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1
Brearey, Oliver James. "Peripheral subjectivity and English-language Hong Kong literature." online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1451242.
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Mallory-Kani, Amy. "Medico-politics and English literature, 1790-1830| Immunity, humanity, subjectivity." Thesis, State University of New York at Albany, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3620301.
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<p> In 1796, Dr. Edward Jenner began vaccinating individuals against small pox by using matter from the pustules of the cow pox. Though extremely controversial because of its discomforting mixture of animal and human, by the end of the Romantic period, vaccination was celebrated as the safest way to immunize the British population. Through the practice of vaccination, Britain found a way to save its body politic from a destructive epidemic while affirming the strong connection between individual health and collective well-being that writers of the period like Mary Wollstonecraft, William Wordsworth, Jane Austen, and Mary Shelley recognized in their works. From the beginning then, medical immunity was inherently connected to politics; at the same time that Jenner was experimenting with vaccination, writers were debating over the most effective way to stifle the "jacobin influenza" and the "French malady," the contagious revolutionary ideas migrating to England from France. </p><p> Importantly, the use of medical terms and concepts to define the political points to the already immunological process by which modern political subjects are born, a process explored by contemporary biopolitical theorists like Roberto Esposito and which my project grounds in the historical record of early modernity. In particular, I argue that the rupture in sovereignty caused by the French Revolution, resulted in a shift in the way that political subjectivity was conceived. Individuals, rather than being constituted in relation to a transcendental sovereign whom, according to Hobbes, they created to protect themselves, instead internalize sovereign power. In a sense, the modern political subject comes into being through an essential immunization. </p><p> The discourse of what I call "medico-politics" made its way into the literature of the period. In fact, literature distinctively influenced how the modern, medicalized political subject was imagined. Capital-L literature—itself an burgeoning kind of discipline—was drafted into the immunizing project of modern politics because of the way it disciplines readers' bodies and minds. While Saree Makdisi claims that there is a "uniquely Blakean slippage between political and biological language" during the period and other critics view the relationship between literature and medicine as unilateral and metaphorical, I argue that medical practices like inoculation not only influenced literature, but became a part of literature's own self-definition as a modern discipline. </p>
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Tyson, Lois. "The commodification of the American dream : capitalist subjectivity in American literature /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487670346877265.
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Gonçalves, Taís de Lacerda. "Subjetividade em situação: a narrativa literária como possibilidade de compreensão da existência em Jean-Paul Sartre." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4985.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A articulação entre as obras filosóficas e literárias de Jean-Paul Sartre nos permite acompanhar o processo de elaboração da compreensão de subjetividade do autor. A partir do método comparativo e do método progressivo-regressivo, Jean-Paul Sartre desenvolve uma compreensão de subjetividade que tem por base a relação dialética do homem com a história, através da qual ocorre a constituição dos valores que orientam a ação humana. Buscando analisar de queforma a narrativa literária pode auxiliar o pesquisador a compreender este processohistórico, faço a leitura reflexiva dos romances que compõem a trilogia Os caminhos da liberdade de Jean-Paul Sartre, tendo por foco as vivências do personagemMathieu Delarue. Ao possibilitar que o pesquisador acompanhe o movimento deconstituição da temporalidade de um sujeito singular, a literatura contribui para que o campo da psicologia social seja capaz de criar caminhos de compreensão darealidade humana a partir da condição de abertura própria ao jogo dialético dohomem com a história.<br>The relationship between the literary and the philosophical works of Jean-Paul Sartre allows us to follow the development of the author's understandingof subjectivity. From the comparative method and the progressive-regressive method,Jean-Paul Sartre develops an understanding of subjectivity that is based on thedialectical relationship between man and history, in which occurs the formation of thevalues that guide human action. In order to analyze how literary narrative may helpresearchers to understand this historical process, I propose to do a reflective readingof the novels that compose the trilogy The paths of freedom of Jean-Paul Sartre focusing on the experiences of the character Mathieu Delarue. By enabling theresearcher to track the movement of constitution of the temporality of a singularindividual, I consider that literature contributes to social psychology's field to create ways of understanding human reality by respecting the dialectic that exists between man and history.
5
Wilson, Scott. "Elizabethan subjectivity and sonnet sequences." Thesis, Cardiff University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293055.
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Efstratiou, Dimitris. "Disintegration of essence and subjectivity : the poetry of Charles Baudelaire and T.S. Eliot." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/79630/.
