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Dissertations / Theses on the topic 'Literature, English. Literature, Romance. Comparative literature'
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1
Kaplin, David. "The best policy : lying and national identity in Victorian and French novels /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3202897.
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Curran, Robert. "Myth, Modernism and Mentorship| Examining Francois Fenelon's Influence on James Joyce's "Ulysses"." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10172610.
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<p> The purpose of this thesis will be to examine closely James Joyce’s <i>Ulysses</i> with respect to François Fénelon’s <i> The Adventures of Telemachus</i>. Joyce considered <i>The Adventures of Telemachus</i> to be a source of inspiration for Ulysses, but little scholarship considers this. Joyce’s fixation on the role of teachers and mentor figures in Stephen’s growth and development, serving alternately as cautionary figures, models or adversaries, owes much to Fénelon’s framework for the growth of Telemachus. Close reading of both Joyce’s and Fénelon’s work will illuminate the significance of education and mentorship in Joyce’s construction of Stephen Dedalus. Leopold Bloom and Stephen’s relationship in Joyce’s <i>Ulysses</i> closely mirrors that of Mentor and Telemachus as seen in Fénelon’s <i> The Adventures of Telemachus</i>. Through these numerous parallels, we will see that mentorship serves as a better model for Bloom and Stephen’s relationship in Ulysses than the more critically prevalent father-son model </p>
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Guglietta-Possamai, Daniela. "The twists and turns of a timeless puppet: Violence and the translation and adaptation of Carlo Collodi's "Le avventure di Pinocchio"." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27783.
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This thesis explores two English translations of Carlo Collodi's Le avventure di Pinocchio (1883), one by British translator M. A. Murray in 1891 and the other by American translator Walter S. Cramp in 1904. It also examines Walt Disney's adaptation of Pinocchio (1940) for the screen, and in the process studies how the different English target cultures and systems have motivated and influenced translators' and adaptors' decisions and how, therefore, translations and adaptations are necessarily products of their environment. My approach is to focus specifically on moments of violence in Collodi's text, and use them as particularly 'hot' text situations from which to study the English translations. These translations are placed into and then analysed in regard to their respective reconstructed socio-cultural, literary and translation contexts. The norms governing the British and American translators' and American adaptor's respective versions provide some insight into the translators' and adaptor's approach to violence in children's literature and help identify possible reasons for the differences between the source and the target texts, and also between the different translations. Skopostheorie, Descriptive Translation Studies, polysystem theory and norm theory all play a role in the analyses.
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Swarnakar, Sudha. "The fallen woman in twentieth-century English and Brazilian novels : a comparative analysis of D.H. Lawrence and Jorge Amado." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/4261/.
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This thesis offers a thematic comparison of the ways in which fallen women are depicted by two writers: D. H. Lawrence (1885-1930) and Jorge Amado (1912- ). The comparison highlights the contrasts and similarities between two cultures and how they are reflected in literature. The focus of the thesis is on an examination of unconventional female characters and it illuminates more generally the ways in which literary creativity is shaped by the interaction between writers and their social milieus. The theme of the fallen woman provokes discussion of changing patterns of sexuality in two different societies, in two different periods of their historical development. It also involves the question of the social, political and cultural background of both England and Brazil, where these images of the fallen women were fabricated. The thesis argues that both Lawrence and Amado share tremendous sympathy for these women. The thesis is divided into eight chapters. Chapters Two through Six are divided into two parts. The analysis in Part One involves a number of Lawrence's novels: The White Peacock, Sons and Lovers, The Lost Girl, Aaron's Rod, Mr. Noon, `Sun', and three versions of Lady Chatterley's Lover. Part Two looks at the fallen woman in Amado's writing from 1934 to 1977, and the discussion focuses on Jubiabä, Terras do sem fim, Gabriela, cravo e canela, Dona Flor e seus dois maridos, Tereza Batista cansada de guerra and Tieta do Agreste. Female desire and its fulfilment in an unconventional way has been a central question in all these novels. Without a moral judgement, both Lawrence and Amado depict the female characters who are triumphant lovers, redeemed from the sense of sin or guilt by their passion. The depiction of these women highlights the class and gender differences. Both writers show how patriarchy plays a dominant role in keeping female sexuality under control in both English and Brazilian societies.
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Murray, Patricia. "Shared solitude : re-integration of a fractured psyche : a comparative study of the works of Gabriel Garcia Márquez and Wilson Harris." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/109065/.
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This thesis provides an analysis of the works of Gabriel García Márquez and Wilson Harris in the cross-cultural context of the Americas, emphasizing the importance of myth as well as history in their attempts to explore the hybridity of post-colonial identity. García Márquez' phrase “la soledad compartida" is interpreted as the process of a spiritual Journey in which both writers articulate the quest to reintegrate the fractured American psyche. Historical and political contexts are provided to focus the nature of fragmentation, and insights from the new physics to re-iterate the presence of the 'real world' which continues to inform both writers in their experiments with linguistic and literary conventions. Realism is seen as insufficient for defining the reality of the Americas and a framework of magical realism is offered as a more appropriate context in which to approach both writers. My methodology is cross-cultural and interdisciplinary, referring to a variety of Latin American and Caribbean writers, and drawing on history, myth, psychology, and physics, as well as debates about post-colonialism and postmodernism, to support my argument that Harris and García Márquez present a vision of the world in which there is creative hope for the future.
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Bouagada, Habib. "Orientalism in translation: The one thousand and one nights in 18th century France and 19th century England." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26857.
