of the novel. By borrowing from Shakespeare’s canon, these novelists aimed to persuade readers and critics that rather than undermining the novel’s emergent, still unassured status as an acceptable literary genre, the nontraditional aspects of their works paid homage to Shakespeare’s imaginative vision. Gothic novelists thereby legitimized their attempts at literary expression. Despite these efforts, Gothic writers did not instantly achieve the type of acceptance or admiration that they sought. The Gothic novel has consistently been viewed as a monstrous, immature literary form—either a poor experiment in the history of the novel or a guilty pleasure for those who might choose to read or to write works that fit within this mode. Writers of Gothic fictions often claim that their works emulate Shakespeare’s dramatic pathos, but they do not acknowledge that the playwright also had to navigate similar opposition to his own creative expression. While early Gothic novelists had to contend with skeptical readers and reviewers, Shakespeare had to negotiate the religious, political, and ideological limitations that members of the court, the church, and the patronage system imposed upon his craft. Interestingly, Shakespeare often succeeded in circumventing these limitations by employing the literary techniques and topoi that we recognize today as trademarks of Gothic fiction—spectacle, sublime, sepulcher, and the supernatural. Each of these concepts expresses subversive intentions toward authoritative power. For Shakespeare and the Gothic novelists, the dramatic potential of these elements corresponds directly to their ability to target the sociocultural fears and anxieties of their audience; the results are works that frighten as well as amuse. As my dissertation will show, these authors use similar imagery to surreptitiously challenge the authority figures and institutions that sought to prescribe what makes a work of fiction socially acceptable or worthy of critical acclaim.
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Ramey, Peter A. "Studies in oral tradition history and prospects for the future /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5003.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 1, 2007) Includes bibliographical references.
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Duffin, Charles J. "Accents of tradition and the language of romance : a study in the relationship of popular oral tradition and literary culture in Scotland, 1700-1825." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/5576/.
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As this study is concerned with the noetic process of a pre-literate, oral tradition in eighteenth century Scotland, we are obliged to address that mental economy through residual artifacts which survive in translation as products of a print driven, literary culture. As such, those artifacts have already been engaged to a literary process and, if they are to be subjected here to a further breach of cultural integrity, it is a minimum requirement that we attempt to respect the intellectual and psychological priorities which energise the traditional word. The central aims of the study are: to establish useful parameters of literary understanding for these residues, to assess the manner of translation through which the original materials were subjected to a literary process and to elucidate the nature of the literary product that they became, as well as that of the literary creativity which they inspired. With this in mind, our attention is directed initially toward the way in which a traditional text generates meaning for a contemporary, literary audience. The application of oral theory to Scottish traditional poetry and song, in chapter one, aims to propose a literary model of a particular tradition at a critical stage in its development. This model seeks to recognise both the conceptual underpinning of that process and the accumulative feedback that occurs when literary styles and politics infuse and regenerate within the process of transmission and translation to become embedded in the 'oral' artifacts of a culture in transition. In chapter two we look, in the editorial conflict between creative and conservative mediators, to identify the aesthetic circumstances of that tradition in a transitional culture so as to elucidate the nature of those artifacts as literary products. As a measure of how these competing forces pressurise traditional sources, we engage with the dynamic of cultural negotiation surrounding the authentication of traditional 'texts'. This focuses our attention on the status of the traditional aesthetic within the existing literary critique and the implications that aesthetic conflict held for original, imaginative writing.
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Darrie, Stephanie Mary. "The editorial work and literary enterprise of Louis Aime-Martin." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/97093.
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This thesis offers a new perspective on the cultural contribution of Louis Aimé-Martin, best known as the principal editor of Bernardin de Saint-Pierre. The thesis begins in chapter 1 with a critical analysis of the posthumous edition of Bernardin’s Essai sur J.-J. Rousseau. This text, singled out by the scholar, Maurice Souriau, as an exemplar of Aimé-Martin’s editorial negligence, introduces a theme sustained throughout chapter 2. This study of part of the Correspondance de J.-H. Bernardin de Saint-Pierre, in revealing Aimé-Martin’s emotive handling of the manuscripts he works from, leads to a necessary consideration of other, more objective editorial ventures in chapter 3. Attention turns from Bernardin’s legacy to an investigation of Aimé-Martin as a reputed authority on the lives and works of a host of French personalities from across the centuries. In light of those undertakings independent of Bernardin, the following chapters go on to broaden our understanding of Aimé-Martin, revealing some of his own literary endeavours. Reflections on the Lettres à Sophie sur la physique, la chimie et l’histoire naturelle (1810) in chapter 4, and Raymond (1811) in chapter 5, testify to Aimé-Martin’s interest in contemporary issues from feminine pedagogy to the moralisation of the peasant class. Such concerns eventually culminate in the philosophy of the Education des mères (1834), considered in chapter 6. It is this œuvre, with its promotion of a new, more accessible spirituality and its proposed revisions of the educative system, which truly sees Aimé-Martin engage with the socio-political agenda of his day. Chapter 7 looks further, then, at Aimé-Martin’s immersion in the cultural community of his time, drawing in particular on the revelations of his correspondence with Alphonse de Lamartine. The renowned editor is thus shown to be a transitional figure, holding a torch for the memory of an eighteenth-century icon while also shining a light of hope and inspiration for the people of the early decades of the nineteenth.