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This thesis elaborates upon Charles Baudelaire and T. S. Eliot's poetic negotiation of the erosion of the essentialist cognitive and moral foundations that hypothetically monitor human praxis and cement a stable subjectivity on the basis of the human subjects' co-inhering in a common horizon of understanding. I contend that Baudelaire's work consciously belaboured the collapse of vaulting cognitive frameworks and testimonial accountability in a way that reveals both the historical and trans-historical dimensions of the non-integratability of experience within a modem economy of existence. His work eschews the trappings of both aestheticism (history being one of its explicit and pervasive concerns) and historicism, since it reveals parameters of the reification of organic experience that are intrinsic to language and specific to the mnemonic abridgement of the subject's experiential trajectory. Moreover, Baudelaire's poetry compels the critique of the aesthetic abstraction from the social being of man, and solicits scepticism vis-a-vis straight historicism's teleological infrastructures and collateral crypto-transcendentalist angles. The examined poetry exposes the inner complicity of the two perspectives in question latent beneath their surface mutual closure. I examine T. S. Eliot's work in order to address the anti-essentialist motifs of his poetry in counterpoint to his literary criticism, and reveal the dialectic of cultural determinism (mostly materialising in the latter) and radical impersonality that resumes modernity's aporetic necessity to deploy egological categories within an agenda that has invalidated any notion of essence fundaments sustaining human experience. His poetry's homeopathic re-enactment of the experiential fragmentation that it thematically laments constitutes the privileged terrain whereupon essentialist construals of human subjectivity and history can be revealed to be inherently ideological. I have throughout drawn on Walter Benjamin's understanding of allegory and memory, along with Paul de Man's enhancement of the antagonism of the material and transcendental axes endemic in language and cognitive anchoring. This thesis explores the problematisation of essentialist configurations of subjectivity and history in the poetry of the archetypal poet of modernity, and the mutations they submitted to when they were inscribed within an aesthetic and political agenda that was far more reluctant to relinquish egological paradigms of communication and subjectivity. The underlying concern has been to elucidate Baudelaire's 'inexhaustible wealth of responsiveness vis-a-vis the collapse of organic experience, and his resistance to both historicist and reductively aesthetic appropriations. This thesis has aimed to analyse his treatment of experiential disintegration as an effect of historical juncture along with his welcoming address of cognitive and experiential reification as the outcome of the differential and semiotic character of language and memory.
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Hogan, Kathryn J. "Student subjectivity and the study of literature : the possibility of free space /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9388.
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Ettari, Gary. ""That within which passeth show" : the dialectics of early modern subjectivity /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/9383.
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Tyson, Lois Marie. "The commodification of the American dream : capitalist subjectivity in American literature." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1294937169.
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Rae, Allan. "The age of the screen : subjectivity in twenty-first century literature." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/24044.
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The screen, as recent studies in a number of fields indicate, is a cultural object due for critical reappraisal. Work on the theoretical status of screen objects tends to focus upon the materialisation of surface; in other words, it attempts to rethink the relationship between the supposedly 'superficial' facade and the 'functional' object itself. I suggest that this work, while usefully chipping away at the dichotomy between the 'superficial' and the 'functional', can lead us to a more radical conclusion when read in the context of subjectivity. By rethinking the relationship between the surface and the obverse face of the screen as the terms of a dialectic, we can ‘read’ the screen as the vital component in a process which constitutes the Subject. In order to demonstrate this, I analyse productions of subjectivity in literary texts of the twenty-first century — in doing so, I assume the novel as nonpareil arena of the dramatisation of subjectivity — and I propose a reading of the work of Jacques Lacan as hitherto unacknowledged theorist par excellence of the form and function of the screen. Lacan describes, with the function of desire and the formation of the screen of fantasy, the primary position this ‘screen-form' inhabits in the constitution of the Subject. Lacan’s work forms a critical juncture through which we must proceed if we are to properly read and understand the chosen texts: The Book of Strange New Things by Michel Faber; The Tain by China Miéville; Oryx and Crake by Margaret Atwood; and Austerlitz by W.G. Sebald. In each text, I analyse the particular materialisations of the screen and interrogate the constitution of the subject and the locus of desire. By analysing the vicissitudes of subjectivity in these texts, I make a claim for the study of the screen as constituting a central question in the field of contemporary literature.
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Matheson, Mark H. "Politics and subjectivity in Shakespearian drama." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314425.
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Ebert, Martina. "The interaction of subjectivity and ideology in the novel." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1315340396.
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Poon, Siu-Mui. "Subjectivity and modernity : contemporary Chinese literature and culture from a comparative perspective." Thesis, University of Leeds, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391531.
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Walby, Celestin J. "Answering looks of sympathy and love : subjectivity and the narcissus myth in Renaissance English literature /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3144464.
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Soto, Sandra Kay. "Sexing Aztlán : subjectivity, desire, and the challenge of racialized sexuality in Chicana/o literature /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008451.
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Kwan, Wing-ki Koren. "Experiments in subjectivity a study of postmodern science fiction /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3681250X.
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Msiska, Hangson Burnett Kazinga. "Gendered subjectivity : a study of gender ideology in contemporary African popular literature." Thesis, University of Stirling, 1989. http://hdl.handle.net/1893/24392.
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This is a study of gender ideology in African popular literature published from the seventies onwards. First the thesis argues that, far from being merely the demonised Other of high literature, contemporary African popular literature can be profitably studied as a distinct modality of ideological signification. Secondly, it is argued that there are three dominant modes of representation of gender ideology in contemporary African popular literature. There is the conservative model which merely reproduces dominant gender ideology in a fictive modality. Then there are those texts which operate with a liberal model of ideological representation, within which the principle of pragmatic management of crisis within gender ideology is contained by an ideological ambivalence. The third mode of representation of dominant gender ideology employs a radical reading of gender difference and goes beyond mere analysis to envisioning the possibility of gender egalitarianism. Each mode of representation is illustrated by an in-depth study of select texts. All in all, what is offered is a materialist theory of cultural authenticity and taxonomy.
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Gordon, Robert S. C. "Pier Paolo Pasolini and the work of subjectivity." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283965.
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Santos, Oscar de los. "The concealed dialectic : existentialism and (inter)subjectivity in the postmodern novel /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487843314695495.
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Takehana, Elisabet 'Osk. "Chuck Palahniuk and Jean Baudrillard: The terminal state of human subjectivity." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3039.
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Examines Chuck Palahniuk's novel Invisible monsters using the theories of Jean Baudrillard as a lens through which to better understand Palahniuk's commentary on the effects mass media have on human subjectivity in the terminal state.