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The objective of this study is to show how translation contributes to the "Orientalist" project and to the past and present knowledge of the Orient as it has been shaped by different disciplines such as anthropology, history and literature. In order to demonstrate this, I have decided to compare the Arabic text Alf Leyla wa Leyla (The One Thousand and One Nights) with the French translation by Antoine Galland (1704-1706) and the English translation by Sir Richard Burton (1885).
According to Edward Said, the Orientalist project or Orientalism is mainly a French and British cultural enterprise that has produced a wide-ranging wealth of knowledge about an Orient that has been represented as an undifferenciated entity with despotism, splendour, cruelty, or even sensuality being its main attributes.
I have chosen these translations because they come from places with a long Orientalist tradition. In 18th century France, the age of the Belles infideles, Galland is a man of the Enlightenment who appears to be a precursor of Orientalism as embodied in Montesquieu's Lettres persanes and Votaire's zadig. A century later, Burton's The Arabian Nights, backed by a deep knowledge of Islam, is published. Burton is an official in the service of the British Empire---an empire that takes pride in having the highest number of Muslim subjects.
The evolution of Alf Leyla wa Leyla and its translations is followed by an analysis of the shifts applied to the representations of Oriental elements found in it (social and religious practices). These shifts as well as the annotations that refer to Arabo-Islamic culture are related to Galland and Burton's intellectual development and to the socio-historical context of their respective translations.
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Huyssen, Carmen. "Translating nature: A corpus-based study." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26378.
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In contemporary nature writing, beauty can indeed be said to be "in the eye of the beholder". English-Canadian and French authors of such texts often perceive and describe their natural surroundings in very individual, though culturally shared, ways.
English-Canadian and French authors have developed quite different approaches to nature writing, and this difference becomes clearly apparent through a contrastive analysis of two corpora: nature writing intended for English-Canadian readers and similar texts addressed to French readers. Through the juxtaposition of these texts, the cultural topoi of each linguistic set are drawn out.
In an environment where forces of globalization are bringing more languages and cultures into contact, an analysis of this type sets forth the "culturemes" that practising translators need to be aware of and respond to. A sample text that takes the findings into account illustrates this.
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Reed, Kristin. "The rhetoric of grief Seamus Heaney, Joseph Brodsky, Yves Bonnefoy, and the modern elegy /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3386713.
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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2009.<br>Title from PDF t.p. (viewed on Jul 15, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4669. Adviser: David Hertz.
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Munoz, Victoria Marie. "A Tempestuous Romance: Chivalry, Literature, and Anglo-Spanish Politics, 1578-1624." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1479905568694913.
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Worth, Brenda Itzel Liliana. "'Exile-and-return' in medieval vernacular texts of England and Spain 1170-1250." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:a736407a-4f69-46f2-98bb-992b1fb669eb.
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The motif of 'exile-and-return' is found in works from a wide range of periods and linguistic traditions. The standard narrative pattern depicts the return of wrongfully exiled heroes or peoples to their former abode or their establishment of a superior home, which signals a restoration of order. The appeal of the pattern lies in its association with undue loss, rightful recovery and the universal vindication of the protagonist. Though by no means confined to any one period or region, the particular narrative pattern of the exile-and-return motif is prevalent in vernacular texts of England and Spain around 1170–1250. This is the subject of the thesis. The following research engages with scholarship on Anglo-Norman romances and their characteristic use of exile-and-return that sets them apart from continental French romances, by highlighting the widespread employment of this narrative pattern in Spanish poetic works during the same period. The prevalence of the pattern in both literatures is linked to analogous interaction with continental French works, the relationship between the texts and their political contexts, and a common responses to wider ecclesiastical reforms. A broader aim is to draw attention to further, unacknowledged similarities between contemporary texts from these different linguistic traditions, as failure to take into account the wider, multilingual literary contexts of this period leads to incomplete arguments. The methodology is grounded in close reading of four main texts selected for their exemplarity, with some consideration of the historical context and contemporary intertexts: the Romance of Horn, the Cantar de mio Cid, Gui de Warewic and the Poema de Fernán González. A range of intertexts are considered alongside in order to elucidate the particular concerns and distinctive use of exile-and-return in the main works.
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Kim, Joanne S. "Romanticism and the Poetics of Orientation." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523659373305353.
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Armstrong, Robert A. "Gleanings in French Fields: A Formal Approach to the Translation of French Poetry." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587646850156205.
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Kugler, Emily Meri Nitta. "Representations of race and romance in eighteenth-century English novels." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3258372.
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Thesis (Ph. D.)--University of California, San Diego, 2007.<br>Title from first page of PDF file (viewed May 29, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 264-272).
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Cole, Chera A. "'Fairy' in Middle English romance." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6388.