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Dunn, Angela Frances. "The continental drift : Anglo-American and French theories of tradition and feminism." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63972.
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Wallace, Jeffery Scott. "A literary attempt to reform the Puritan tradition an examination of the writings of Nathaniel Hawthorne /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Goldie, David W. S. "John Middleton Murry and T.S. Eliot : tradition versus the individual in English literary criticism, 1919-1928." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314917.
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Patterson, Tracy J. "Privileging privilege the African American middle class novel: a genre in the African American literary tradition." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1996. http://digitalcommons.auctr.edu/dissertations/2868.
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This paper asserts the existence of the African American middle class novel as a genre in the African American literary tradition that has heretofore been neglected by literary critics. The premise of this argument is that conventional African American literary studies privilege novels concerned with the African American folk to the exclusion of portrayals of African Americans of middle and upper socio-economic class and cultural groups.
A study of the Modem Language Association's catalogue of African American criticism and a review of novels widely accepted as representative of African American literary tradition were used to indicate how class status is often neglected as a subject. A study of the literary standards of the Harlem Renaissance and the Black Arts Movement revealed the development of prescriptive literary conventions. Four exemplary twentieth century middle class novels were critiqued: Walls of Jericho by Rudolph Fisher, Plum Bun by Jessie Redmon Fauset, Meridian by Alice Walker, and Sarah Phillips by Andrea Lee. The novels were found to contribute to discourse on the intersection of race and class for African Americans by challenging stereotypes, advocating moral standards across class lines, and criticizing systems of oppression.
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Garner, Lori Ann. "Oral tradition and genre in old and middle English poetry /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974631.
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Skrebels, Paul. "Ample privilege to wit and learning : the Renaissance humanist literary tradition in the plays of Richard Brome /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phs6287.pdf.
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Attwell, David. "Indigenous tradition and the colonial legacy : a study in the social context of anglophone African literary criticism." Master's thesis, University of Cape Town, 1985. http://hdl.handle.net/11427/7591.
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Bibliography: leaves 219-229.This dissertation attempts to examine the social meanings of anglophone African literary criticism as an ideological discourse. It begins by engaging with Marxist critical traditions, with particular reference to two areas of debate: the question of the epistemological relationship between literature and criticism, and the question of criticism's being a discourse which, in its articulation with a given social context, relies on the resources of a particular critical heritage. The basis of the second and central chapter is the interrelationship between the context and heritage of anglophone African criticism. The dominant themes of this discourse are seen as being shaped by ideological affiliations with the modern nation-state, and by the legacy of the empirical and organic traditions of metropolitan criticism. It is argued that in the situation of neo-colonial social stratification, anglophone African criticism faces a crisis of legitimacy. In the third to fifth chapters I attempt to illustrate and refine the central argument in relation to a selection of critical texts. The chapter on two works by Eldred Jones examines his reliance on orthodox British critical assumptions and its consequences in his treatment of the writing of Wole Soyinka. The chapter on West African traditions examines a range of critical operations which are used in the construction of organic traditions based on oral or traditional cultures. These operations rely on mythopoesis, formalism and the sociology of literature. The final chapter on East African political readings investigates the internal, discursive tensions in the work of two critics who, in attempting to politicize their reading of literature, have not been able to achieve a conceptual break from the legacies of idealism.
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Cooke, James M. (James Michael). "The Grotesque Tradition in the Short Stories of Charles Bukowski." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc501093/.
Full textAbstract:
The style and themes central to Bukowski's prose have roots in the literary tradition of the grotesque. Bukowski uses grotesque imagery in his writings as a creative device, explaining the negative characteristics of modern life. His permanent mood of angry disgust at the world around him is similar to that of the eighteenth-century satirists, particularly Jonathan Swift. Bukowski confronts the reader with the uglier side of America--its grime, its corruption, the constricted lives of its lower class--all with a simplicity and directness of style impeccably and clearly distilled. Bukowski's style is ebullient, with grotesquely evocative descriptions, scatological detail, and dark humor.
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Sandarg, Eric. "Faulkner's Literary Environment: Assessing the South's Relationship with Land Abuse." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/111.
Full textAbstract:
This thesis aims to understand William Faulkner as an environmentally conscious author whose views on land abuse appear throughout his work. The goal is twofold: first, to examine how he criticizes ecological abuse; second, to discover which sources likely influenced him and helped him to form his perspectives on environmental issues.