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Peters, Stephen. "Language, subjectivity, and meaningful change." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95245.
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Drawing from analyses of both fiction (Chinua Achebe's novel Things Fall Apart and Franz Kafka's short story A Report to an Academy) and graduate student writing, this thesis discusses the relationship between individuals and language. I start from the premise that our attempts to make meaning of ourselves and the world around us depend on the cultural patterns of language use we either voluntarily or are obliged to acquire. In three independent but related chapters, I explore the implications of this premise for subjectivity formation, paying particular attention to the ways we know ourselves, our ability to engage in critical reflection, and the manner in which we represent ourselves in language. The overall goal of this thesis is to examine the possibilities and limitations of individual autonomy and agency in social discourse. Together, these three chapters serve to outline some considerations for conceptualizing the participation of the subject in social change by identifying the function of language learning to transition and integrate individuals into particular cultural contexts.<br>Basée à la fois sur l'analyse d'uvres de fiction (Chinua Achebe's Things Fall Apart, et Franz Kafka's « A Report to an Academy ») et sur des travaux rédigés par des étudiants de second cycle, cette thèse traite de la relation entre les individus et la langue. Je pars du postulat que les efforts que nous mettons pour tenter de comprendre qui nous sommes et le monde dans lequel nous vivons dépendent des schémas culturels d'usage linguistique que nous acquerrons volontairement ou sommes forcés d'acquérir. Dans trois chapitres indépendants mais interreliés, j'explore l'influence de ce postulat sur la formation de la subjectivité, en portant une attention particulière sur la manière dont nous nous connaissons nous-mêmes, sur notre capacité à faire preuve de réflexion critique et sur notre façon de nous représenter à travers la langue. L'objectif général de cette thèse est d'examiner les possibilités et les limitations du positionnement et de l'autonomie individuelle au sein du discours social. Ensemble, ces trois chapitres suggèrent certaines avenues permettant de conceptualiser la participation du sujet dans le changement social, en identifiant la fonction d'apprentissage de la langue afin de permettre aux individus de s'adapter et de s'intégrer dans des contextes culturels particuliers.
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Sidhu, Amrita Kaur. "Subjectivity and haunting in the fiction of Charlotte Bronte." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271019.
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This thesis offers an exploration of subjectivity in the work of Charlotte Bronte, and conceives of her unique subjective voice in terms of the ghostly. This particular vision of subjectivity is characterized by certain moments of intensity in the fiction, in which very powerful emotions such as grief and loss are figured as a type of psychical haunting. It therefore seeks a new understanding of self-representation in Bronte's first-person novels, through a poetics of haunting and spectrality. These moments of psychic intensity will be analysed partly through the use of certain key psychoanalytic models, such as Freud's 'The Uncanny' and Abraham and Torok's theories of secrecy and 'hiding' in texts, and through the 'spectral' as it is explained by Terry Castle in The Female Thermometer. Beginning with a discussion of 'Charlotte Bronte's Gothic,' it demonstrates that psychical haunting creates a kind of gothic mode in Villette, one that underlies the ideas in the proceeding chapters. The spectral is then examined in Bronte's novels as a function of pseudoscientific readings that often involve looking or 'seeing'. The subject in this case is positioned as an observer, and demonstrates how seeing can often be a kind of hallucination or even a form of ghost-seeing. Additionally, subjectivity will be analysed in relation to letters in the novels-texts that have a highly personal yet ambiguous role. They often become symbols of the intense emotion that are integral to Bronte's subjective voice. This intensity will be mapped out in the final chapter through its recurrence in the work of various poets from the nineteenth century to the nineteen-seventies. In these works Bronte is a troublesome ghost or presence that, despite their efforts to contain, is haunting in its evocation of the difficulties of responding to, or of representing, subjectivity in literature.
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Smuts, Merriman Eckard. "Embedded subjectivity in the work of J.M. Coetzee." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/18698.
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Thesis (MA)--University of Stellenbosch, 2007.<br>ENGLISH ABSTRACT: This thesis is the result of an immersion in the work of J.M. Coetzee. I have taken
various of Coetzee’s novels, namely Elizabeth Costello: Eight Lessons, Disgrace, The
Master of Petersburg, Foe, Life & Times of Michael K and Slow Man, and constructed
readings of these novels from the inside out. The overarching concern of the
dissertation is the notion of subjectivity and Coetzee’s methods of representing
subjectivity. It is my contestation that the experience of authentic subjective
awareness arises from the process of reading itself. It is not a state of being that is
described by the text, but rather a layered constellation of substitutive exchanges that
emerges from the process of textual relation. The notion of embeddedness serves as a
description of the way in which the text materializes this experience of subjectivity.
The structure of exploration in each chapter has taken as its paradigm a conceptual
concern arising from the text itself. In the first chapter (Elizabeth Costello) the
concern is with structure itself. The character of Elizabeth struggles against the
limitation inherent in the process of representation; this struggle is read as an
indication of authentic subjective experience in the face of reduction to a system of
codes. The second chapter (Disgrace) attempts to formulate the dynamic of
subjective awareness in romantic terms. I construct a reading of Lurie’s predicament
in terms that arise from his conceptual environment, in order to indicate the primacy
of textual materiality as the locus of subjective awareness. The notion of the classic
informs the third chapter (The Master of Petersburg). I use an essay by Coetzee to
delineate a conception of the classic, which is then applied as a theoretical framework
for an exploration of Dostoevsky’s pursuit of his stepson. The fourth and last chapter
(Foe, Life & Times of Michael K and Slow Man) focuses on Coetzee’s use of the body
as a figure for embedded subjectivity. It emerges that the body as a trope of
embeddedness forms an important aspect of Coetzee’s work throughout his career.