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This thesis, ‘Fairy in Middle English romance', aims to contribute to the recent resurgence of interest in the literary medieval supernatural by studying the concept of ‘fairy' as it is presented in fourteenth- and fifteenth-century Middle English romances. This thesis is particularly interested in how the use of ‘fairy' in Middle English romances serves as an arena in which to play out ‘thought-experiments' that test anxieties about faith, gender, power, and death. The first chapter considers the concept of fairy in its medieval Christian context by using the romance Melusine as a case study to examine fairies alongside medieval theological explorations of the nature of demons. The thesis then examines the power dynamic of fairy/human relationships and the extent to which having one partner be a fairy affects these explorations of medieval attitudes toward gender relations and hierarchy. The third chapter investigates ‘fairy-like' women enchantresses in romance and the extent to which fairy is ‘performed' in romance. The fourth chapter explores the location of Faerie and how it relates as an alternative ‘Otherworld' to the Christian Otherworlds of Paradise, Purgatory, Heaven, and Hell. The final chapter continues to examine geography by considering the application of Avalon and whether Avalon can be read as a ‘land of fairies'. By considering the etymological, spiritual, and gendered definitions of ‘fairy', my research reveals medieval attitudes toward not only the Otherworld, but also the contemporary medieval world. In doing so, this thesis provides new readings of little-studied medieval texts, such as the Middle English Melusine and Eger and Grime, as well as reconsider the presence of religious material and gender dynamics in medieval romance. This thesis demonstrates that by examining how fairy was used in Middle English romance, we can see how medieval authors were describing their present reality.
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Fortier, John R. 1950. "Milton's rite of passage: The function of form in the Italian sonnets." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/282166.
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John Milton's Italian sonnets are more significant than they are generally thought to be. In spite of attempts to revive interest in them, they are among the poet's least valued works. In this dissertation, I demonstrate that the practices of publishing the sonnets out of their original order and including English translations along side of the original Italian alter readings of the sonnets by altering their context. These practices are largely responsible for the sonnets' poor reception. In addition to being altered by editorial practices and translations, the context in which the sonnets are received has been altered by changing views about Milton's biography. The present study, therefore, also involves an examination of the way biographical studies can affect interpretation. Reading the poems in their original order and considering their arrangement as purposeful and artistic expands the possibilities for interpretation. My particular reading of the sonnet sequence reveals Milton's self-conscious, retrospective portrayal of a rite of passage in which he prepares to assume a mature and public role. The sonnets show that new understandings of religious and secular love motivate the poet to represent his views in a public form. In his presentation and arrangement of Sonnets 1-7, the poet translates personal conflict into social and political action, and he uses the interplay of tbe English and Italian languages and traditions to dramatize his relationship and responsibility to his native land and the world at large.
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Lemire, Isabelle, and Ana María Navales. "Nouvelles de Bloomsbury de Navales : création, recréation, traduction." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30183.
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The creative section of this thesis is a translation of five (5) short stories drawn from the anthology Cuentos de Bloomsbury by the Spanish author Ana Maria Navales. This book is a free literary recreation of the life of some of the artists and intellectuals, in particular Virginia Woolf, who made up the Bloomsbury Group. This translation is meant to be more source-oriented than target-oriented; however, even though it is rather true to the source text, our priority consists above all in creating a translation possessed of its own literary unicity. In this way, we attempt to show that the translated work is another work, autonomous and separated from the original version, but still linked to the latter by means of their respective literary unicity, rendering the fundamental signifiers of the original in the translation.<br>In recognizing the literary unicity of both authors and in receiving inspiration from the thoughts of Octavio Paz and Antoine Berman, we try to bring the literary unicity of our translation to light, and at the same time, to experience an open-mindedness towards that which is "other". (Abstract shortened by UMI.)
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Kilpatrick, Robert M. "Le soulier de theramenez theory and practice of the adage in Erasmus and Montaigne /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378360.
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Thesis (Ph.D.)--Indiana University, Dept. of French & Italian Studies, 2009.<br>Title from PDF t.p. (viewed on Jul 7, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3876. Adviser: Eric MacPhail.
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Eddy, Nicole. "Marginal annotation in medieval romance manuscripts| Understanding the contemporary reception of the genre." University of Notre Dame, 2013.
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Mattson, Christina Phillips. "Children's Literature Grows Up." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467335.
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Children’s Literature Grows Up proposes that there is a revolution occurring in contemporary children’s fiction that challenges the divide that has long existed between literature for children and literature for adults. Children’s literature, though it has long been considered worthy of critical inquiry, has never enjoyed the same kind of extensive intellectual attention as adult literature because children’s literature has not been considered to be serious literature or “high art.” Children’s Literature Grows Up draws upon recent scholarship about the thematic transformations occurring in the category, but demonstrates that there is also an emerging aesthetic and stylistic sophistication in recent works for children that confirms the existence of children’s narratives that are equally complex, multifaceted, and worthy of the same kind of academic inquiry that is afforded to adult literature.
This project investigates the history of children’s literature in order to demonstrate the way that children’s literature and adult literature have, at different points in history, grown closer or farther apart, explores the reasons for this ebb and flow, and explains why contemporary children’s literature marks a reunification of the two categories. Employing J. K. Rowling’s Harry Potter novels as a its primary example, Children’s Literature Grows Up demonstrates that this new kind of contemporary children’s fiction is a culmination of two traditions: the tradition of the readerly children’s book and the tradition of the writerly adult novel. With the fairy tales, mythologies, legends, and histories that contemporary writers weave into their texts, contemporary fictions for children incorporate previous defining characteristics of children’s fantasy literature and tap into our cultural memory; with their sophisticated style, complex narrative strategies, and focus on characterization, these new fictions display the realism and seriousness of purpose which have become the adult novel’s defining features.
Children’s Literature Grows Up thus concludes that contemporary children’s fiction’s power comes from the way in which it combines story and art by bringing together both the children’s literature tradition and the tradition of the adult novel, as well as the values to which they are allied. Contemporary writers for children therefore raise the stakes of their narratives and change the tradition by moving beyond the expected conventions of their category.<br>Comparative Literature
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Purdie, Margaret Rhiannon. "An edition of the Middle English romance Ipomadon A." Thesis, University of Bristol, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337286.