As such it is a very suitable figure for describing the dynamics of embeddedness as a
mode of representation that aligns itself with the textual materiality of subjective
being.<br>AFRIKAANSE OPSOMMING: Hierdie tesis het ontstaan as die gevolg van ‘n noukeurige ondersoek na die werk van
J.M. Coetzee. Ek het myself laat begelei deur die inhoud van verskeie van Coetzee se
boeke, naamlik Elizabeth Costello: Eight Lessons, Disgrace, The Master of
Petersburg, Foe, Life & Times of Michael K en Slow Man, om intensiewe lesings van
hierdie boeke te konstrueer. Die oorkoepelende bemoeienis van die verhandeling is
die konsep van subjektiwiteit en Coetzee se metodes van subjektiewe voorstelling.
Ek beweer dat die ervaring van outentieke subjektiewe gewaarwording gesetel is in
die leesproses. Dit is nie ‘n toestand van wese wat deur die teks beskryf word nie,
maar eerder ‘n verweefde raamwerk van substituwe wisseling wat kom uit die proses
van tekstuele relasie. Die konsep van inlywing (“embeddedness”) dien as 'n
beskrywing van die manier waarop die teks hierdie ervaring van subjektiwiteit
konkretiseer.
Die struktuur van ondersoek in elke hoofstuk neem as paradigma 'n konsepsuele
vraagstuk wat reeds gesetel is in die teks. In die eerste hoofstuk (Elizabeth Costello)
is die bemoeienis met struktuur as sodanig. Elizabeth se karakter stry teen die
inperking wat noodwending saamgaan met die proses van voorstelling; hierdie stryd
word gelees as 'n aanduiding van outentieke subjektiewe ervaring teenoor die druk
van vermindering tot 'n stel kodes. Die tweede hoofstuk (Disgrace) poog om die
dinamiek van subjektiewe bewustheid te formuleer in terme wat afkomstig is van die
romantiek. Ek konstrueer 'n lees van Lurie se toestand in terme wat kom van sy
konsepsuele omgewing, om sodoende die voorrang van tekstuele materialiteit as die
lokus van outentieke subjektiwiteit aan te dui. Die konsep van die klassieke belig die
derde hoofstuk (The Master of Petersburg). Ek gebruik 'n essay van Coetzee om 'n
begrip van die klassieke te formuleer, wat dan toegepas word as 'n teoretiese
raamwerk waarbinne Dostoevsky se soeke na sy stiefseun ondersoek word. Die
vierde en laaste hoofstuk (Foe, Life & Times of Michael K en Slow Man) fokus op
Coetzee se gebruik van die liggaam as 'n figuur vir ingelyfde subjektiwiteit. Dit blyk
dat die liggaam as 'n figuur van inlywing 'n prominente aspek van Coetzee se werk
vorm deur sy loopbaan. As sodaning is dit 'n baie handige figuur om die dinamiek van inlywing te beskryf as 'n modus van voorstelling wat sigself koppel aan die
materialiteit van die teks.
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Kinnison, Dana K. "Defiant landscapes : space and subjectivity in early twentieth-century women's farm novels /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9904853.
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Tate, Trudi. "Modernist fiction and the First World War : subjectivity, gender, trauma." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296653.
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Kingman, John Philip. "Boris Pil'niak and the crisis of subjectivity : an intertextual approach." Thesis, University of Sheffield, 1999. http://etheses.whiterose.ac.uk/3058/.
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By demonstrating the limitations of selected models of intepretation employed to date in the analysis of the works of Boris Pil'niak, this thesis explores the role of the subject both as textual protagonist and reader, recasting the texts under discussion as expressions of both the nature of the dual status of the individual as both object and subject, and the attempt to come to terms with this condition. In so doing it draws on a variety of intertextual sources. Chapter I is devoted to an appraisal of the value of inter-media modelling in the light of the concept of Modernism, and chapters 2 to 5 investigate further aspects of modelling both in terms of analytical strategy, and the fictionalization of personal existence. Chapter 2, through an analysis of Iseldia zhizn', introduces the question of the inescapability of subjectivity in the compulsive modelling process. Chapter 3, devoted to Ivan-da-Maria, exposes the frustration that inheres in the incommunicability of subjectivity, and chapter 4, through the medium of Tretia stolitsa, discusses the question of isolation that is a function of that incommunicability. The analysis of Ivan Moskva which comprises Chapter 5 explores the nature of the exertion required to construct a viable, objectifying model of existence, and the consequences of the degradation of the will to maintain faith in it. Chapter 6 expands on the limitations of language in the process of communication, self-determination and integration. Using Heidegger's concept of inauthentic existence as a descriptive tool, the thesis concludes that, although the diagnosis of inauthenticity is appropriate to the mode of existence portrayed in the texts discussed, textually there is no viable alternative, and existence can be prosecuted only through a personal illusion of objectivity.
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McCorry, Seán. "Animal/machine : technology, subjectivity, and species in postwar literature and culture, 1945-1970." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/11352/.