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Downing, Lisa. "The early and influential role of science fantasy in sixteenth-, seventeenth-, and eighteenth-century England, France, and Germany| A selected account." Thesis, Northern Illinois University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1546015.
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<p> Science fiction critics have dueled over definitions of sixteenth-, seventeenth-, and eighteenth-century science fiction, often classifying early science fiction as mere prototype. Chapter One of this thesis examines the myriad definitions of the term “science fiction” allowing a distinguishable set of literary characteristics for science fiction, fantasy, and science fantasy. Early science fiction authors such as Johannes Kepler, Francis Godwin, Savinien Cyrano De Bergerac, Margaret Cavendish, and Jonathan Swift refashioned the familiar fantasy genre with scientific ideas, establishing a science fantasy genre to frame dangerous and rebellious ideas in a conventional and innocuous structure, the fiction novel. Chapter Two analyzes the science fiction elements present in early science fantasy of Kepler, Godwin, De Bergerac, Cavendish, and Swift as well as the scientific, religious, and political ramifications of science fantasy in the sixteenth, seventeenth, and eighteenth centuries. Chapter Three briefly highlights elements of early science fantasy that influenced twentieth- and twenty-first century science fiction. Early science fantasy not only influenced generations of science fiction writers and scientists, but it also was one of the main forces that legitimized the sciences.</p>
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Bardzell, Shaowen. "Hospitality and gift exchange reciprocity and its roles in two medieval romance narratives /." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162224.
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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2004.<br>Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0170. Chair: Rosemarie McGerr. Title from dissertation home page (viewed Oct. 11, 2006).
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O'Neil, Joseph D. "The impossible birth of the political language and crisis in Gracián, Goethe, and Kleist /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380120.
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Thesis (Ph.D.)--Indiana University, Depts. of Comparative Literature and Germanic Studies, 2009.<br>Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4669. Adviser: William W. Rasch.
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Idini, Antonio Giovanni 1958. "Detecting colonialism: Detective fiction in Native American and Sardinian literatures." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282702.
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This dissertation compares Native American and Sardinian literatures, focussing on literary renditions of detective stories, a recent development which has occurred in both literatures. The study is based on Procedura (1988), and Il terzo suono (1995), by Sardinian author Salvatore Mannuzzu; The Sharpest Sight (1992), Bone Game (1994), and Nightland (1996) by Choctaw-Cherokee-Irish writer Louis Owens. In both literatures the use of detective fiction embodies the authors' commentary regarding the discourse on colonization. Recurrent thematic features are the concern with history, notably the history of domination and the processes that have led to the present post-colonial condition. The drive towards solving the crime symbolizes and comments upon the necessity of addressing the history of colonization, past and present, both of the land and its people. All the novels included in this study elaborate the basic features of the genre in innovative ways that offer significant commentaries on the condition of these two colonized peoples. The truth at the end of the narration is broken down to a multiplicity of competing narratives. The dispossession and exploitation of ancestral land are textually structured as crimes which further parallel and comment upon the murder of human beings. Also, the characters of the detectives are pivotal for the embodiment of a critique of the classic anthropological model. The gathering of data in order to offer a 'scientific' version of the truth is an endeavor shared by criminal investigators as well as anthropologists, ethnologists and archaeologists. Since classic detective fiction and modern science developed simultaneously around the middle of nineteenth century, it is not coincidental that post-colonial authors of detective fiction feel the necessity to address the self-appointed superiority of so-called scientific discourse. As both cultures have been commodified as objects to be studied by external social scientists, Mannuzzu's and Owens's refusal to depict a univocal solution is also indicative of the clash between definitions elaborated by outsiders versus forms of traditional knowledge within the cultural group.
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Axelrod, Sarah Luehrman. "Umorismo and critical reading in Boccaccio's vernacular and Latin opere 'minori'." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467358.
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Umorismo as Luigi Pirandello defines it is distinct from the general body of literary material meant to invoke laughter. It consciously turns rhetorical convention on its head: it creates unexpected oppositions through conscious and careful use of certain types of language in contexts where it is not expected. The aim of my study is to offer readers new ways to approach Giovanni Boccaccio’s lesser-known works as fundamentally humorous texts, among other things, and to observe how they are crafted and what sets them apart from other works to which one might compare them. I argue that Boccaccio created the Amorosa visione, the Teseida delle nozze di Emilia, the Elegia di Madonna Fiammetta, and the De mulieribus claris with a sense of umorismo, that is to say, by playing with the conventions that each book’s respective genre invokes and then subverting expectations set up by those conventions. I examine each of these four works in its own chapter, with special attention to authorial voice, fictionality, narrative strategies, and intertextual practices. I rely chiefly on close readings of the texts themselves, in the original language first and foremost, and I attempt to draw out the humor that I see in the way they have been composed, often a result of play between their content and their structure and style. Ultimately, the umorismo in these works is, as Pirandello would agree it should be, not immediately evident: it takes patience and close reading to uncover. Boccaccio is staunchly in favor of critical and persistent reading as a necessary value that all poetry and fiction should require. His treatise in the Genealogia deorum gentilium on how readers should interact with books explicitly promotes the sort of reading required to perceive and parse the umorismo within his texts.<br>Romance Languages and Literatures
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Ramirez-Nieves, Emmanuel. "Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqama." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467380.