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Emerging work in animal studies and posthumanist theory has revealed the species boundary to be a site of contestation, where species identities are dissolved and refashioned according to the pressures of historical contingency. Cold War cultural criticism has shown that the years following the Second World War were marked by anxieties concerning the hegemony of technological reason, and in particular the new potential for mass death made possible by the technological militarism of the Cold War states. This period might be understood as a transition to ‘late modernity’, where the classical subject of humanism is everywhere being put under erasure by the emergence of technological forces which appear to diminish human agency and autonomy. For postwar critics of technology, these new forces threaten to bestialise the human, and I aim to show how figures of animality are central to the cultural work of respecifying human subjectivity in response to its dispersal by technology. This thesis traces the points of connection between the discourses of animal studies and Cold War criticism. Animal studies provides an account of the formation of the humanist subject of modernity through its abjection or transcendence of animality. I contend that this analysis must be supplemented by a closer attention to the culture of the postwar decades, where the more confident humanism of ‘high’ modernity is placed into crisis by the dominance of technological reason. At the same time, I aim to contribute to Cold War criticism through my contention that its key preoccupations—including individualism and mass culture, social conformism, technological anxieties and nuclear conflict—are articulated through a discourse of species that has remained largely unexamined. This thesis covers a range of materials including mid-century farm fictions, science fiction critiques of mass culture, critical-theoretical indictments of instrumental reason, and the military discourses of nuclear strategists. I argue that in all of these textual locations human subjectivity is revealed as precarious, threatened by the dual pressures of technological development and imperfectly transcended animality.
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Laudig, Amanda Harris Charles B. "The pedagogical triangle using subjectivity as a teaching and learning tool in the introductory literature classroom /." Normal, Ill. Illinois State University, 2000. http://wwwlib.umi.com/cr/ilstu/fullcit?p9986986.
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Thesis (Ph. D.)--Illinois State University, 2000.<br>Title from title page screen, viewed July 31, 2006. Dissertation Committee: Charles B. Harris (chair), William W. Morgan, Douglas D. Hesse. Includes bibliographical references (leaves 206-212) and abstract. Also available in print.
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Cline, Gretchen Sarah. "The psychodrama of the "dysfunctional" family : desire, subjectivity, and regression in twentieth-century American drama." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1239798174.
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Díaz-Cid, César. "Sujeto y nación en la configuración de la literatura autobiográfica chilena /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/8302.
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Parkhurst, Joseph Lanius. "The rhetoric of subjectivity: The written self in the autobiographical writings of Hawthorne, Adams and James." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185137.
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The study takes the measure to which "self" and "self-representation" do not coincide in autobiography. Each of the writers in this study--Nathaniel Hawthorne, Henry Adams, and Henry James--writes an autobiography that consciously divides the writing-self from the written-self. Each does this at least in part as a result of his discomfort with the patriarchal culture of nineteenth-century America. Never fitting the normative models of male action in the areas of commerce and politics, each uses his autobiographical writing to construct himself along the model of the "other." This gesture requires presenting the self as a cultural construct, fabricated in a language that is always already alienated from the writing subject. As such, the signifiers of personal and social identity are manipulable in a pervasive rhetoric of subjectivity, a rhetoric supremely adapted to the literary enterprise of autobiography. In "The Custom-House," Hawthorne insists on the separateness of the sign of the self from the signified. This separateness permits the author a dilatory space which keeps him unreadable even while being read, a gesture he reproduces in The Scarlet Letter, which is read as a fictional extention of the same rhetoric of illegibility that he presents in the autobiographical preface. In The Education of Henry Adams, Adams presents a self which figuratively corresponds to a text. The "self" is a palimpsest of all the influences that have been inscribed on it, and the job of the autobiographer is to edit that palimpsest into a self/story. Fashioning a self, therefore, is consubstantial with fashioning a book, and the two activities coincide in the autobiography. Notes of a Son and Brother shows James purporting a complementary relationship between reader and writer, whereby a reader lives in and completes the life of a writer. In the memoir, James's commemorative task as reader of the family's letters allows him to appropriate the historical personages through the acquisition of their writing. In this way, autobiography (both the activity and the product) and the self are no longer supplemental to others but originary and self-realizing.
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Wong, Tee-vee Vivian, and 黃天慧. "Between self and subjectivity: women in threenovels by Jean Rhys." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227995.
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Franck, Kaja. "The development of the literary werewolf : language, subjectivity and animal/human bounderies." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/17669.
Full textAbstract:
The werewolf is a stock character in Gothic horror, exemplifying humanity's fear of 'the beast within', and a return to a bestial state of being. Central to this is the idea that the werewolf is, once transformed, without language. Using an ecoGothic approach, this thesis will offer a new approach in literary criticism regarding the werewolf. It argues that the werewolf has become a vehicle for our ambivalence towards the wolf, which itself has become a symbolic Gothic Other. Using interdisciplinary source materials, such as natural histories, fairy tales, and folklore, the notion of the 'symbolic wolf' is interrogated, particularly in relation to the dangers of the wilderness. Starting with Dracula, at the end of the nineteenth century, and finishing with an analysis of the contemporary, literary werewolf, this work explores how the relationship between humans and wolves has impacted on the representation of the werewolf in fiction. In particular, it will critique how the destruction of the werewolf is achieved through containing the creature using taxonomic knowledge, in order to objectify it, before destroying it. This precludes the possibility of the werewolf retaining subjectivity and reinforces the stereotype of the werewolf as voiceless. Following the growing awareness of environmentalism during the late twentieth century and, as humanity questions our relationship with nature, clear divides between the animal and the human seem arbitrary, and the werewolf no longer remains the monstrous object within the text. Central to this is the concept of the hybrid 'I' which this thesis exposes. The hybrid 'I' is a way of experiencing and representing being a werewolf that acknowledges the presence of the lycanthrope's voice, even if that voice is not human. Subjectivity is shown to be complex and myriad, allowing for the inclusion of human and non-human animal identities, which the werewolf embodies.