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Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqāma, investigates the significance of conversion narratives and penitential elements in the Spanish picaresque novels Vida de Guzmán de Alfarache (1599 and 1604) by Mateo Alemán and El guitón Onofre (circa 1606) by Gregorio González as well as Juan Ruiz’s Libro de buen amor (1330 and 1343) and El lazarillo de Tormes (1554), the Arabic maqāmāt of al-Ḥarīrī of Basra (circa 1100), and Ibn al-Ashtarkūwī al-Saraqusṭī (1126-1138), and the Hebrew maqāmāt of Yehudah al-Ḥarizi (circa 1220) and Isaac Ibn Sahula (1281-1284). In exploring the ways in which Christian, Muslim, and Jewish authors from medieval and early modern Iberia represent the repentance of a rogue, my study not only sheds light on the important commonalities that these religious and literary traditions share, but also illuminates the particular questions that these picaresque and proto-picaresque texts raise within their respective religious, political and cultural milieux. The ambiguity that characterizes the conversion narrative of a seemingly irredeemable rogue, I argue, provides these medieval and early modern writers with an ideal framework to address pressing problems such as controversies regarding free will and predestination, the legitimacy of claims to religious and political authority, and the understanding of social and religious marginality.<br>Comparative Literature
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Li, Changshun. "Pour la modernité de la littérature chinoise: Du rapport entre Zola, Mao Dun et Ba Jin." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/29057.
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En Chine, le Mouvement du 4 mai 1919 entraîne une métamorphose de la littérature classique chinoise qui acquiert, alors, sa forme moderne sous l'impulsion de ses contacts avec la littérature occidentale. Mao Dun et Ba Jin, écrivains issus de ce mouvement, contribuent à cette transformation par leurs théories et leurs oeuvres littéraires influencées par leurs rencontres avec la littérature occidentale représentée, ici, surtout par le naturalisme d'Émile Zola. Aussi, est-ce avec les parutions, entre autres, des romans Minuit et L'Arc-en-ciel de Mao Dun et Famille de Ba Jin que le roman chinois s'inscrit dans la modernité.
Le naturalisme, en tant que courant littéraire international du XIXeme siècle, a connu une grande diffusion en Chine au début des années vingt du XXe siècle, grâce aux essais de Mao Dun visant a présenter le naturalisme de Zola. La propagation du naturalisme constitue une partie importante de la théorie de Mao Dun en vue de construire une nouvelle littérature chinoise. Quant à Ba Jin, sa lecture systématique des Rougon-Macquart de Zola, lors de ses études en France, constitue une composante importante de sa formation littéraire. La présente étude porte sur la représentation des idéologies et des réalités sociales de deux époques en France et en Chine par Zola, Mao Dun et Ba Jin à travers une analyse théorique, esthétique, textuelle et narratologique. C'est en nous référant au naturalisme, en particulier les Rougon-Macquart de Zola, que nous réfléchissons sur la littérature chinoise moderne, à savoir comment Mao Dun et Ba Jin lisent Zola, l'acceptent, le rejettent et le reconstruisent pour faire accéder la littérature chinoise à la modernité. Ainsi avons-nous mis en lumière les progrès, les détours et les limites du développement de la littérature chinoise moderne née au carrefour de sa rencontre avec les littératures française et occidentale dans les 80 premières années du XXe siècle.
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Duffell, Martin J. "The romance (hen)decasyllable : an exercise in comparative metrics." Thesis, Queen Mary, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275841.
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Ewoldt, Amanda M. "Conversion and Crusade| The Image of the Saracen in Middle English Romance." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10813454.
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<p>Abstract
This dissertation is a project that examines the way Middle English romances explore and build a sense of national English/Christian identity, both in opposition to and in incorporation of the Saracen Other. The major primary texts used in this project are Richard Coer de Lion, Firumbras, Bevis of Hampton, The King of Tars, and Thomas Malory?s Morte Darthur. I examine the way crusade romances grapple with the threat of the Middle East and the contention over the Holy Land and treat these romances, in part, as medieval meditations on how the Holy Land (lost during a string of failed or stalemated Crusades) could be won permanently, through war, consumption, or conversion. The literary cannibalism of Saracens in Richard Coer de Lion, the singular or wholesale religious conversions facilitated by female characters, and the figure of Malory?s Palomides all shed light on the medieval English politics of identity: specifically, what it means to be a good Englishman, a good knight, and a good Christian. Drawing on the works of Homi Bhabha, Geraldine Heng, Suzanne Conklin Akbari, and Siobhain Bly Calkin, this project fits into the overall conversation that contemplates medieval texts through the lens of postcolonial theory to locate early ideas of empire.
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Fisher, Marianne. "Nobility in Middle English romance." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/54052/.