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Berte, Leigh Ann Litwiller. "Locomotive subjectivity : the railroad, literature, and the geography of identity in America, 1830-1930 /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/9471.
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Taylor, Michelle Marie. "From sentiment to sagacity to subjectivity: dogs and genre in nineteenth-century British literature." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6303.
Full textAbstract:
My dissertation examines the ways that canine roles affect genre—the categories into which we place works of literature, which shape their forms and which in turn shape our expectations of what we read. For instance, if epitaphs and elegies are at least partially meant to usher the dead into heaven and praise the dead’s suitability for a Christian afterlife, what happens when the subject is a dog denied a soul by Christianity? These are the kinds of questions I address. In addition to epitaphs and elegies, I consider detective and sensation fiction as well as dog autobiographies—works of fiction written from the dog’s perspective—to explore how taking the dog as a subject forced the conventions of certain genres to change, or in the case of detective and sensation fiction, how dog-like ways of knowing helped to birth a new genre altogether. In either case, what is important is that the generic changes signal a less human-centered approach to literature: one which opens animals up to be the possessors of souls, intelligence, and subjectivity. These changes paved the way for the Victorians to consider animals as beings worthy of compassion and respect.
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Kwan, Wing-ki Koren, and 關詠琪. "Experiments in subjectivity: a study of postmodern science fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B3681250X.
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Richardson, Julie. "At a loss for words, probing subjectivity in Anne Sexton's The book of folly." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20984.pdf.
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Azim, Firdous. "The novel's imperial past : subjectivity and sexuality in the fictional writings of Charlotte Bronte." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271066.
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Serls, Tangela La'Chelle. "The Spirit of Friendship: Girlfriends in Contemporary African American Literature." Scholar Commons, 2017. https://scholarcommons.usf.edu/etd/7442.
Full textAbstract:
The Spirit of Friendship: Girlfriends in Contemporary African American Literature examines spiritual subjectivities that inspire girlfriends in three contemporary novels to journey towards actualization. It examines the girlfriend bond as a space where the Divine Spirit can flourish and assist girlfriends as they seek to become actualized. This project raises epistemological questions as it suggests that within the girlfriend dynamic, knowledge that is traditionally subjugated is formed and refined. Finally, girlfriend epistemology is considered in light of Black Girl Magic, a contemporary social and cultural movement among Black women.
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Wadden, Paul Harris Victoria Frenkel. "Doubling and the holotropic urge the dialogical rhetoric of subjectivity in Robert Bly and Adrienne Rich /." Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9924356.
Full textAbstract:
Thesis (Ph. D.)--Illinois State University, 1998.<br>Title from title page screen, viewed July 18, 2006. Dissertation Committee: Victoria Frenkel Harris (chair), Charles B. Harris, Douglas D. Hesse. Includes bibliographical references (leaves 243-260) and abstract. Also available in print.
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Hediger, Ryan R. "Embodying ethics : at the limits of the American literary subject /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190521.
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Thesis (Ph. D.)--University of Oregon, 2005.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 219-230). Also available for download via the World Wide Web; free to University of Oregon users.
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Burke, John M. "The death and return of the author : criticism and subjectivity in Barthes, Foucault and Derrida." Thesis, University of Edinburgh, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236180.
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Hester-Williams, Kim D. "(Re) making freedom : representation and the African American modernist text /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9945691.
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Triki, Mounir. "Linguistic and perceptual subjectivity : towards a typology of narrative voice." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328391.
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Weise, Wendy Suzanne. "Gender, Genre, and the Eroticization of Violence in Early Modern English Literature." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195129.
Full textAbstract:
In an analysis of literary and historical documents from the sixteenth to the early eighteenth centuries, Gender, Genre, and the Eroticization of Violence in Early Modern English Literature examines depictions of love, beauty, and desire and identifies within these discourses a rhetoric of violence. It explores how eroticized violence can be deployed to privilege male speakers and silence female voices. It also reveals, by pairing female- and male-authored works that make specific claims to represent gendered experience that early modern writers both recognized the mechanisms of violent representation as literary conventions and realized they could be deployed, exploited, resisted, fashioned to new ends. By integrating feminist psychoanalytic, film and architectural theories with literary analysis, this study demonstrates how spatial topographies in literary works can function as stimuli that provoke desire to turn violent. Gender, Genre, and the Eroticization of Violence ultimately identifies how this body of literature constructs and maintains genders and points to violence as a structural principle, bound by the hydraulics of subjectivity and cultural anxieties about gender, class, and literary production. Finally, this study identifies the residue of early modern ideas about desire and violence in the materials of our modern culture.
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Coral, Jordi. "The subjectivity of revenge : Senecan drama and the discovery of the tragic in Kyd and Shakespeare." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/13995/.