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Medieval nobility was a compound and fluid concept, the complexity of which is clearly reflected in the Middle English romances. This dissertation examines fourteen short verse romances, grouped by story-type into three categories. They are: type 1: romance and lost heirs (Degaré Chevelere Assigne, Sir Perceval of Galles, Lybeaus Desconus, and Octvian); type 2: romances about winning a bride (Floris and Blancheflour, The Erle of Tolous, Sir Eglamour of Artois, Sir Degrevant, and the Amis-Belisaunt plot from Amis and Amiloun); type 3: romances of improversihed knights (Amiloun's story from Amis and Amiloun, Sir Isumbras, Sir Amadace, Sir Cleges, and Sir Launfal). The analysis is based on contextualized close reading, drawing on the theories of Pierre Bourdieu. The results show that Middle English romance has no standard criteria for defining nobillity, but draws on the full range of contemporary opinion; understandings of nobility conflict both between and within texts. Ideological consistence is seldom a priority, and the genre apparently serves neither a single socio-political agenda, nor a single socio-political group. The dominant conception of nobility in each romance is determined by the story-type. Romance type 1 presents nobility as inherent in the blood, type 2 emphasizes prowess and force of will, and type 3 concentrates on virtue. However, no romance text offers just one definition; implicitly or explicitly, there are always alternatives. This internal variety indicates tha the romances imagine nobility scene-by-scene; even a text seemingly committed to one perspective is liable to abandon it temporarily if there is another better suited to the narrative moment. Ideological expression always comes second to effective story-telling. This means the texts are frequently inconsistent and sometimes illogical, but that multiplicity is of their very essence.
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Hyttenrauch, David Edward. "Ladies and their knights in Middle English Arthurian romance." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239380.
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Bogic, Anna. "Rehabilitating Howard M Parshley: A socio-historical study of the English translation of Beauvoir's "Le deuxieme sexe", with Latour and Bourdieu." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28391.
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This study documents the problematic translator-publisher relationship in the case of the English translation of Simone de Beauvoir's Le deuxieme sexe. The socio-historical investigation of the case study demonstrates that the 1953 translation was complicated by several factors: the translator's lack of philosophical knowledge, the editor's demands to cut and simplify the text, the publisher's intention to emphasize the book's scientific cachet, and Beauvoir's lack of cooperation. The investigation focuses on two aspects: the translator's subservience and the involvement of multiple actors.
Primarily concerned with the interaction between the translator and other actors, this study seeks answers that require investigation into historical documents and the work of other scholars critical of The Second Sex . In this enquiry, more than one hundred letters between the translator, H. M. Parshley, and the publisher, Knopf, are thoroughly analyzed. The study combines Bruno Latour's and Pierre Bourdieu's sociological concepts in order to provide a more detailed and encompassing examination within the context of Translation Studies. The letter correspondence is the primary evidence on which the study's conclusions are based.
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Barbosa, Heloísa Gonçalves. "The virtual image : Brazilian literature in English translation." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/56829/.
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The aim of this thesis is to examine how the virtual image of Brazil and its literature is constructed in the Anglo-American world. To this end, a survey of Brazilian literary works in English translation was carried out. Having gathered this data, it became possible to establish correlations between the historical moments when such translations were made, when their number increased, and the events occurring at those times in the international panorama, as well as to look into the role of sponsors, publishers and translators in the selection and production of such translations. The data also allowed a profile of Brazilian literary works in English translation to be drawn. It became possible to suggest that such works fall into four main categories: `authorial works', 'topical works', `ambassadorial works' and `consumer-oriented works'. In order to look more closely into how the translation process has helped to shape the virtual image of Brazilian literary works in the Anglo-American world, an analysis of a sample of translations of such works was made. Included in this sample were the translations of works by Machado de Asis, by Indianist and Regionalist wirters, culminating in an examination of translations of GuimarAes Rosa's works. Having looked at these aspects of the translation process, what remained to be done was to investigate to what extent Brazilian literary works in English translation are read by the English- speaking public. To this end, a survey of availability and library readership was undertaken. Finally, a reading experiment was carried out in which native speakers of English were asked to read the short story 'A terceira margem do rio', by GuimarAes Rosa. The conclusion attempts to pull all these threads together and to indicate directions for further research.
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Schellekens, Philida M. T. A. "An edition of the Middle English romance, Richard Coeur de Lion." Thesis, Durham University, 1989. http://etheses.dur.ac.uk/6564/.
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This PhD thesis consists of an edition of four versions of RCL from the following manuscripts: MS Auchinleck, Advocates 19.2.1; MS Arundel 58, College of Arms; MS Egerton 2862, British Library; MS Douce 228, Bodleian Library, which are printed side by side in vol. 1.The text is accompanied by a full critical apparatus consisting of an Introduction, Notes, Glossary and Index of Names. The Introduction gives a description of the four manuscripts, discusses the affiliation of the four versions - with reference to the texts not printed where necessary - and deals with the language of the original text and that of the four versions. The dialect, style and use of historical sources indicate that the text of RCL, as found in ADEL, is made up of a core part, which originated in the South East, and at least nine interpolations. Internal evidence points to a date of composition of post 1250.As far as it is known, there is no one major source for RCL, nor is there evidence to prove the existence of an AN original. The main sources of the romance are the Itinerarium Peregrinorum and Ambroise's Estoire de la Guerre Sainte,-hut others are also found. The core part of the romance consists of a sober, historical narrative in which Richard I is portrayed as a military hero fighting the Saracens during the third crusade. Although much material was added subsequently, the focus on Richard and his military prowess remains the same, producing a narrative with a narrow, unsophisticated focus, in which the antipathy towards the French rather than the Saracens is striking.
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Arreguin-Bermudez, Antonio. "La intertextualidad en la novelistica de Sara Sefchovichy Luis Spota: Los escritores crean a su precursor, Dante." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280022.