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This thesis re-examines the relationship between Senecan drama and the emergence of the public tragedy of the 1580s and '90s. In criticism, this relationship has been understood as a continuation of the 'influence' Seneca had been exerting on the Universities and the Inns-of Court since the 1560s. This thesis challenges this established view on the grounds that it fails to explain the innovativeness of the public tragedies: the formative impact of Seneca could not be the same on conventional academic authors as on creative public dramatists. Chapter I of this thesis explores and formulates this unresolved problem. Challenging the established view depends on the possibility of a Seneca who could offer a tragic vision alternative to academic moralism. Chapter II is concerned with showing that the plays ofthis Seneca dramatize not moral certitudes but tragic contradictions - the 'tragic' Seneca is made possible by an unstable conception of the individual - who is simultaneously individual and social, or individual because social. The privileged tragic expression of this ambiguous selfhood is revenge. Essentially, this thesis attempts to demonstrate that Senecan revenge so understood was fundamental to the earliest masterpieces of public revenge tragedy, The Spanish Tragedy and Titus Andronicus, and that Kyd's and Shakespeare's new treatment of revenge was facilitated by a rediscovery of Senecan tragedy as opposed to Senecan sensationalism. Chapters III and IV (on The Spanish Tragedy) and Chapter V and VI (on Titus Andronicus) attempt to show that this recognition has been impeded by the inadequate notion of revenge that has dominated modem criticism. Founded upon the orthodox pieties that Kyd and Shakespeare challenge, much of this criticism has obscured the distinctiveness of the Senecan avenger as against the Machiavel. This thesis conceives the would-be a-social Machiavel and the highly-socialized avenger in opposition to each other, but in order to reveal the inescapable social condition of the individual in both cases. At its moment of inception public revenge tragedy appears as a synthesis of tradition and modernity, social commitment and individual endeavour.
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Shaw, Barbara Lorraine. "(Re)mapping the black Atlantic violence, affect, and subjectivity in contemporary Caribbean women's migration literature /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7172.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.<br>Thesis research directed by: American Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Geustyn, Maria Elizabeth. "Representations of slave subjectivity in post-apartheid fiction : the 'Sideways Glance'." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85854.
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Thesis (MA)-- Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: Over the past three decades in South Africa, the documentation of slave history at the Cape
Colony by historians has burgeoned. Congruently, interest in the history of slavery has
increased in South African letters and culture. Here, literature is often employed in order to
imaginatively represent the subjective view-point and experiences of slaves, as official
records contained in historiography and the archive often exclude such interiority. This thesis
is a study of the representations of slave subjectivity in two novels: Rayda Jacobs’s The Slave
Book (1998) and Unconfessed (2007) by Yvette Christiansë. Its task is to investigate and
traverse the multitude of readings made possible in these literary representations, and then to
challenge such readings by juxtaposing the representational strategies of the two novels.
Both primary texts are works of historical fiction that, in different ways, draw on the
archive and historiography in order to grant historical plausibility to their narratives.
Engaging with the distinct methods with which they approach and interpret such historical
information, I adopt the terms “glimpsing” and “reading sideways”. Throughout this study, I
engage each of these methods in order to demonstrate the value, and limits, of each technique
in its engagement with the complexities of representing slave subjectivity in the wake of its
(predominant) occlusion from historical and official data. Chapter One presents a brief overview of the emergence of the slave past in
historiography and public spaces. Following Pumla Gqola’s statement that “slave memory
[has] increase[d] in visibility in post-apartheid South Africa”, I move to a discussion of the
theoretical perspectives on (re)memory as employed by writers of fiction that exemplify “a
higher, more fraught level of activity to the past than simply identifying and recording it ”
(“Slaves” 8) . In turn, I identify the imperative archival silence places on authors to write
about slaves, and the relevance of genre in this undertaking. Specifically, I consider the
romantic and tragic historical fiction genres as they are utilised by Jacobs and Christiansë in
approaching representations of slave subjectivity, and how this influences emplotment.
Chapter One concludes with a brief exposition of the literary representations offered by
Unconfessed and The Slave Book.
Chapter Two presents a detailed study of Rayda Jacobs’s The Slave Book as a novel of
historical fiction. Jacobs takes up a methodology of “glimpsing” at the slave past through the
representations available in historiography. I trace the moments at which the text seeks to
convey slave subjectivity, within and without historical discourses, through such “glimpses”, and show how they are employed to establish a focus on interiority and to humanise slave
characters.
Chapter Three focuses on Yvette Christiansë’s Unconfessed and explores its explicit
engagement with silences surrounding the protagonist Sila van den Kaap’s historical presence
in the Cape Town Archives. I read Christiansë’s representation of these silences as “acts of
looking sideways” at the discursive practices inherent in the historical documentation of slave
voices that enact her resistance to “filling” these silences with detailed narrative. I argue that
the various forms of silence in the narrative allow for a deeper understanding of the injustices
and oppression suffered by Sila van den Kaap, and that it is these silences, ironically, which
grant her voice.
Chapter Four presents a comparison of the novels and their respective representational
techniques of “glimpsing” versus “looking sideways”. While the distinct efficacy and
implication of each approach is critically evaluated, both are ultimately found to make an
invaluable addition to the literary exploration of slave subjectivity as attention is drawn to the
interiority of each text’s characters.<br>AFRIKAANSE OPSOMMING: Oor die afgelope drie dekades, het die dokumentasie wat opgelewer is deur historici in Suid-
Afrika met betrekking tot die slawe in die Kaapkolonie floreer. Ooreenstemmend, het
belangstelling in die geskiedenis van die slawe in die gebied van kultuur en letterkunde
toegeneem. In hierdie konteks, word literatuur dikwels in diens geneem om op ‘n
verbeeldingsryke manier die subjektiewe standpunt en die bestaan van die slawe te
verteenwoording, wat vroeër in amptelike rekords dikwels sodanige innerlikheid uitsluit.
Hierdie tesis is 'n studie van die voorstellings van slaaf subjektiwiteit in twee romans: Rayda
Jacobs se The Slave Book (1998) en Unconfessed (2007) deur Yvette Christiansë. Dit beoog
verder om ondersoek in te stel na die menigte lesings in literêre voorstellings en sodanige
lesings uit te daag deur die vergelyking van die twee betrokke tekste.