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Una de las claves importantes para entender el exito de la obra narrativa de Sara Sefchovich y Luis Spota (1925--1985) es el uso de otros textos que ellos emplean en su narrativa, o sea, de la intertextualidad y en particular, La divina comedia de Dante. En esta disertacion realizamos un estudio de intertextualidad en la novelistica de los escritores mexicanos Sara Sefchovich y Luis Spota. Nos concentramos especificamente en dos obras de Sefchovich y tres de Spota. Las novelas analizadas de Sefchovich son: Demasiado amor (1990) y La senora de los suenos (1993). Los textos analizados de Spota son: Murieron a mitad del rio (1949), Casi el paraiso (1956) y Paraiso 25 (1983). En el presente estudio analizamos los textos ya mencionados bajo la optica de la intertextualidad. Identificando primeramente sus paratextos y posteriormente nos concentramos a estudiar los elementos intertextuales que aparecen implicita y explicitamente en las novelas de Sefchovich y Spota. Este estudio no se realizado aun, al menos no en lo que se refiere a las ya mencionadas novelas de Sefchovich y Spota y constituye justamente la empresa en que se inscribe el presente estudio, no con la pretension de identificar la presencia de textos diversos solamente ni comentar que estos son los unicos y definitivos elementos intertextuales, sino con el modesto proposito de ver la presencia y las intenciones de esos textos y contribuir en su exploracion.
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Chuffe, Eliud. "Teatro breve - carcajada grande: Un estudio del "Entremes de Melisendra"." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280596.
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This dissertation presents a critical edition of the Entremes de Melisendra. This entremes has been attributed to two talented writers of the Golden Age theater: Lope de Vega Carpio and Miguel de Cervantes Saavedra. The first part of this work is an introduction to the important role that the entremes , as a sub-genre, played during the period. The work then provides a structural analysis of the Entremes in detail, including versification and vocabulary. Bakhtin's fundamental work on carnaval, complemented by that of other critics, provides the framework for the analysis of the bawdy, at times grotesque, humor of the play. Chapter III explores the influence of the Romance de don Gaiferos , whose plot derives from the Emperor Charlemagne's era. Through a detailed comparison, it becomes clear that the Romance de don Gaiferos strongly influenced the creation of the Entremes de Melisendra. Moreover, examples of parody abound. Instead of calling the play Entremes de don Gaiferos, the author parodies the title and changes it to Entremes de Melisendra, indicative of the carnavalesque inversion found throughout the text. Chapter IV then analyses the complex intertextuality between the Entremes de Melisendra and Cervantes's "Retablo de maese Pedro." The theoretical background employed for the consideration of this extensive parody draws from Linda Hutcheon's work A Theory of Parody as well as that of others theorists. The edition that comprises the fifth chapter has been modernized using the rules suggested for editing comedias by Frank P. Casa and Michael D. McGaha in Editing the Comedia. It has been annotated to help readers understand some of the more complex passages. The brief conclusion then underscores the significance of this piece for understanding the artistic evolution of a Medieval romance. The transformations in plot and presentation from romance, to entremes and then to a prose recreation of a theatrical "retablo" reflect the ever-changing relationships between art and society. A series of appendices offers additional information that supports the analysis presented.
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Varon, Gonzalez Carlos. "Malos Tiempos Para La Lírica: Poesía Y Cancelación Del Espacio Público." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463125.
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This dissertation studies the sociopolitical place of poetry in Transatlantic Hispanic culture within different crises of the public realm in the wake of the Spanish Civil War. It locates a tradition of authors who question autonomy as “integrity” or “wholeness” and who produce “broken”, “unfinished”, “absent” and “unimaginable” poems. The investigation of this trope helps discover how literature understands itself in relation to war, concentration camps, dictatorship, and post-dictatorship. Authors include: César Vallejo, María Zambrano, Max Aub, Gabriel Ferrater, and Roberto Bolaño.<br>Romance Languages and Literatures
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Huerta, Marisa. "Re-reading the New World romance : British colonization and the construction of "race" in the early modern period /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174621.
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Carlisle, Allison L. "The Never-ending Quest: Possession as a Postmodern Literary Romance." Oberlin College Honors Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1245362753.
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Dineen, Mark David. "Of romance and the real information technology and social function in the evolution of romantic aesthetics /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56226.pdf.
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McIntosh, Malachi. ""Home" : emigration, identity and modern Caribbean literature." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/35526/.
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Caribbean writing is an emigrant tradition. The first waves of native-born authors from the region all spent significant portions of their lives abroad and, almost without exception, built their fame upon the desires of metropolitan audiences for knowledge of their colonies. Accordingly, the famous names of Lamming, Naipaul, Selvon, Césaire and Glissant are all stamped with a slightly less famous departure date. While many critics have noted these facts, there has been little sustained analysis of how the unique social positions and preoccupations of emigrants have affected the works of these five writers or their peers. This thesis is an attempt to address this issue. Its argument is that Caribbean emigrant authors spoke from unique social and conceptual loci. Through detailed, comparative readings of these five authors’ first major works, alongside considerations of their self-assessments, critical opinion on their oeuvres, Pierre Bourdieu’s theory of the literary field and Antonio Gramsci’s theory of the organic intellectual, the argument advanced is that although these authors actively positioned themselves, and were positioned by their readers, in such a way that their emigrant status has had its importance elided, that status is present and potent in their post-emigration works. While the concerns of these writers all altered over the course of their careers, their early experiences of emigration shaped some of their most widely read texts and resulted in a harmony between them that transcends the authors’ differing islands of origin and their later thematic and political preoccupations.
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Griffy, Henry. "Proving Genre: Robin Hood in the Literary History of Medieval English Romance through 1600." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365687253.