Ek neem die "skramse” en "sywaartse" sienings as metodiek vir die eien en
interpretasie van argief-materiaal in die twee tekste. Deurgaans in hierdie studie gebruik ek
hierdie metodieke op hulle beurt ten einde die waarde van elke tegniek te demonstreer, in
terme van die voorstellingshandeling wat elk gebruik om slaaf subjektiwiteit te
verteenwoordig.
In Hoofstuk Een, word teoretiese perspektiewe oor ‘herinnering’ soos dit bestaan as
gevolg van, en ten spyte van, die argief, beskryf en ontleed. In my oorsig van die rol en doel
van die argief sowel as die onthou van 'n slaaf verlede in die hedendaagse Suid-Afrika, word
benaderings wat in verskeie velde onderneem is om slawerny en sy slagoffers uit te beeld, ook
in ag geneem. Ek identifiseer die noodsaaklikheid wat “stiltes” in die argief op skrywers plaas
om oor slawe te skryf, asook die relevansie van die genre in hierdie onderneming. Ek kyk
spesifiek na die romantiese en historiese fiksie genres soos hulle deur Jacobs en Christiansë
gebruik word in hul voorstellings van slaaf subjektiwiteit, en hoe dit voorstellingshandeling
beïnvloed. Hoofstuk Een word afgesluit met 'n kort uiteensetting van die literêre voorstellings,
soos uitgebeeld in The Slave Book en Unconfessed. Hoofstuk Twee is 'n ondersoek na die funksie van Rayda Jacobs se The Slave Book as
'n historiese fiksie-roman. Jacobs se roman bepeins die geskiedenis van slawerny deur die
voorstellingshandeling van ‘n "skramse kyk”. Ek ondersoek die waarde van die romanse wat
in die roman opgeneem word, sowel as Jacobs se gebruik van historiografie om haar verhaal
te ondersteun.
Hoofstuk Drie fokus op Yvette Christiansë se Unconfessed en die wyse waarop die
slaaf karakter as protagonis die stiltes as gemarginaliseerde aan die leser kommunikeer, en daaropvolgend, die wyse waarop die historiese figuur, ten spyte van die stiltes in die argief,
kommunikeer. Hierdie metodiek bestempel ek as die "sywaartse kyk". Ek argumenteer dat die
stiltes in die roman ‘n leemte laat vir 'n dieper begrip van die onreg en onderdrukking wat
deur die protagonis gely word, en dat, ironies genoeg, dit hierdie stiltes is wat aan haar ‘n
“stem” gee.
Hoofstuk Vier is 'n vergelyking tussen die romans en hul doeltreffendheid. Altwee
tekste, van ewe belang nagaande die bevordering van subjektiwiteit van slawe tydens die
Kaapkolonie, beslaan elk 'n ander benadering tot die argief en geskiedenis self. Dit is met
hierdie perspektiewe waarmee hierdie studie omgaan.
Beide tekste vorm ‘n waardevolle toevoeging tot die literêre verkenning van slaaf
subjektiwiteit deurdat aandag op die innerlikheid van elke teks se protagoniste gevestig word.
Verder, deurdat die tekste met historiografie en die argief omgaan, spreek hulle diskursiewe
kwessies rakende slaaf subjektiwiteit en die voorstellings daarvan aan.
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Fick, Angelo Carlo. "Limited possibilities : agency and subaltern subjectivity in four South African allegories." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/17940.
Full textAbstract:
Bibliography: pages. 197-211.<br>This thesis examines the representation of the negotiation of black women's subjectivity in four South African allegorical novels. Using aspects of postmodern discourse, and feminist and postcolonial literary and cultural theories on identity formation and subjectivity, I propose that it is in the allegorical mode that the four writers are able to offer black women as female gendered subalterns the space to negotiate subjectivity and to assert agency. Given the history of sexism, racism and imperialism in South Africa, the politics of place impact crucially on the practice of writing literature, so that the tensions between the representation of others and self-representation becomes crucial in identity formation. Through the four texts, I propose that there is a spectrum of practices, and that each offers different possibilities for black women's subject formation: from the most limiting liberal discourses, through the interrogation of those discourses, to an autobiographical moment of self-reclamation.
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Bailey, Elaine. ""A singular person": Portraits of subjectivity in the poetry and prose of Matilda Betham." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/28949.
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'A Singular Person': Portraits of Subjectivity in the Poetry and Prose of Matilda Betham represents the first book-length study of Matilda Betham's literary output. A poet, biographer, and portrait artist, Betham is best remembered for her friendships with S. T. Coleridge, the Lambs, and Robert Southey. Referring to manuscript and printed material, this thesis uses feminist and New Historical critical methods to examine Betham's contribution to British Romanticism. It offers a biography of Betham and a historically contextualised analysis of her own construction of women's role in civic affairs. Betham's political affiliations, as well as the generic range of her poetic and scholarly representations of history, suggest her engagement with contemporary discussions surrounding subjectivity and self-representation. Her Biographical Dictionary participates in a construction of female identity that redefines the feminine while acknowledging the influence of preceding historians. The location and recovery of her autobiographical writings inform this examination of Betham's biographical research. The thesis argues that Betham's political views surrounding broad social representation also emerge in her exploration of the relationship between the lyrical voice and enfranchised selfhood. Betham combines her scholarly and poetic depictions of the individual enacting social change in The Lay of Marie , a historically informed metrical romance that compares to compositions by poets, both male and female, who similarly consider the demands of subjective interpretation of publicly available modes of historical discourse.