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Forbes, Joan S. "Women resisting romance : anti-romantic discourse in English courtship fiction, 1775-1820." Thesis, Lancaster University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364368.
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Maddern, Carole Anne. "Female mobility in medieval English romance : a study of travel and transgression." Thesis, King's College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251851.
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Miller, Susanna Louise. "The character and presentation of the courtly heroine in English medieval romance." Thesis, Cardiff University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375964.
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Breuer, Heidi Jo. "Crafting the witch: Gendering magic in medieval and early modern England." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280400.
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This project documents and analyzes the gendered transformation of magical figures occurring in Arthurian romance in England from the twelfth to the sixteenth centuries. In the earlier texts, magic is predominantly a masculine pursuit, garnering its user prestige and power, but in the later texts, magic becomes a primarily feminine activity, one that marks its user as wicked and heretical. The prophet becomes the wicked witch. This dissertation explores both the literary and the social motivations for this transformation. Chapter Two surveys representations of magic in the texts of four authors within the Arthurian canon: Geoffrey of Monmouth, Chretien de Troyes, Marie de France, and Layamon. These writers gender magic similarly (representing prophecy and certain forms of transformative magic as masculine and healing as feminine) and use gendered figures to mitigate the threat of masculine power posed by the feudal patriarchy present in England and France in the twelfth century. Chapter Three explores representations of two magical characters who appear in a group of fourteenth- and fifteenth-century romances associated with Gawain: the churlish knight and the loathly lady. The authors of these romances privilege gender conventions radically different from those in earlier models and conjure a figure neglected by the earlier writers, the wicked witch. In particular, representations of the witch as a wicked step-mother reflect the anxiety created by expanding space for women (especially mothers) in previously exclusively male arenas of English society. In Chapter Four, I follow the romance tradition into early modern England, studying the work of Malory, Spenser, and Shakespeare. For these authors, the wicked witch (alternately represented as temptress or crone) is connected specifically to maternity; the severe anxiety about maternity in these texts is representative of widespread concern about mothers and motherhood in sixteenth-century England. Chapter Five traces the legislative policy governing prosecution of witches in England and offers suggestions about the relationship between legal climates and literary representations of magic. Though prosecution of witchcraft is now extremely rare in the U.S., filmmakers still rely on medieval and Renaissance models to inform their representations of witches. Once she arrived, the witch never left.
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Reeve, Daniel James. "Romance and the literature of religious instruction, c.1170-c.1330." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:00ff0d43-6ace-49e2-a80f-cf5b6c9553fc.
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This thesis investigates the relations between romance and texts of religious instruction in England between c.1170–c.1330, taking as its principal textual corpus the exceptionally rich literary traditions of insular French romance and religious writing that subsist during this period. It argues that romance is a mode which engages closely with religious and ethical questions from a very early stage, and demonstrates the discourses of opposition in which both kinds of text participate throughout the period. The thesis offers substantial readings of a number of neglected insular French religious texts of the thirteenth century, including Robert Grosseteste's Chasteau d'Amour, John of Howden's Rossignos, and Robert of Gretham's Miroir, alongside new readings of romances such as Gui de Warewic and Ipomedon. This juxtaposition of romance narrative and religious instruction sheds new light onto both kinds of text: romance emerges as a mode with deep-rooted didactic qualities; insular French religious literature is shown to be intensely concerned with the need to compete with romance’s entertaining appeal in literary culture. This oppositional discourse profoundly affects the form of instructional writing and romance alike. The discussion of the interactions between insular French romance and instructional literature presented here also serves as a new pre-history of Middle English romance. The final chapter of the thesis offers several new readings of texts from the Auchinleck manuscript, including the canonical romance Sir Orfeo and the neglected, puzzling Speculum Gy de Warewyk. These readings demonstrate that fourteenthcentury romance intelligently adapts the material it inherits from Francophone literature to a new cultural situation. In these acts of reformation, Middle English romance reveals itself as a discursive space capable of accommodating a wide range of ethical and ideological affiliations; the complex negotiations between romance and instructional literature in the preceding centuries are an important cultural condition for this widening of possibilities.
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Graham, Elyse (Jean Elyse). "Remaking English literature : editors at work between media." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81133.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2013.<br>"June 2013." Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 63-70).<br>by Elyse Graham.<br>S.M.
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Konrad, Carolyn Louise. "L'evolution des dames dans les Rougon-Macquart." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10300329.
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<p> This study examines the representation of women in Emile Zola’s famous series Les Rougon-Macquart. Critics have described Zola’s novels and their presentation of women as misogynist, yet this judgment obscures many of the textual details establishing the female protagonists’ relationships to industrial capitalism and the rapidly changing social landscape in late nineteenth century France. This study reexamines the narrative synthesis between Zola’s naturalist “objective” narrator and his female protagonists. It also highlights one particular pairing that of Adelaide Fouque and her opportunist daughter-in-law, Felicité Puch: Whereas Adelaide, the biological matriarch of the family who figures in each of the twenty novels, does not have an active voice, Felicité as maternal <i>protectrice</i> of the family speaks frankly, even aggressively. Zola uses this pairing to link one generation to the next, a key structural element of his naturalist project. Ultimately, Zola’s representation of women is more complex than might otherwise be understood.</p>
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Emery, Meaghan Elizabeth. "Writing the fine line : rearticulating French National Identity in the divides. A cultural study of contemporary French narrative by Jewish, Beur, and Antillean authors /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382548822.
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